Ray Charles is great but not a fan of his earlier work. Just too dated with the Big Band sound. Favorite song: Let The Good Times Roll

I know David Bowie is viewed as one of the greats but I just can't get into him. "Fame" is alright but that's about it. Minus a star just for his butchering of a solid Lennon/McCartney song.

You can’t deny the guy’s talent nice but I’ve never been able to get into Prince. Not for me: Favorite song: 1999 Least favorite song: Automatic

Kid A sounds like what would happen if a less talented version of The Beatles tried to make Sgt. Pepper’s and forgot to bring the songs. I gave it a listen as part of Apple Music’s 100 Greatest Albums countdown, and honestly, once was more than enough. After how great OK Computer was — wall-to-wall bangers — Kid A feels like a total drop-off. It's just aimless, glitchy noise wrapped in artsy vibes with zero payoff. Nothing stuck with me. In fact, when I saw it pop up again, it actually took me a minute to realize I had already listened to it before. That pretty much says it all — completely forgettable. There’s not a single track I’d go back to. They’re all equally bad in their own weird, lifeless way.

Rain Dogs was straight-up miserable to get through. I know Tom Waits has a cult following and people swear by this album, but honestly? I have no idea why. It sounds like a drunk pirate muttering nonsense over trash can percussion and broken accordions. The whole thing feels like it’s trying way too hard to be weird for the sake of being weird. There’s no flow, no real melody to hang onto — just a mess of clanking sounds and gravelly rambling that made me feel like I was losing my mind. I kept hoping it would turn a corner or give me something to latch onto, but it never happened. Every track just made me more annoyed that I was still listening.

Franz Ferdinand’s self-titled debut is a sharp, swaggering burst of post-punk revival energy that still sounds remarkably fresh. With taut guitar riffs, infectious hooks, and a danceable edge, the album delivers on its promise to make guitar rock fun again. The band’s art school sensibilities blend seamlessly with a raw, rhythmic urgency, giving the whole record a confident, stylish vibe. "Take Me Out" is the obvious standout — a perfectly structured anthem that shifts gears mid-song and never loses momentum. It’s bold, catchy, and brilliantly executed, the kind of track that defines an era. While not every song hits that same high, the album maintains a strong pace throughout, full of clever lyrics and tight arrangements. It’s not quite flawless, but as debut albums go, this one made a massive statement — and backed it up. Favorite Song: "Take Me Out"

At Folsom Prison is an iconic moment in music history, but as a listening experience, it’s a bit uneven. Johnny Cash’s raw charisma and outlaw spirit are on full display, and the live setting adds grit and authenticity. There’s a unique electricity in the air — the kind you only get when a man sings to a room full of inmates about crime, regret, and redemption. That said, not every track holds up musically, and the pacing can drag in spots. It’s more historically significant than consistently compelling. Still, when it hits, it really hits — "Cocaine Blues" steals the show with its speed, swagger, and gallows humor. Cash sounds completely in command, delivering it like a man who’s lived every word. A flawed but fascinating listen, and essential if you care about country, rebellion, or the blurred line between performer and prisoner. Favorite song: "Cocaine Blues"

Arrival finds ABBA at the height of their melodic powers, crafting polished pop with an almost mechanical precision. The album is packed with shimmering harmonies, lush arrangements, and that unmistakable Swedish pop sheen. But for all its craft, Arrival sometimes feels a little too clean — beautiful, but emotionally distant. "Dancing Queen" is the undeniable crown jewel — a perfect slice of pop euphoria that manages to be both regal and irresistibly fun. It’s the song that justifies the album’s place in pop history. The rest of the tracklist, while solid, doesn’t always reach the same heights. Some songs fade into the background, more technically impressive than emotionally gripping. It’s an album that shows ABBA’s brilliance, but also their limitations — a little too pristine to fully resonate from start to finish. Favorite song: "Dancing Queen"

Head Hunters is often hailed as a landmark fusion record, but for all its innovation, it’s not the most accessible or consistently engaging listen. Herbie Hancock blends funk, jazz, and electronic elements with clear technical brilliance, but at times the album feels more like a jam session than a cohesive work. The grooves are undeniably tight, yet they often stretch on too long, testing patience more than rewarding it. There’s no denying the influence of tracks like “Chameleon,” but unless you’re deeply into jazz-funk experimentation, the album can come off as self-indulgent and lacking in emotional pull. The musicianship is top-tier, but the vibe leans heavily cerebral — more appreciated in theory than enjoyed in practice. Respect for what it did, but not something I’ll be spinning often.

I Should Coco is a youthful, high-energy debut that captures the chaotic charm of mid-90s Britpop with a punky, mischievous edge. Supergrass sound like they’re having a blast, and that enthusiasm is infectious — at least for a while. The album is brash, fast-paced, and occasionally brilliant, but it also leans a bit too hard into its own cheekiness, making it feel more like a sugar rush than a fully satisfying meal. "Alright" is the standout — a perfect anthem for youthful rebellion, all swagger and sunshine, with just enough self-awareness to avoid being saccharine. It’s the track where everything clicks. Elsewhere, there’s a fair amount of noise and attitude, but not every song lands with the same confidence or staying power. Fun in bursts, but a bit uneven. A solid debut, but one that feels more like a snapshot of a moment than something timeless. Favorite song: Alright

Back in Black is a thunderous, no-frills rock ‘n’ roll masterpiece — a defiant return after tragedy and arguably the greatest comeback album of all time. AC/DC doesn’t reinvent the wheel here — they just tighten every bolt, crank the volume, and let it rip. Every riff is razor-sharp, every chorus built for shouting in unison. The title track, “Have a Drink on Me,” and “You Shook Me All Night Long” are classics in their own right, but “Shoot to Thrill” is the standout — pure adrenaline in musical form, with Brian Johnson at his most electrifying and Angus Young ripping through solos like he’s got lightning in his fingertips. This album doesn’t have a weak moment. It’s lean, mean, and still sounds massive decades later. Rock doesn’t get much better than this. Favorite song: Shoot To Thrill

Exile on Main St. is the Rolling Stones at their most ragged, raw, and relentlessly brilliant. It's a sprawling, sweaty dive into American roots music — rock, blues, gospel, country, and soul — filtered through the band’s drug-fueled haze in a French villa basement. It shouldn’t work, but it absolutely does. “Tumbling Dice” is the crown jewel — a slinky, swaggering groove wrapped in slurred vocals and gospel backing that somehow feels both effortless and essential. “Rocks Off” kicks the door down as the opener, chaotic and glorious, with Keith and Mick sounding like they’re on the edge of collapse and loving it. There’s no polish here — just grit, soul, and the sound of a band laying it all out, imperfections and all. It’s not just a great Stones album; it’s the kind of album that defines rock and roll. Favorite song: Tumbling Dice

Surrealistic Pillow is a psychedelic landmark — dreamy, defiant, and drenched in the swirling spirit of the late ’60s. Jefferson Airplane crafted an album that feels like stepping into another dimension, with Grace Slick’s voice cutting through the haze like a siren call. It’s equal parts rebellion and reverie. “Somebody to Love” is an absolute anthem, urgent and electrifying. “3/5 of a Mile in 10 Seconds” brings a burst of frantic energy that keeps the album from floating too far into the clouds. But “White Rabbit” is the masterstroke — a slow, hypnotic build that explodes into one of the most iconic climaxes in rock history. The crescendo is nothing short of phenomenal, wrapping Lewis Carroll in a velvet glove and punching through the counterculture with elegance and force. Fifty-plus years later, it still sounds revolutionary. Favorite song: White Rabbit

Yeezus is Kanye West at his most abrasive, experimental, and confrontational. It’s an album that tears down the glossy polish of his previous work and replaces it with industrial beats, jagged synths, and a near-total lack of compromise. There’s undeniable ambition here — and flashes of brilliance — but the chaos doesn’t always translate into something cohesive or replayable. Tracks like “Black Skinhead” hit hard, with pounding drums and snarling energy that feel genuinely explosive. It's the closest thing the album has to a “banger” in the traditional sense. “New Slaves” also stands out as one of the more compelling tracks, blending pointed social commentary with stark production. Still, Yeezus often feels more like a statement than an album you’d want to return to often. Bold? Absolutely. Enjoyable all the way through? Not quite. Favorite song: Black Skinhead

This is a solid throwback to late-'90s electro-funk with a heavy dose of retro flair. It's got a slick, polished sound that works well as background music—something you might put on while cleaning, working, or hosting people who don’t want anything too intense. There are definitely a few standouts. “Music Makes You Lose Control” is catchy and playful, “Sometimes” has a nice groove, and “Damaged People” adds a little emotion to the mix. “Disco II Disco” also has a fun energy that stands out from the rest. That said, I didn’t find myself wanting to come back to the album or add many of the songs to my regular playlist. It’s good, just not essential.

Foo Fighters’ debut album is raw, relentless, and brimming with the kind of energy only a fresh start can bring. Recorded almost entirely by Dave Grohl himself in the aftermath of Nirvana, it’s a project that feels both cathartic and full of purpose. There’s a looseness to it — unpolished but deeply focused — that gives it a unique charm in the band’s discography. Tracks like “This Is a Call,” “Big Me,” and “Alone + Easy Target” showcase Grohl’s knack for melody buried under layers of distortion, but “I’ll Stick Around” is the standout — aggressive, hooky, and pulsing with just enough venom to feel personal. It’s the sound of someone reclaiming their voice and turning the volume way up. As far as debut albums go, this one doesn't just promise a new chapter — it slams the door on the past and kicks open a new one with confidence. Favorite song: "Big Me"

Killing Joke’s self-titled debut is a jagged, aggressive blast of post-punk menace that helped lay the groundwork for industrial, metal, and countless bands that followed. It’s raw, dark, and brimming with urgency — a perfect mix of punk fury and mechanical precision. Tracks like “The Wait” and “SO36” hit hard with relentless rhythm and snarling vocals, while “Bloodsport” and “Primitive” showcase the band’s knack for combining chaos with groove. There’s a primal energy here that still feels fresh, and the fact that Metallica covered “The Wait” nearly two decades later? That’s not just a nod — it’s a badge of honor. It’s not the most polished album, but that’s part of the charm. It’s gritty, relentless, and fearless — a powerful debut that deserves its place in the post-punk hall of fame.

Sgt. Pepper’s isn’t just a landmark album — it’s a world unto itself. The Beatles fully embraced the studio as an instrument, crafting an immersive, kaleidoscopic journey that redefined what pop music could be. Every song offers something distinct, yet the album flows with a strange, theatrical cohesion that feels both whimsical and profound. While tracks like “Lucy in the Sky with Diamonds,” “A Day in the Life,” and the title track often get the spotlight, “Within You Without You” is the quiet revelation — a meditative, mystical piece that transports the listener beyond the psychedelic circus into something deeper. It’s George Harrison at his most spiritual and daring, and it gives the album a philosophical depth that balances the playful experimentation elsewhere. From start to finish, Sgt. Pepper is rich, strange, and timeless — the kind of album that rewards both casual listening and deep dives. Favorite Beatles album, or just one of many in the rotation? Favorite song: "Within You, Without You"

Led Zeppelin II is a loud, confident, and endlessly fun rock album that hits hard from the first note. “Whole Lotta Love” kicks things off with one of the most iconic riffs in rock history — a perfect opener that sets the tone for what’s to come. The band wastes no time showing off their power, with heavy guitars, wild solos, and Robert Plant’s soaring vocals. Side two starts strong with “Heartbreaker,” a track that blends swagger with skill, and that sudden solo break never gets old. “Living Loving Maid” follows with a fast, catchy groove — short by Led Zeppelin standards, but packed with energy and attitude. Then there’s “Ramble On,” mixing soft verses with thunderous choruses, showing the band’s range and love for storytelling. Every song adds something special, and the whole album feels tight, bold, and full of life. *Led Zeppelin II* isn’t just great — it’s essential rock and roll. Favorite song: "Whole Lotta Love"

This is the musical equivalent of style over substance — all aesthetic, no soul. It tries desperately to be avant-garde, but ends up sounding like a pretentious mess of whispery vocals, awkward rhythms, and production that’s more interested in being “weird” than listenable. It’s as if someone took the concept of emotional depth, filtered it through a fog machine, and forgot to include an actual song. Tracks bleed into one another with little distinction, and while the album clearly wants to be groundbreaking, it often feels hollow and self-indulgent — like a fashion show with no models, just flashing lights and ambient noise. LP1 doesn’t invite you in; it keeps you at arm’s length and dares you to care. In the end, it’s less of a musical experience and more of an endurance test. If this is the future of R&B, it might be time to hit rewind.

Imagine is John Lennon at his sharpest — tender, bitter, playful, and unapologetically honest. While the title track often gets all the attention, the real magic of the album lies in its depth and contrast. Lennon swings from vulnerable ballads to scathing takedowns with ease, crafting a record that feels deeply personal yet universally resonant. “Crippled Inside” stands out as the highlight — a wry, rollicking tune that pairs biting lyrics with a bouncy, almost country-folk arrangement. George Harrison’s slide guitar and dobro work throughout the album is nothing short of masterful, adding texture and emotional weight in all the right places. Tracks like “Jealous Guy,” “Gimme Some Truth,” and “How Do You Sleep?” showcase Lennon’s full range — from self-reflection to pointed rage — while “I Don’t Wanna Be a Soldier” drowns you in its hypnotic, anti-war groove. Imagine*isn’t just a peaceful plea — it’s an artist laying himself bare, flaws and all. And it still sounds just as vital today. Favorite song: "Crippled Inside"

Never Mind the Bollocks definitely has its moments. “God Save the Queen,” “Anarchy in the UK,” and “Problems” still sound pretty awesome—loud, messy, and full of attitude. I remember getting into early punk back in high school and putting “Anarchy” on one of the CD-Rs I burned. It felt rebellious at the time, like I was in on something wild. That said, the rest of the album doesn’t do a whole lot for me now. It’s more of a cool piece of music history than something I go back to.

This album is a haunting, graceful farewell from Leonard Cohen — a man fully aware he’s near the end, yet still crafting poetry with clarity and weight. His voice, deep and gravelly like a whisper from the grave, gives the album a solemn power that’s impossible to ignore. Every word feels measured, every pause intentional. The title track, “You Want It Darker,” is the undeniable centerpiece — eerie, hypnotic, and laced with resignation and defiance. The arrangements throughout are sparse but rich, allowing Cohen’s voice and lyrics to stand at the forefront like an aging prophet speaking from the edge. It’s not an easy album, but it’s a beautiful one — full of reflection, acceptance, and that signature Cohen wit and wisdom. As parting gifts go, it’s hard to imagine a more fitting one. Did this album get you to revisit his earlier work, or was it your introduction to Cohen?

If You Can Believe Your Eyes and Ears is a near-perfect snapshot of 1960s sunshine pop at its peak — warm, melodic, and packed with lush harmonies that still hold up decades later. The Mamas & The Papas blend folk, pop, and soul with ease, delivering an album that feels effortless but is full of rich vocal interplay and polished production. “California Dreamin’” is the undeniable standout — a timeless anthem of longing and disillusionment, wrapped in a perfect arrangement that captures both the warmth of the West Coast and the chill of winter. It’s one of those rare songs that feels both deeply personal and universally resonant. Tracks like “Monday, Monday” and “I Call Your Name” show the group’s range, while their soulful cover of “Spanish Harlem” adds texture and depth to the tracklist. Every song is delivered with confidence and charm, making this not just a great debut, but one of the defining albums of its era. Golden harmonies, sharp songwriting, and undeniable vibe — this one’s the real deal. Favorite song: "California Dreamin."

Black Sabbath’s debut is a cool listen if you’re into the roots of metal, but it’s definitely a bit rough around the edges. The title track has that spooky intro everyone talks about, but it drags for me and has never really been a favorite. That said, “N.I.B.” and “The Wizard” still hold up—both have a great groove and show off what the band was about to become. You can tell they were onto something, even if the full album doesn’t totally land for me. Favorite song: NIB

Wish You Were Here is one of Pink Floyd’s most emotionally resonant albums — a reflective, atmospheric tribute to absence, loss, and the pitfalls of the music industry. It trades some of the grand concept sprawl of *The Dark Side of the Moon* for a tighter, more personal focus, and it pays off beautifully. “Wish You Were Here” is a standout — haunting in its simplicity, heartfelt without being sentimental. It’s one of the most enduring acoustic tracks in rock history, full of quiet yearning. “Have a Cigar,” on the other hand, brings swagger and satire, poking holes in the industry machine with biting lyrics and a funky, driving groove. While “Shine On You Crazy Diamond” bookends the album with grand ambition, it occasionally drifts a little too far into the ether. Still, when Wish You Were Here is locked in, it’s stunning — thoughtful, mournful, and musically rich. A near-masterpiece with a soul.

Unplugged is not just one of the greatest live albums ever recorded — it’s a raw, intimate portrait of a band stripped down to its emotional core. Recorded just months before Kurt Cobain’s death, the performance carries an eerie, fragile weight that only deepened with time. Unlike other Unplugged sessions, Nirvana didn’t lean on their biggest hits or crowd-pleasers — instead, they curated a somber, haunting setlist that felt more like a wake than a concert. Tracks like “Something in the Way,” “Dumb,” “Polly,” and “On a Plain” take on a new vulnerability in the acoustic setting, each note soaked in quiet desperation and quiet strength. Their cover of David Bowie’s “The Man Who Sold the World” is unforgettable — reverent yet completely reimagined, with Cobain’s voice hovering between detachment and revelation. But the true apex is the closing track, Lead Belly’s “Where Did You Sleep Last Night.” Cobain’s final, guttural scream is less a performance and more a primal exorcism — chilling, cathartic, and final. It’s the perfect, devastating end to a performance that feels more like a confessional than a concert. Unpolished, unguarded, and unforgettable — Unplugged isn’t just a career highlight. It’s a requiem.

Ten is a towering debut — raw, passionate, and bursting with emotional weight. Born from the ashes of Mother Love Bone and the tragic death of Andy Wood, Pearl Jam emerged with something to prove and everything to feel. Stone Gossard’s songwriting forms the backbone of the album, anchoring it with powerful riffs and deeply personal themes, while Eddie Vedder’s voice — wounded, searching, and full of conviction — gives it soul. Standout tracks like “Once,” “Alive,” and “Jeremy” showcase the band’s ability to balance fury with melody, tackling trauma, identity, and alienation without ever slipping into pretense. But “Black” is the true heart of the album — a devastating, beautiful slow burn that builds to one of the most emotionally resonant moments in all of rock. When Vedder delivers the line, “I know you'll be the sun in someone else's sky, but why can't it be mine?” it’s not just heartbreaking — it’s unforgettable. Ten is more than just a great grunge record; it’s a statement of survival, grief, and defiance. It’s the sound of a band coming together in the shadow of loss and turning pain into something transcendent. Still hits just as hard today. Favorite song: Black

Siamese Dream is a sprawling, explosive masterpiece that defined alt-rock in the ’90s. The Smashing Pumpkins mix fuzz-drenched guitars, soaring melodies, and emotional intensity into something both massive and deeply personal. It’s ambitious without being bloated — every track hits with purpose. “Cherub Rock” is a thunderous opener, full of tension and release. “Today” brings melody and melancholy together in perfect balance, while “Geek USA” is pure controlled chaos — fast, wild, and technically sharp. But “Silverfuck” is the real standout. It’s a rollercoaster of distortion, beauty, and fury, stretching past nine minutes and never wasting a second. It captures everything the Pumpkins do best: shifting dynamics, layered sounds, and raw emotion. From start to finish, Siamese Dream is powerful, melodic, and completely unforgettable. A true high point of '90s rock. Favorite song: Silverfuck

This is one of those rare albums that completely catches you off guard. I went in with low expectations and came out blown away by the storytelling, honesty, and clever wordplay. Mike Skinner, the mind behind The Streets, turns everyday life — lost money, broken TVs, failed relationships — into gripping drama. It’s part concept album, part confessional, and completely original. His use of a thick Cockney accent isn’t just for flavor — it becomes part of the rhythm, giving the rhymes a raw, grounded feel that makes every line hit harder. “It Was Supposed to Be So Easy” is the perfect opener: funny, frustrating, and totally relatable. It sets the tone for an album that’s as much about mood and pacing as it is about bars. This isn’t just British rap — it’s kitchen-sink poetry with beats. Smart, emotional, and totally unique. One of the best concept albums I’ve heard. Favorite Song: "It Was Supposed To Be So Easy"

I’ve got a lot of respect for Mudhoney—they were one of the OG grunge bands and Superfuzz Big Muff still rips. But Every Good Boy Deserves Fudge just didn’t land for me. The raw energy is there, and I get what they were going for with the garage rock vibes, but the songs kind of blur together and not much really sticks. It just felt like a slog to get through, and I kept waiting for a moment that never really came. Glad they exist and helped shape the scene, but this album isn’t one I’ll be revisiting any time soon.

Bone Machine is what happens when an artist mistakes chaos for genius and noise for depth. Tom Waits leans so hard into his gravel-throated, junkyard prophet persona that the entire album collapses under the weight of its own forced weirdness. It's not raw — it's sloppy. It's not haunting — it's grating. Listening to *Bone Machine* feels less like hearing music and more like being trapped inside a rusted-out oil drum while someone bangs on the outside with a wrench. The songs meander without structure, the percussion sounds like it was recorded in a scrapyard, and Waits’ voice — once evocative — now just sounds like a parody of itself. There’s a difference between being experimental and being unlistenable, and this album doesn’t seem to know the line. Critics called it bold and visionary, but bold doesn’t mean good. It’s an endurance test disguised as art, and one that I have no interest in repeating. If this is brilliance, I’ll happily stay in the dark.

The Dark Side of the Moon isn’t just an album — it’s a full-body experience. Even after all these years, it still sounds futuristic, mysterious, and endlessly deep. Pink Floyd crafted something truly timeless here, blending rock, jazz, synth, and soul into a seamless journey through the human condition — anxiety, greed, mortality, madness. Heavy stuff, yet somehow completely hypnotic. “Time” is a masterclass in dynamics and lyricism, “Us and Them” aches with beauty, and “Brain Damage” is haunting and surreal. But “Money” is the standout — funky, cynical, and packed with bite. That cash register intro alone is legendary. It’s the song that pulled me in, and, in a former life, probably soundtracked more than one slow-motion head trip with smoke curling through the room. This album doesn’t just hold up — it lives outside of time. Whether you’re stone-cold sober or somewhere else entirely, it still hits like nothing else. Favorite song: Money

Green River is CCR at full strength — lean, swampy, and loaded with timeless songs that still sound fresh decades later. It’s only half an hour long, but there’s not a wasted second. The band’s mix of Southern rock, blues, and Bay Area grit is locked in here, and John Fogerty’s raspy howl is at its absolute peak. The title track and “Bad Moon Rising” are undeniable classics — tight, catchy, and full of that backwoods swagger. But “Lodi” is the real gem. It’s simple, sad, and brutally relatable — a perfect story of missed chances and being stuck somewhere you never planned to be. Fogerty’s delivery hits like someone who’s lived it. Green River doesn’t need flash. It’s all muscle and soul — just great songwriting, great playing, and a sound that belongs to CCR alone. A high watermark in American rock. Favorite song: Lodi

Licensed to Ill is loud, bratty, and absolutely legendary — a one-of-a-kind debut that smashed hip-hop into rock with zero apologies and maximum swagger. The Beastie Boys delivered something totally fresh in 1986: a party album that was as clever as it was chaotic, packed with attitude and anthems that still hit decades later. “Fight For Your Right” is the ultimate teenage rebellion anthem, while “No Sleep Till Brooklyn” blends headbanging riffs with rapid-fire rhymes, proving these guys could hang in both mosh pits and cyphers. “Brass Monkey” is pure chaos in the best way — goofy, infectious, unforgettable. And yes, even “Girls,” for all its ridiculousness, captures the tongue-in-cheek charm that made the Beasties impossible to ignore. This isn’t just a party album — it’s a cultural reset. Wild, unfiltered, and way smarter than it pretends to be. A perfect storm of hip-hop, rock, and pure energy. Favorite song: "Fight For Your Right"

Band on the Run is Paul McCartney’s masterpiece of the Wings era — a brilliant mix of pop, rock, and soul that proves his post-Beatles songwriting could stand tall on its own. Born out of chaos (with two band members quitting just before recording), McCartney turned adversity into one of the most cohesive and rewarding albums of the 1970s. The title track, “Band on the Run,” is a mini rock opera — starting slow and dreamy before bursting into one of the most uplifting choruses in his entire catalog. It’s bold, inventive, and completely unforgettable. “Jet” is a full-on blast of glam-rock energy, with a chorus that sticks in your head for days. “Mrs. Vandebilt” brings in a laid-back groove and infectious “ho hey ho” chant that feels tailor-made for a crowd singalong. “Let Me Roll It” channels Lennon-esque grit with a heavy riff and smoky vocals — raw and soulful in all the right ways. And then there’s “Nineteen Hundred and Eighty-Five”, a thunderous closer that builds into a sweeping finale, tying the album together with cinematic flair. Every track feels carefully crafted but totally alive — it’s playful, passionate, and endlessly replayable. Band on the Run isn’t just McCartney proving himself — it’s McCartney showing off, and it’s glorious. Favorite song: "Let Me Roll It"

Locust Abortion Technician is a sonic disaster masquerading as avant-garde brilliance. The Butthole Surfers throw everything at the wall here — noise, distortion, pitch-shifted gibberish — and somehow nothing sticks. It’s not weird in a cool or challenging way; it’s weird in a "please turn this off before my brain leaks out" kind of way. There’s no structure, no coherence, and certainly no reward for sitting through this mess. Every track sounds like it was recorded during a psychotic breakdown in a garage full of malfunctioning equipment. The vocals are buried under layers of nonsense, the production is intentionally awful, and any moment that might resemble a song is quickly sabotaged by sheer obnoxiousness. If the goal was to make something unlistenable, mission accomplished. It's not bold, it's not experimental — it's exhausting. This isn’t art. It’s a migraine with album art.

Live at Fillmore East is not just a live album — it’s a defining moment in American rock history. The Allman Brothers Band captured lightning in a bottle over two nights in March 1971, delivering a performance that’s raw, masterful, and completely electrifying. This is the sound of a band at its absolute peak, blending Southern rock, blues, and jazz into something uniquely their own. Duane Allman and Dickey Betts’ guitar interplay is nothing short of legendary, weaving improvisations that feel both spontaneous and impossibly tight. Tracks like “Whipping Post” and “In Memory of Elizabeth Reed” stretch past the ten-minute mark without ever losing momentum — these aren't jams for the sake of jamming; they’re journeys. The band’s chemistry is off the charts. Gregg Allman’s soulful vocals and Hammond organ work bring depth and grit, while the rhythm section drives everything forward with relentless precision. Even the quieter moments are steeped in emotion and finesse. Live at Fillmore East sets the gold standard for what a live rock album should be: urgent, expansive, and alive. It’s more than a performance — it’s a masterpiece. Favorite song: "Whipping Post"

Adele’s 21 is a masterclass in heartbreak, soul, and sheer vocal power. From the opening stomp of “Rolling in the Deep,” it’s clear this isn’t just another breakup album — it’s a storm of raw emotion wrapped in stunning songwriting and flawless delivery. Adele doesn’t just sing about pain; she makes you feel every word. Big hits like “Rumour Has It” and “Set Fire to the Rain” showcase her ability to blend pop accessibility with old-school soul, but it’s the quieter moments that really shine. “Don’t You Remember” is a criminally underrated deep cut — aching, vulnerable, and beautifully restrained. Her take on The Cure’s “Lovesong” strips it down to its emotional core, transforming it into something haunting and elegant. Every track on 21 serves a purpose, and Adele’s voice is the guiding force — powerful, bruised, and completely human. This is the rare album that’s both critically respected and universally embraced — and it absolutely earns every bit of that praise. Favorite song: Don't You Remember

Dummy is a landmark debut — dark, elegant, and emotionally devastating in the best way. Portishead created a sound all their own here, fusing hip-hop beats, moody jazz chords, and vintage vinyl crackle into something deeply cinematic and intimate. It’s trip-hop at its finest, but even that label feels too small for what this album achieves. Beth Gibbons’ voice is the beating heart of the record — fragile one moment, fierce the next — and she delivers every lyric like a whispered confession. “Roads” is the emotional centerpiece, a slow-burning masterpiece that aches with loneliness and longing. “Sour Times” blends spy-movie strings with a dusty breakbeat and unforgettable chorus. “Glory Box” closes the album with a sultry, smoldering plea for love and identity, flipping blues and soul into something futuristic and haunting. Even deeper cuts like “Mysterons” and “Wandering Star” add to the album’s shadowy atmosphere, each track flowing into the next like scenes from a noir film. Every detail — the scratches, the samples, the silence between notes — is deliberate and affecting. Dummy isn’t just an album; it’s a fully formed world. Strange, sad, and seductive — and once you enter it, it’s hard to leave. Favorite song: Mysterons

The White Album is sprawling, strange, beautiful, and completely essential — a double LP that refuses to be pinned down. Every track feels like a world unto itself, bursting with personality, invention, and the kind of songwriting range that only a band at the peak of their powers could pull off. There’s no filler here — just a kaleidoscope of styles and moods, each song revealing something new with every listen. Favorites shift with the wind, but certain tracks always rise to the surface. “While My Guitar Gently Weeps” aches with sorrow and Eric Clapton’s searing guitar. “Blackbird” is simple and perfect, a quiet anthem of hope. “Mother Nature’s Son” feels like a soft breeze through an open window. And then there’s “Savoy Truffle” — funky, playful, and full of George Harrison’s dry wit. The White Album isn’t just a collection of songs — it’s a complete experience. Chaotic, brilliant, and endlessly replayable. One of the greatest albums ever made, and somehow still full of surprises.

Back to Black is a soul-shaking triumph — raw, stylish, and heartbreakingly real. Amy Winehouse poured everything into this album: her voice, her pain, her wit, and her flaws. With Mark Ronson and Salaam Remi’s vintage-inspired production, the record feels like a lost Motown classic filtered through the lens of modern heartbreak. “Tears Dry On Their Own” stands out as the crown jewel — a pure throwback groove with a soaring melody and a devastating undercurrent. It’s the kind of song you can dance to with tears in your eyes. Throughout the album, Amy swings between swagger and sorrow, never flinching, never faking it. Losing her so young feels like more than a tragedy — it’s a loss of a once-in-a-generation talent whose voice and honesty could cut through anything. Back to Black isn’t just a great album. It’s a legacy. One that still echoes loud and clear. Favorite song: Tears Dry On Their Own

Revolver is where The Beatles stopped being just a band and became full-blown innovators. It’s their first album made after experimenting with LSD, and you can hear the doors of perception flying open in every track. This isn’t just a collection of songs — it’s a turning point in modern music, where creativity, curiosity, and consciousness collided in the studio. “Taxman” opens with a snarl, George Harrison taking aim at the system with sharp wit and funk-infused grit. “Eleanor Rigby” follows, radically different — a stark string arrangement and narrative depth that felt miles beyond anything in pop music at the time. “Here, There and Everywhere” brings a beautiful softness, McCartney’s delicate vocal and ethereal harmonies floating somewhere above reality. “I Want to Tell You” captures the confusion and internal noise of a mind pushed beyond its limits, with clashing chords and hypnotic tension. “Got to Get You Into My Life” brings it all back to earth with brassy, joyful energy — a soul-infused track that channels Motown while still sounding distinctly Beatles. With Revolver, they weren’t just writing hits — they were rewriting the rules. Studio effects, tape loops, backwards guitars, philosophical lyrics — all of it feels fresh, fearless, and forward-looking. It’s the sound of four minds opening up and taking rock music somewhere it had never been before. A psychedelic masterpiece that still stands as one of their boldest and best. Favorite song: "Eleanor Rigby"

Shake Your Money Maker is one of those rare debut albums that lands with the confidence of a band already in full stride. The Black Crowes came out swinging, blending Southern rock, blues, soul, and a shot of Stones swagger into a sound that feels both timeless and raw. There’s nothing trendy or overproduced here — just great songs, gritty performances, and a band that knows exactly who they are. “Jealous Again” is a killer opener — punchy, soulful, and driven by Chris Robinson’s raspy, commanding vocals. It’s the kind of track that could’ve come out in 1971 or yesterday and still feel fresh. Then there’s “She Talks to Angels,” a haunting acoustic ballad that strips everything back and showcases the emotional depth behind all the bravado. It’s one of the most powerful songs of the era, full of vulnerability and storytelling. Throughout the album, the band leans into a classic sound without ever feeling like a cheap throwback. Whether it’s the bluesy strut of “Twice As Hard” or the gospel-tinged groove of “Seeing Things,” every track feels lived-in and real. This isn’t just a great rock album — it’s a reminder that timeless songwriting, passionate delivery, and a little Southern grit never go out of style. Favorite song: "Jealous Again"

m b v sounds like what happens when you accidentally leave your headphones half-plugged into your phone and convince yourself it’s art. It's like they took everything cool about shoegaze, drowned it in a bathtub of reverb, and hoped no one would notice there's barely a song underneath. The vocals are buried so deep it’s like the band was too shy to actually be heard. The guitars sound like they’re melting in slow motion, and not in a good way. Every track just kind of floats around in a fog, going nowhere, like ambient noise for people who hate melody and pacing.

Get Rich or Die Tryin’ isn’t just a debut album — it’s a full-blown cultural moment. 50 Cent came into the game like a force of nature, and this album delivers everything his myth promised: hard-hitting beats, street-certified lyrics, and hooks for days. It’s raw, relentless, and polished in all the right places, with Dr. Dre and Eminem behind the boards and a hunger in 50’s voice that you can’t fake. “What Up Gangsta” sets the tone from the jump — aggressive, no-nonsense, and built to shake car trunks. “Patiently Waiting” pairs 50 with Eminem before their eventual fallout, and the chemistry is electric. It’s a back-and-forth showcase of hunger and intensity, with Em blacking out on his verse. “Many Men (Wish Death)” stands out as a dark, emotional centerpiece — a street anthem soaked in paranoia and pain. “High All the Time” brings a woozy, hypnotic vibe to the mix, while “P.I.M.P.” is a laid-back, steel drum-laced banger that showed 50 could dominate clubs just as easily as corners. And the closer, “Gotta Make It to Heaven,” reminds you that underneath the bravado is a man who’s survived too much to take life for granted. The features are just as iconic — Nate Dogg brings that West Coast smooth to “21 Questions,” Lloyd Banks adds grit on “Don’t Push Me,” and the whole thing plays like a greatest hits album. This album didn’t just live up to the hype — it set a new standard. One of the strongest debuts in hip-hop history, period. Favorite song: "Stay High All The Time"

I get it — Palo Congo is supposed to be important in the history of Latin music. That’s cool. But that doesn’t mean I have to enjoy sitting through it. This album is basically one long drum circle with someone yelling over it, and after a few tracks, it starts to feel more like a test of patience than a musical experience. “Billumba-Palo Congo” was especially rough — chaotic without being interesting, and way too repetitive. I kept waiting for it to click, but it never did. It just kept going... and going... like someone left a bongo on loop. That said, “Rhapsodia del Maravilloso” was a bright spot. It had some real rhythm and energy that stood out from the rest. But one decent track can’t save an album that feels more like background noise for a cultural anthropology lecture than something I’d willingly listen to again.

Highway 61 Revisited is the moment Bob Dylan lit a match and set folk tradition on fire. With a bold move to electric guitar and full-band arrangements, he stirred major controversy among purists — and in doing so, helped reshape the future of rock music. It’s wild to think this level of backlash came from adding some amps, but Dylan wasn’t just changing sound — he was changing the rules. Desolation Row closes the record with nearly 11 minutes of stunning, surreal poetry. Dylan’s lyrics are dense, apocalyptic, and weirdly beautiful, turning the song into something that feels more like a literary epic than a folk tune. It's proof of exactly why he earned that Nobel Prize. Still, the electric tracks are incredible. “Like a Rolling Stone” kicks the door down with one of the most iconic openings in music history, while “Tombstone Blues” and “Ballad of a Thin Man” are razor-sharp, dripping with cynicism and swagger. “Highway 61 Revisited” itself is a chaotic joyride — twisted Americana turned on its head. This album didn’t just push boundaries — it redrew the map. Highway 61 Revisited is rebellious, visionary, and endlessly re-listenable. It’s not just a classic; it’s one of the key reasons Bob Dylan stands alone in the pantheon of songwriters. Ironically, my favorite track on the album is the only fully acoustic one: “Desolation Row.”

Neil Young can be hit or miss for me, and Tonight’s the Night definitely leans more toward the miss side. Most of his albums usually have at least one track that really grabs me, but this one just kind of drags from start to finish. If I had to pick a favorite, I’d go with “Tonight’s the Night – Part II” — but really, it’s just the one I disliked the least. The rest of the album blends together in a hazy, off-key way that I get is supposed to feel raw and emotional, but it mostly just felt flat to me.

I'm so glad to see a thrash metal band like Sepultura get their due, and Roots lives up to the hype in its own heavy, experimental way. I’ve had various Sepultura tracks on my playlists since high school, but this was the first time I sat down and listened to Roots front to back — and it didn’t disappoint. “Roots Bloody Roots” kicks things off with absolute power. It’s raw, aggressive, and easily my favorite track on the album. That riff hits like a truck. “Ratamahatta” is another standout, bringing in indigenous Brazilian rhythms and vocals in a way that actually works — a really cool blend that makes the album feel unique in the metal world. “Breed Apart” has a banger of an opening riff, and “Jasco” was a surprising acoustic moment that added a nice breather in the middle of the chaos. On the flip side, “Canyon Jam” was my least favorite. The gunshot sound effect was a nice touch, but after that, it kind of just wandered around for way too long. There’s a proggy, experimental edge to the album — not just in the 14-minute closer, but throughout, with all the tribal instrumentation and ambient textures layered into the mix. It’s bold, heavy, and has more depth than you might expect from a band known for thrash.

Not a huge fan of indie rock in general, so Neon Bible didn’t totally land for me. A lot of the songs just blended together and felt like the kind of generic indie rock that never really grabs me. That said, there were a couple of standouts. “Intervention” was a solid ballad — emotional, well-written, and probably the most memorable track for me. But “Ocean of Noise” was the one I actually really enjoyed. Great vibe, moody in the right way, and definitely a cut above the rest.

Kid A sounds like what would happen if a less talented version of The Beatles tried to make Sgt. Pepper’s and forgot to bring the songs. I gave it a listen as part of Apple Music’s 100 Greatest Albums countdown, and honestly, once was more than enough. After how great OK Computer was — wall-to-wall bangers — Kid A feels like a total drop-off. It's just aimless, glitchy noise wrapped in artsy vibes with zero payoff. Nothing stuck with me. In fact, when I saw it pop up again, it actually took me a minute to realize I had already listened to it before. That pretty much says it all — completely forgettable. There’s not a single track I’d go back to. They’re all equally bad in their own weird, lifeless way.

Gunfighter Ballads and Trail Songs by Marty Robbins is pure cowboy poetry — smooth, nostalgic, and packed with Western charm. But let’s be honest: if you’re here giving this album five stars, there’s a good chance you wandered in from the Mojave Wasteland. Thanks to Fallout: New Vegas, tracks like “Big Iron” and “Cool Water” have taken on near-mythic status. Hearing Big Iron kick in while patrolling the desert with a revolver and questionable morals? Unmatched. Suddenly, Robbins’ rich voice and storytelling aren’t just old-school country — they’re the soundtrack to dusty showdowns and wandering loners trying to do the right thing in a broken world. Outside the Fallout connection, the album is still a gem. Robbins was a master storyteller, and songs like “El Paso” and “The Master’s Call” hold up as classic narrative-driven country. But it’s the pop culture revival that makes this record feel alive again. So yes, this is five stars — not just for the quality, but for the sheer atmosphere it brings to anyone who’s roamed the Mojave with Big Iron on his hip.

Homework is where it all began — and what a debut. Daft Punk’s first album is a gritty, pulsing, endlessly creative slab of French house that still sounds fresh decades later. It’s rawer and more underground than their later work, but that’s part of its charm. Every track feels alive, like it’s coming straight from a smoky club at 3 a.m. The opening track “Daftendirekt” sets the tone with a hypnotic groove that pulls you in immediately. “Rollin’ & Scratchin’” is a full-on sonic assault — distorted, relentless, and completely addictive. “Burnin’” is another standout, with its funky, loop-driven build that could soundtrack a night drive through a neon-lit city. “Indo Silver Club” and “Alive” bring in that trance-adjacent energy — both tracks feel like something you’d hear on a modern episode of A State of Trance, blending rhythm and atmosphere in a way that’s pure Daft Punk. And honestly? There’s not a bad track here. It’s one of those rare albums where every song earns its place. I had no idea this was their debut, but of the three Daft Punk albums I’ve heard so far, Homework is hands down my favorite. It’s raw, innovative, and effortlessly cool — a blueprint that launched an era. Favorite song: "Rollin' and Scratchin'"

xx by The xx just confirmed what I already kinda knew — indie rock’s not really my thing. The whole album has a super minimal, moody vibe that never really goes anywhere. Every song blends into the next, and after a while it just feels like one long, slow track on repeat. I don’t have a favorite or least favorite because, honestly, they all sound pretty much the same to me. Not terrible, just not interesting. It’s background music at best, and even then, I’m probably skipping it.

I first got into A Tribe Called Quest earlier this year while going through Apple’s Top 10 Albums countdown, and I was hooked. Naturally, I had high hopes for The Renaissance, and Q-Tip definitely delivered. You can really hear his influence as the main producer — the beats are smooth, jazzy, and laid-back, just like you’d expect from him. The whole album has a great vibe. It’s polished but never overdone, and Q-Tip’s flow is as smooth and effortless as ever. He doesn’t try to reinvent the wheel — just gives us smart, feel-good hip-hop with a ton of soul. Also, gotta give him some bonus points for his cameo in one of the best Chappelle’s Show skits of all time: Knee High Park Favorite Song: Will Trade

Supa Dupa Fly is a game-changing debut that exploded every expectation of what hip-hop — and hip-hop production — could sound like in the late ’90s. Missy Elliott arrived fully formed, blending futuristic style with fearless originality, and Timbaland’s production flipped the script with off-kilter beats, space-age rhythms, and deep, head-nodding grooves. Nothing else sounded like this in 1997 — and honestly, nothing really has since. Missy’s flow is sharp, playful, and unpredictable, and she knows exactly when to flex and when to float. “Hit Em Wit Da Hee” is a bold opener that sets the tone immediately, blending haunting strings with that signature Timbo bounce. “The Rain (Supa Dupa Fly)” remains one of the most iconic singles of the era — strange, stylish, and hypnotic, with Missy riding the beat like nobody else could. And “Friendly Skies” brings smooth R&B vibes, with Ginuwine’s silky vocals playing perfectly off Missy’s laid-back delivery. The guest list is stacked, and every feature hits: Busta Rhymes, Aaliyah, Lil’ Kim, Da Brat, 702, Ginuwine — all of them bring heat without overshadowing the star. Missy isn’t just holding her own among big names — she’s setting the pace. Supadupa Fly was ahead of its time and somehow still sounds like the future. Inventive, iconic, and endlessly fun — it’s a flawless introduction to one of hip-hop’s most visionary artists. Favorite song: "Friendly Skies"

John Prine’s self-titled debut has everything you’d expect from a ‘70s country/folk album — plenty of pedal steel, honest songwriting, and storytelling that hits just right. What really surprised me were the little touches, like the sitar effects sprinkled throughout. You can definitely still hear that late-’60s influence woven into the more traditional sounds, and it gives the album a cool, unexpected vibe. I’m not usually big on country, but this one’s a solid listen from start to finish. “Paradise” in particular stood out — it felt like a blueprint for a lot of the stuff I love from Old Crow Medicine Show. You can hear the DNA of their music in tracks like that. Favorite song: Sam Stone

I went into Getz/Gilberto knowing exactly one thing — “The Girl from Ipanema.” And yeah, it’s a classic for a reason. Smooth, laid-back, and still catchy after all these years. The rest of the album follows that same vibe — chill, breezy bossa nova that’s easy on the ears but doesn’t leave a huge impact for me beyond the big hit. Fun fact: Astrud Gilberto has at least one other album on this list, and I’ve checked it out already (just not on this generator yet). That one wasn’t bad either, so I’ll give her credit — she brings a cool, understated vibe to everything she touches.

Tago Mago is definitely an interesting Krautrock album — experimental, unpredictable, and at times completely out there. It’s the kind of record that keeps you on your toes, even if it doesn’t always land. “Halleluhwah” is easily the highlight. That groove is hypnotic and somehow manages to stay engaging through its long runtime. It’s weird, but in a fun, head-nodding kind of way. On the other hand, “Aumgn” was a tough listen. It leans a little too far into abstract noise territory and kind of lost me along the way. Overall, I respect the creativity and the influence this album clearly had, but it’s a mixed bag for me.

Finally, a NWOBHM album shows up! The Number of the Beast is a classic, and even though I don’t listen to Iron Maiden much these days, this one brings back all kinds of memories — especially blasting the title track on 06/06/2006 like every other metalhead with a sense of humor. I had a bunch of Maiden songs loaded up on my iPod back in high school, and this album was in heavy rotation. Side 2 is absolutely stacked — “The Number of the Beast,” “Run to the Hills,” “Hallowed Be Thy Name” — just banger after banger. Favorite track: Number of the Beast

Didn't hate this album but didn't like it, either. Nothing really stuck out.

Out of 1,001 albums, how did I manage to draw two Can albums in 4 days on this generator? Lucky me. Krautrock is good in doses. In spite of Bel Air (more below), it was still a decent album. Favorite Song: Moonshake Least Favorite song: Bel Air - a twenty minute long rip off of the cymbal breakdown from "Whole Lotta Love" interspersed with synthesizer is a bit much for me.

Another classic Dead Album. It's not my favorite but still has solid tracks. Truckin' is an all-time banger. Favorite Song: Truckin' Least Favorite Song: Candyman

Fishscale was my first real dive into Ghostface Killah’s solo work — I’ve only heard one Wu-Tang album before this — and going in blind turned out to be the best way to experience it. From the jump, this album is immersive, detailed, and sonically rich. The Dolby Atmos mix really brings it to life — the beats hit hard, the samples are layered perfectly, and Ghost’s voice cuts through with clarity and weight. The artist features are top-tier: Raekwon delivers as always, and unexpected appearances from Ne-Yo, Ice Cube, and even Ye add variety without stealing the spotlight. Ghostface holds it all together with his storytelling — “Whip You with a Strap” and “Momma” in particular feel like vivid scenes from a movie, personal and raw without ever dragging. The production is fantastic throughout. I loved the use of Biggie samples, especially on “Back Like That” — it gave off Song Cry vibes until I realized it was directly nodding to it. There’s a real sense of craft behind the sampling, not just nostalgia. “Shakey Dog” opens the album with a bang — intense narrative, killer beat — and “Champ” keeps the momentum with an energetic, funky intro that feels like vintage soul dipped in street grit. But the highlight for me? “Clipse of Doom.” That track is a monster. The energy, the flow, the instrumental — everything clicks. There’s no filler on Fishscale. It’s sharp, consistent, and packed with personality. As a first-time listener of Ghostface solo work, I couldn’t be more impressed. Five stars, easy. Now I’m wondering what took me so long. Favorite song: "Clipse of Doom"

I do enjoy some Motown jams but I’m just not a fan of The Temptations’ psychedelic era.

Without any other knowledge on this album, I feel like most of these songs have not stood the test of time, even if the album was a hit contemporaneously. Favorite song: Such A Night Least Favorite Song: Solder Boy

I like Tribe's stuff. Just good, 80s/90s hip hop. I love the samples features on this album - Hendrix, Lou Reed, Stevie Wonder, and Phil Spector. The album is full of the word play and double entendres I've come to enjoy from their work. Favorite song: I Left My Wallet in El Segundo Least Favorite Song: Really not a bad song on this album.

Mellon Collie and the Infinite Sadness isn’t just an album — it’s an epic. The Smashing Pumpkins delivered a sprawling, ambitious double LP that somehow manages to feel both grandiose and deeply personal. It swings wildly from rage to beauty, despair to hope, chaos to calm — and somehow, it all works. “1979” is the emotional anchor — nostalgic, reflective, and effortlessly cool, it captures that sense of youth slipping away without slipping into sentimentality. “Bullet with Butterfly Wings” is pure frustration and angst, delivered with Billy Corgan’s signature snarl over a wall of crunching guitars. Then there’s “Tonight, Tonight,” a soaring orchestral masterpiece that feels cinematic in scope and timeless in message. And let’s not forget “XYU” — an unhinged, snarling beast of a track that showcases the darker, heavier edge of the band. It’s violent, chaotic, and utterly compelling in contrast to the album’s softer moments. With Mellon Collie, the Pumpkins took a huge creative risk and pulled it off spectacularly. It’s rare for an album this long to be so consistently strong, but every track feels like a piece of a larger emotional puzzle. A defining statement from one of the ’90s most unique bands — and one that still resonates just as deeply today. Favorite song: XYU

MY GOD THE SYNTHESIZERS. It’s like they went Black Friday shopping at Moog and decided to use it all on this album. A couple songs in, I was getting Cure vibes but after that, it was straight into stereotypical 80s pop. But, honestly, I don’t hate it. Guilty Partner is a good track and the Spanish guitar is a nice feature. Favorite song: Round and round

Phil Spector was a piece of shit by his Wall of Sound shines through and all the artists he produced were talented. Still on of the best rock n roll Christmas albums out there

Never been a Rod Stewart fan. I’m sure it’s held any higher acclaim overall vs my opinion but nothing special to me. I did enjoy his rendition of That’s All Right Favorite Song: That’s All Right Least Favorite Song: Seems Like a Long Time

Some records can be hit or miss in Atmos but this one is mixed well. Really good story telling on Testify. Haven’t listened to a lot of Common’s stuff but I’m giving him a Chappelle’s Show bump like I did with Q-Tip. Favorite song: The Corner Least favorite song: Faithful

It’s what I’ve come to expect from Kraftwerk. Favorite song: Spacelab Least favorite song: The Robots

A second day in a row of electronic music, terrific. This one just wasn’t doing it for me.

As someone who grew up in the 90's, I can't not like Bittersweet Symphony. I can't say I'm familiar with any of there other tracks. Their other stuff is remniscient of Oasis and I think that's why I like it. "Sonnet" was really good and "The Drugs Don't Work" is a perfect sad song. Favorite song: The Drugs Don't Work Least Favorite Song: Weeping Willow

Three electronic albums in four days. Surely it comes to an end at some point. Never heard of this group. Sounds like pretty standard late 80s/early 90s EDM. I'm trying not to let the fact that I'm getting sick of electronic music sway my rating. I'm typing this as I listen so we'll see if my thoughts change. The album was off to a slow start but Cobra Bora and Pacific 202 are actually pretty good. Donkey Doctor is a certified banger. Favorite song: Donkey Doctor Least Favorite Song: Magical Dream

While I appreciate and respect the specific number of songs on this album, three hours of this is a bit much. I'm deducting a star for the length. Other than that, some of the songs were good, some were not. Album #2 had the best tracks overall, in my opinion. Favorite song: The Book of Love. This one is actually really, really good. Least Favorite Song: Zebra

I don’t even need to listen to L.A. Woman to know it’s a five-star album — but I’m going to anyway, because it’s just that good. This is The Doors at their rawest, loosest, and most locked-in, and as a final statement with Jim Morrison, it hits even harder. RIP Jim — you went out with a masterpiece. What really stands out on every listen is Jerry Scheff’s bass work. He’s the unsung hero of this record, grounding every track with smooth, melodic lines that add real depth and groove. And Robby Krieger’s slide guitar on “Been Down So Long”? Absolutely filthy in the best way — gritty, bluesy, and perfectly unpolished. From the title track’s hypnotic drive to the eerie sprawl of “Riders on the Storm,” L.A. Woman is a classic from front to back. Raw, soulful, and timeless. Automatic 5 stars. Favorite song: Love Her Madly. Scheff's bass really shines through here.

You can’t deny the guy’s talent nice but I’ve never been able to get into Prince. Not for me: Favorite song: 1999 Least favorite song: Automatic

Not a fan of an album with nothing but love ballads. At least he kept it to 30 minutes. For that, I'll give an extra star. Favorite Song: Let's Get It On Least Favorite Song: You Sure Love To Ball

I had to give this album a second listen just to fully decide whether I liked this album or not. The first 9 songs are actually pretty good and on first listen, I thought this was late 70s/early 60s punk. I had no idea it was released in 1990. Favorite song: Mote Least favorite song: Titanium Expose

Hybrid Theory is more than just an album — it’s a time capsule. I can’t count how many times I listened to this CD in middle school, and it still hits just as hard today. Linkin Park nailed something special here: a perfect blend of nu-metal aggression, hip-hop rhythm, and emotional vulnerability that spoke directly to a generation caught between angst and identity. Every track feels massive, from the explosive “Papercut” to the anthemic “In the End.” Chester’s raw vocals paired with Mike’s sharp verses created a dynamic that was fresh and unforgettable. Songs like “Crawling,” “Points of Authority,” and “One Step Closer” became instant classics — powerful, cathartic, and endlessly replayable. Whether you were blasting it through headphones or burning it into your first CD-R mix, Hybrid Theory was the soundtrack to growing up in the early 2000s. A flawless debut and a defining album that earned every bit of its legacy. Five stars, then and now. Favorite song: Points of Authority

Lots of tubular bells, as advertised. I have a lot of respect for multi-instrumentalists like Mike Oldfield. Decent background music but not something I'd actively listen to. I'll give an extra star just for The Exorcist.

Not something I would listen to again. New Wave just isn't for me. All Tomorrow's Parties has a pretty nice psychedelic rock vibe to it. That is my favorite track by far.

I had low expectations for this album but it actually wasn't bad. Favorite song: Expectations Least Favorite song: The State I Am In

I do enjoy early 90's hip hop. One of the biggest thing that modern hip hop is missing are the skits throughout the album. This is a good album but not on the level of some of the other stuff. I still give it 4 stars. Favorite song: Stranded on Death Row

Physical Graffiti is Led Zeppelin at their most expansive, ambitious, and completely untouchable. This double album isn’t just a collection of songs — it’s a full showcase of everything the band could do, and they do all of it at the highest level. “In My Time of Dying” is an 11-minute blues-rock epic, and Jimmy Page’s slide guitar work is absolutely feral — raw, haunting, and hypnotic. It’s one of the heaviest and most soulful tracks they ever recorded. “Houses of the Holy” brings groove and swagger, a funk-inflected rocker that somehow didn’t make the album it was named after but feels right at home here. “Kashmir” is the crown jewel — massive, majestic, and totally unique. That hypnotic riff, Bonham’s thunderous drumming, and Plant’s commanding vocal performance all swirl into something that feels mythic. And then there’s “Bron-Yr-Aur”, a short acoustic interlude that adds a moment of serenity — delicate, earthy, and beautifully played. From bombastic rockers to tender acoustic moments, this has it all. It’s not just a great Led Zeppelin album — it’s the Led Zeppelin album for those who want to hear the full scope of what the band was capable of. Favorite song: In My Time of Dying

Went into this completely blind and had no idea what to expect — but I was pleasantly surprised. It’s got some really solid songs on it, way more emotional depth and cool arrangements than I thought going in. The vocals take a minute to get used to, but once you're in the groove, it works. A few tracks hit harder than others, but overall it's a well-put-together album with a good mix of moody, dramatic, and melodic moments. Definitely made me curious to check out more of Elbow’s stuff. Favorite song: The Bones of You

The Chirping Crickets is pure rock 'n' roll history. It’s short, sweet, and packed with that early, innocent energy that helped shape everything that came after. Buddy Holly's voice is smooth, the songwriting is catchy, and the band keeps things tight without ever overdoing it. Sure, by today’s standards some of it might feel a little dated, but there's a charm here that still works. Songs like "That’ll Be the Day" and "Not Fade Away" are classics for a reason. RIP Buddy — gone way too soon, but left behind a debut that still holds up.

I can get down with some Gothic Rock, but this just ain't it. Most of the album feels like it's stuck in slow motion — overly dramatic without much payoff. The mood is there, sure, but it kind of drags without delivering anything that really sticks. That said, "Lucretia My Reflection" is a total banger. Great groove, cool vibe, and actually feels alive compared to the rest of the album. If the whole record had that energy, this would be a totally different review.

Time Out is one of those albums that probably blew minds when it dropped — odd time signatures, cool jazz vibe, all that. But listening to it now? It just doesn’t hit the same. I can respect what the Dave Brubeck Quartet was going for, but in my opinion, it just hasn’t stood the test of time. It feels more like background music than something that really grabs you. Technically solid, sure, but there’s not much here that makes me want to come back to it. Maybe it was groundbreaking in its day, but now it mostly just feels dated and kind of flat.

This is one of those albums that you kind of have to be in the right mood for. It’s not a bad listen at all — smooth, spacey, and definitely doing something different from your typical jazz record. For me, Side Two was the standout. The groove settles in better, the playing feels more connected, and it just flows in a way that pulled me in more than the first half did. There’s some real beauty in how minimal and patient the whole thing is. Not something I’d throw on all the time, but a solid listen when you want something low-key and a little out there.

I didn’t really get into Bob Dylan until college, but Blonde on Blonde was one of the albums that pulled me in. It’s packed with the kind of clever, rambling, poetic songwriting that makes you want to dig deeper into his catalog. “Stuck Inside of Mobile with the Memphis Blues Again” is a personal favorite — somehow over 10 minutes long but never feels it. The lyrics are sharp, the groove is great, and it just rolls. On the flip side, “Sad-Eyed Lady of the Lowlands” definitely feels like a 12-minute song. Not bad, just a bit of a slow burn. “Rainy Day Women #12 & 35” is a fun one — goofy, chaotic, and a perfect opener to set the tone. Overall, the album is weird, witty, and way ahead of its time. Not every track hits the same, but there’s more than enough here to understand why this record is such a big deal. Favorite Song: Rainy Day Women #12 & 35

Alanis Morissette completely dominated the 90's with this album. Even though it’s not really my type of music, I gotta admit, there’s no denying the talent here. The songwriting is sharp, emotional, and brutally honest. She brought a raw edge to pop-rock that wasn’t really out there at the time, and you can hear the influence all over later artists. Tracks like “You Oughta Know” and “Ironic” are classics, but even the deeper cuts hit harder than you’d expect. Favorite song: Head Over Feet

This is an interesting listen, but honestly, I liked David Crosby better with The Byrds and CSNY. This solo stuff has its moments — some cool vibes and great musicianship — but a lot of it just kind of drifts. It’s mellow, spacey, and definitely has that early ’70s laid-back, stoned-in-the-studio feel. Some tracks work, others kind of blur together. Feels more like a vibe album than something I’d go back to often.

Once again, indie rock is just not for me.

Proggy songs with a smattering of radio hits. Favorite Song: I'm a Man Least Favorite Song: Liberation

I’m not exactly sure what I just listened but I can tell you it wasn’t good music. It’s like Sparks threw a bunch of ideas at the wall — falsetto vocals, glam rock riffs, weird theatrical flair — and somehow decided to keep all of them, even the bad ones. The whole thing feels like a joke I wasn’t in on. The songs are all over the place, the vocals are borderline unbearable, and nothing sticks. It’s chaotic in a way that’s more annoying than interesting, like being trapped in a musical written by aliens trying to imitate Earth pop culture.

Just awful. No other way to describe it.

More flute

Plenty of pop-punk classics. I would say my favorite song is "Welcome to Paradise" but it's a re-release so I'll let it off. Still an all-time banger. Favorite song: "Basket Case" because Roll Tide Least Favorite song: In The End

Rain Dogs was straight-up miserable to get through. I know Tom Waits has a cult following and people swear by this album, but honestly? I have no idea why. It sounds like a drunk pirate muttering nonsense over trash can percussion and broken accordions. The whole thing feels like it’s trying way too hard to be weird for the sake of being weird. There’s no flow, no real melody to hang onto — just a mess of clanking sounds and gravelly rambling that made me feel like I was losing my mind. I kept hoping it would turn a corner or give me something to latch onto, but it never happened. Every track just made me more annoyed that I was still listening.

Solid classic rock. Favorite song: If You Want Blood (You Got It)

Limp gets a bad rap but this album has so many good songs. Take A Look Around is by far one of my favorite songs from the 2000s. Favorite song: Take A Look Around Least Favorite Song: Hold On

Good change of pace but not something I'd want to listen to all the time. I can see where he'd be an influence for bands like Old Crow Medicine Show. Still better than 90% of modern country. Favorite Song - East Texas Talking Blues Least Favorite song - Bed Bug Blues

Not familiar with this band at all. So I'm going in blind. The first couple of songs start off slow but "American Guitars" is pretty good. "Don't Trust the Stars" is another good one. L:ove the strings on "How Could I Be Wrong." "Idiot Brother" is very Bob Dylan-esque in certain portions. Favorite Song: Early Years Least Favorite song: Home Again

Axl might be a dick but Appetite for Destruction is straight-up flawless. This isn’t just a great debut album; it’s one of the greatest rock albums ever recorded. It’s loud, dirty, unhinged, and absolutely bursting with energy from the first riff to the last scream. Guns N’ Roses sounded like a band with nothing to lose and everything to prove — and they proved it in 12 tracks. “Welcome to the Jungle” is a masterclass in opening an album — explosive, menacing, and iconic. “Sweet Child o’ Mine” brought melody and vulnerability without losing any of the band’s grit, and “Paradise City” is a full-blown anthem that somehow gets better the louder you crank it. Then there’s “Nightrain” — a whiskey-soaked, riff-heavy banger that perfectly captures the band’s reckless charm and relentless drive. Even the deep cuts go hard. “Mr. Brownstone,” “My Michelle,” “Rocket Queen” — there’s not a weak moment on the entire album. And let’s not forget Slash’s guitar work, which is nothing short of legendary throughout. Axl may bring the drama, but he also brings the fire. Appetite for Destruction is pure, unfiltered rock and roll — dangerous, unpredictable, and absolutely essential. Favorite song: Nighttrain

I don't listen to a ton of Aerosmith outside of their hits and what's played when I ride the Rockin' Rollercoaster but there's some good songs on this album. Extra star for being featured on a GOATed Disney ride. Favorite song: Rats in the Cellar Least Favorite song: Last Child

Sonic Youth was a favorite of Kurt Cobain I've yet to hear an album that is good outside of a smattering of catching songs.

I probably wouldn’t have listened to Superfly on my own — but I’m really glad I did. This album is really, really good. Curtis Mayfield’s talent as a songwriter and producer in the ’70s is undeniable, and Superfly is proof of just how prolific and ahead of his time he truly was. There isn’t a single bad song on this album. Every track feels intentional, groove-heavy, and filled with purpose. “Freddie’s Dead” is an absolute banger — funky, haunting, and full of social commentary without ever losing its swagger. But the real standout for me was “Think.” It’s so different from anything else I’ve heard from Curtis — atmospheric, intense, and rhythmically gripping. It shows just how much range he had. Superfly isn’t just a soundtrack — it’s a statement. It captures a moment, elevates it, and still sounds fresh and relevant today. Five stars, no hesitation. Favorite song: Think

By far the worst album I've heard from this list so far. And that's even after getting through 2 Tom Waits albums.

Don't know anything about Traffic but this is a solid psychedelic rock album. Favorite track: Pearly Queen

Not really a Genesis fan so I'm listening to this one blind. "I Know What I Like (In Your Wardrobe)" is my favorite so far. I love sitar incorporated into Western music. Favorite Song: "I Know What I Like (In Your Wardrobe)" Least favorite song: Battle of Epping Forest - way too long of a song to be doing all those accents.

Most of the Springsteen songs I'm familiar with are on this album. Favorite song: "Born In the USA". Hard to beat a good protest song.

Just can't get into REM. Favorite Song: Man on the Moon

Still don't like anything by this band.

This is much better than their "This Is Hardcore" album. I liked several songs on here and "I Spy" was very Pink Floyd-esque. Favorite Song: Common People

Led Zeppelin IV is the band’s magnum opus — the perfect storm of power, precision, and musical ambition. From the very first snarling riff of “Black Dog,” this album goes hard, pulling no punches and wasting no time. It doesn’t even think about slowing down until the third track, and by then, you’re already all in. For 20 years, “Black Dog” has been my personal favorite — a snarling, swaggering beast of a song with that iconic call-and-response between Robert Plant and Jimmy Page. It’s the ultimate opener, setting the tone for an album that doesn’t stick to one lane. Zeppelin stretches out across genres like it’s nothing — from the bluesy stomp of “Rock and Roll” to the mystical folk of “The Battle of Evermore,” the prog-leaning grandeur of “Stairway to Heaven,” and the backwoods groove of “Going to California.” Every member is in peak form here — Page’s riffs, Bonham’s thunderous drumming, Jones’s subtle but essential textures, and Plant’s golden god vocals. IV is proof that Led Zeppelin could do it all — and do it better than anyone else. It’s not just one of their best albums. It’s one of the greatest rock albums ever. A towering achievement that still sounds massive decades later.

I recognized Roundabout. That was a good song.

2Pac is one of the GOATs but I didn't like this album as much. Favorite song: Death Around The Corner

When it comes to Goth rock, I've always liked The Smiths better than The Cure. Favorite song: Seventeen Seconds

Good early 90s rap. I love the skits interspersed throughout the album. Favorite song: Lodi Dodi

One of the few psychedelic rock albums I don't like.

Makes me think of Fallout for some reason. Favorite song: "Jump, Jive, an' Wail"

Well, that was weird. "Everything Merges With the Night" was really good, though.

Here we go with early 2000s pop. Oh, boy. I'd be really interested to see why this is an album to here before you die. I do like the 60s vibe from "Nothin' Else" "Never Again" is appropriately titled because I hope I never hear it again for the rest of my life.

If you're a Metallica fan, S&M is an absolute masterpiece — a perfect fusion of metal and orchestral grandeur that showcases the band at their most ambitious and, frankly, James at his vocal peak. His delivery throughout this live performance is powerful, controlled, and emotionally charged in a way that elevates the entire experience. I still get chills listening to the opening with “Ecstasy of Gold” — it’s the perfect way to get pumped for any Metallica show. That buildup, that energy — it never gets old. It sets the stage like no other, and by the time the band kicks in with the orchestra behind them, it’s full-body goosebumps. And then there’s “No Leaf Clover.” Hands down their best deep cut for a live show — and it’s not even close. The dynamic shift between clean verses and the explosive chorus, all layered with that cinematic orchestration, makes it one of the most unique and powerful tracks in their catalog. It’s a crime it doesn’t show up more in regular setlists. I tried to go to S&M2 six years ago and couldn’t get tickets, and listening to this only deepens that regret. S&M isn’t just a live album — it’s a statement of how far metal can go when it’s pushed beyond its boundaries. Favorite song: No Leaf Clover

Not good but not great, either.

When bad folk meets bad psychedelic music

Dennis Dias didn't have to go so hard with an electric sitar solo on the opening track of their debut album, but he did, and we are all better off because of it. Never heard "Only A Fool Would Say That" before but it is a good jam. "Reelin' In The Years" is an all-time banger.

Not a huge James Brown fan but he is very energetic when live

Like the early 90s rap but just not an LL fan

Quintessential 80s album. All I can think of when I hear them is the Family Guy version of “Take On Me”. The first half of the album was pretty aside from the opener but I actually enjoyed the last half. Favorite song: Take On Me

Axis: Bold as Love is a dazzling, kaleidoscopic journey that proves Jimi Hendrix wasn’t just a guitar god — he was a visionary songwriter and sonic architect. Coming off the raw power of Are You Experienced, this album dives deeper into color, emotion, and imagination, showing Hendrix and the Experience expanding their sound in every direction without losing their edge. “Spanish Castle Magic” kicks the door open with grinding riffs and a psychedelic swagger that grabs you instantly. “If 6 Was 9” is defiant and weird in the best way — Hendrix’s anthem for the outsiders, full of fuzzed-out rebellion and cosmic cool. “Castles Made of Sand” is one of his most poignant, poetic tracks — delicate, tragic, and deeply human, showing his storytelling at its most refined. Then there’s “Bold as Love”, the perfect closer — a swirling, majestic finale that ends the album in a blaze of feedback and feeling. It’s Hendrix painting with sound, turning emotion into melody and distortion. Axis: Bold as Love isn’t just about guitar fireworks — though there are plenty. It’s about mood, texture, and depth. A true masterpiece that proves Hendrix could do everything, and make it all sound effortless. Favorite song: "Castles Made of Sand"

The Ramones' debut album is a punch to the face in the best way possible. Fast, loud, and stripped down to the essentials, this is the record that kicked the door open for punk rock. No solos, no filler, no nonsense — just raw energy and attitude. This was one of the bands that got me into punk, and this album still holds up as one of the genre’s blueprints. “Blitzkrieg Bop” is the anthem, no question — simple, catchy, and impossible not to shout along to. “Judy Is a Punk” flies by in under two minutes but leaves a lasting mark, and “I Wanna Be Your Boyfriend” shows they could slow it down and still keep it cool. Then there's “Now I Wanna Sniff Some Glue” — pure chaos, pure punk, and somehow totally relatable in its own ridiculous way. Favorite song: Blitzkrieg Bop

There was a time when Southern rap ruled the radio, and Stankonia was the soundtrack. OutKast didn’t just drop hits — they changed the whole vibe of rap in the late 90s and early 2000s. This album is loud, weird, smart, and way ahead of its time. It’s peak OutKast, and it still sounds just as good now. There are a bunch of guest features throughout the album, and every one of them fits right in. No one steals the spotlight from André 3000 and Big Boi, though. They’re both locked in, trading wild flows and clever lines like it’s effortless. “Gasoline Dreams” kicks things off with a ton of energy. “Ms. Jackson” is the classic — emotional and catchy, and somehow still not overplayed. “So Fresh, So Clean” is pure cool, and “B.O.B.” is just insane. That beat is lightning fast and still gets me hyped. I used to jam out to it playing Mat Hoffman’s Pro BMX on my PlayStation, and it made both the song and the game even better. Favorite song: BOB

Not great

Boring album

Didn't realize that Frank Black was the lead singer of the Pixies. This album makes a lot more sense now.

Not a great album. Favorite song: Australia

Man, she was really talented.

Pretty cool to hear Willie's take on older songs.

Interesting album but not for me.

Psalm 69 is industrial metal at its absolute peak. Ministry found the perfect mix of heavy guitars, pounding drums, and mechanical chaos — and made it all work together. The sound is loud, aggressive, and completely in your face from the start. “Jesus Built My Hot Rod” is pure madness in the best way. It’s fast, noisy, and full of wild energy. You can barely keep up — and that’s the point. Then there’s “Just One Fix,” which hits hard with a dark, pulsing groove and razor-sharp riffs. It’s heavy, it’s angry, and it doesn’t let up. Every track on this album feels like it was made to push limits. The mix of metal and industrial noise is raw but controlled, and the energy never drops. This isn’t background music — it’s something you feel when you listen to it. Favorite song: Just One Fix

This is supposedly the best live album ever. Maybe it's because I'm not a huge fan of the Who but it seemed about average to me.

Pre-disco Bee Gees are the best. Favorite song: I Laugh In Your Face

RIP one of the greatest Favorite song: Nothing Can Change This Love

Actually did not know a lot of these songs. Lots of Pet Sounds vibes. Not their best work but still pretty good. Favorite song: Student Demonstration Time

Wu-Tang Clan is indeed nothing to f*** with. Favorite song: Wu-Tang Clain Ain't Nuthing ta F' Wit

Made me want to watch the Lion King

I don't know a word they were saying but the songs slapped. Favorite song: Soubour

That was something. Don't know what but it was something.

Runaway Lover was actual pretty decent..maybe I like the EDM vibe. But hte rest was pretty meh. Although it did give me flashbacks to the early days of auto-tune popularity.

Funny that yesterday’s favorite song was because it was EDM and then I got whole album of it. Good album. Favorite song: Phantom

Reminds me of a Tribe Called Quest but not as good

"Run Charlie Run" is catchy and I like the message. Their version of “Papa Was A Rollin’ Stone” is great

This goes hard for a debut album. Favorite song: "The World Is Yours"

Her husband sounds like he was a jerk and it's reflected in her music.

I like the early 90s rap but not a huge Biggie fan. The runs a little too long for my taste and the skits run long too. Favorite song: Big Poppa

Never heard of Klaxons before but that was a really good album. Favorite song: Two Receivers.

I really enjoyed the stuff from his doo-wop era. Reading up on this album, it's interesting to see that it became popular in the 90s. For me, it was fair to middling. I'll give an extra star since his older stuff has been featured in Fallout. Favorite song: "Your Own Back Yard"

One of the great progenitors of punk rock. Favorite song: I Wanna Be Your Dog

One of the great songwriters of the 20th century. Favorite song: Roadhouse Blues

Not my favorite Beatles album but they start to come into their own with songwriting and the cover songs are still well done

Ray Charles is great but not a fan of his earlier work. Just too dated with the Big Band sound. Favorite song: Let The Good Times Roll

I reecognized a couple of songs. I got a little excited when I saw that it was "psychedelic pop" but it's nothing like psychedelic rock.

That was an odd album. I did like "Lazyitis", though.

Not Steely Dan's best, IMO. Deacon Blues is a banger, though.

There was a time in the late 2000's that you couldn't go an hour without hearing "Sex On Fire" or "Use Somebody" on the radio. This again comes down to be just not being a fan of 2000's alt rock...it wasn't great but I didn't hate it. The bass line on "Use Somebody" sounds phenomenal with headphones. Favorite song: "Use Somebody"

Man the best songs on the album did even make the radio. This one is even bette than Stankonia. You’ve got collabs with Jay-Z, Lil Jon, and Luda….its the early 2000’s rap triumvirate. Favorite song: Church

Kind of reminded me of the music on the Tropico games. Pretty chill music.

Like Siembra but not as good.

Can definitely hear the Nirvana influence in some of these songs. Favorite song: Wave of Mutilation

One of the better Dylan albums I've listened to. I knew several songs but this is the first time I've listened to the album in it's entirety. Favorite Song: Idiot Wind

It was decent background music but nothing I'd actively listen to. Sounded like any other piano recital to me.

Pretty boring album

Love Tracy's alto voice. Grew up hearing "Fast Car" non-stop on the radio but her other songs on this album are good too. The a cappella "Behind The Wall" is haunting and she continues her social commentary with "Why?" Several really good songs on this album. Favorite song: "Fast Car"

Meh. Another generic 2000's alt rock album.

Permission to Land is a loud, fun, and totally over-the-top rock album. I remember when “I Believe in a Thing Called Love” was everywhere, but I never paid attention to who the band was. This was my first time hearing The Darkness — and now I’m wondering what took me so long. The hit single is great, but honestly, it’s not even the third or fourth best song here. This whole album is packed with high-energy rock that sounds like it came straight out of the ’80s — and I mean that in the best way. You can hear the Brian May and Angus Young influence in the guitars, and the singer’s voice is wild — powerful and full of range, just like the best glam rock frontmen. My favorite song is “Givin’ Up.” It’s got killer riffs, a catchy chorus, and the kind of energy that makes you want to play it on repeat. From start to finish, the album is just fun. No filler, no slow parts — just pure rock and roll.

I know David Bowie is viewed as one of the greats but I just can't get into him. "Fame" is alright but that's about it. Minus a star just for his butchering of a solid Lennon/McCartney song.

This album is as dumb as the singer's fake female alto. The lone bright spots were "What Can I Do?" and "Spiralling" thanks to Rufus Wainwright and Devendra Banhart, respectively.

Didn't really listen to SZA until recently and I didn't realize how talented of a vocalist she is. Solid album for it to be a debut album, especially with Travis Scott and Kendrick Lamar collabs. Favorite song: "Doves In The Wind"

Another quintessential 80's aslbum but much better than the a-ha one I had to listen to last month. Favorite Song: "Behind The Wheel"

Meh album. Favorite song: "Father and Son"

My God, what a boring album. Good thing I was cutting grass or I would have fallen asleep listening to it. It's like he tried to do a way shittier version of "You Want It Darker" by Leonard Cohen.

Another boring album 2 days in a row

Elvis was a singles artist and never an album artist. He did his part in making music by black artists more acceptable for white teenagers to listen to. I'm sure at the time this was groundbreaking but rockabilly has changed a lot in 70 years. "Tutti Frutti" and "Blue Suede Shoes" are highlights. His cover of "Blue Moon" was pretty good, too.

Went into this with low expectations and was bracing for more synth-pop. So to say I was pleasantly surprised is mainly because of that. A few of the highlights were Tracey Thorn's voice and Ben Watt's guitar playing. There were several times I felt like I was listening to guitar playing from George Harrison's self-titled album from 1979. "Apron Strings" really pulled at my heart strings for personal reasons and the main acoustic guitar part really reminded my of "In My Life" by the Beatles. Beautiful ballad. Not likely an album that I'd listen to again save for a few songs but I'm still going to give it 4 stars instead of 3.

Still not a Kings of Leon fan. More run of the mill early 00's alt rock. The lone bright spot was "Bucket"

The Dude may hate the Eagles but this is a pretty good debut album. "Take It Easy" is an all time banger and a hell of a way to kick off an album. The first half of the album is solid and then tapers off after that. Had not listened to "Chug All Night" before and really enjoyed that. Favorite Song: "Take It Easy"

Today I learned that all the Rush songs I know are on one album. Favorite song: “Red Barchetta”

Boring but made for a relaxing drive on a road trip.

I'm a fan of The Byrds but not super familiar with this album other than "My Back Pages." With Chris Hillman having multiple writing credits on this album you can hear the pre-Burrito Brothers influence. Favorite Song: "So You Want To Be a Rock 'n' Roll Star"

Sounded like your average 70s rock album. Nothing special.

There was a time where I was all about some ZZ Top. Not so much now. This album has a few catchy songs but nothing truly great. Favorite song: "Sharp Dressed Man"

Oasis ruled the airwaves when I was younger but I really didn't get into them until the past couple of years. Solid album for it to be their debut. Truly talented brothers. Favorite song: "Cigarettes & Alcohol"

This is an album that swings between brilliance and chaos, often landing in the latter. While the band’s signature fusion of Irish folk and punk energy is still intact, much of the album feels uneven and unfocused. Shane MacGowan's slurred delivery, while charming in doses, wears thin across an album that lacks the cohesion or spark of their earlier work. The production can be muddy, the pacing erratic, and too many tracks feel like filler rather than folk-punk fire. That said, "Fairytale of New York" is the clear standout — a bittersweet, beautifully messy duet that captures everything the band is capable of when they hit the mark. Unfortunately, it’s the rare gem in a collection that otherwise struggles to leave a lasting impression. Favorite song: Fairytale of New York"

I do enjoy some Deep Purple but this one isn't as good as their other stuff. I'll give them some grace since it was their debut album. Favorite song: "Flight of the Rat"

"What Have I Done To Deserve This?" is what everyone is asking after they have to listen to this album.

Weird to have a soundtrack on here. It's alright as background music but nothing I'd listen to again.

Parachutes is a solid, if somewhat sleepy, debut from Coldplay. The first half of the album takes its time finding momentum — with the notable exception of "Shiver," which injects some much-needed urgency early on. Chris Martin's vocals are emotive, but several of the early tracks blur together in a haze of acoustic melancholy. Things pick up considerably around "Yellow," where the band starts to show more range and confidence. From that point forward, the album builds a more compelling atmosphere, with stronger melodies and better dynamics. "High Speed" stands out as a personal favorite — a moody, understated track that hints at the more layered, ambient direction they'd explore in later albums. Overall, Parachutes is an uneven but promising introduction, better remembered for its highlights than its cohesion. Favorite song: "High Speed"

The Only Ones’ self-titled debut walks a fine line between punk attitude and classic rock sensibility — a blend that probably felt fresh and adventurous when it dropped in 1978. In hindsight, it doesn’t hit quite as hard as some of its punk contemporaries. The band leaned more into melody and musicianship than raw energy or rebellion, which gives the album a unique identity, but also makes it feel slightly out of step with the genre’s most defining moments. "Another Girl, Another Planet" is easily the standout — a near-perfect power pop track that still holds up decades later. It’s punchy, romantic, and effortlessly cool. The closer, "As My Wife Says," also lands well, giving the album a thoughtful, almost cinematic finish. The rest of the tracklist, however, struggles to match those peaks. It's not a bad record — just one that feels more like a time capsule than a timeless statement. Favorite Song: "Another Girl, Another Planet"

I went in with low expectations and came out floored by John Grant’s honesty, wit, and the sheer variety of styles he pulls off. The album walks a fine line between emotional devastation and sharp, often hilarious storytelling — and it does so with grace. The lyrics are eclectic, deeply personal, and at times completely unfiltered, bringing to mind the fearless songwriting of Sufjan Stevens. Nowhere is that more clear than on “Sigourney Weaver,” a surreal, oddly touching track that blends sci-fi and self-doubt with ease. “Where Dreams Go to Die” is heartbreaking and cinematic, “Jesus Hates Faggots” is gut-punch blunt in the best way, and the title track, “Queen of Denmark,” is a towering, sarcastic anthem of rejection and defiance. The album’s genre-hopping — from lush ballads to synthy weirdness — might not be for everyone, but it works. Grant’s voice, both literal and lyrical, holds it all together. This is one of those records that earns your attention and rewards it over time.

Space Ritual is a wild, swirling dive into cosmic chaos — part live album, part spaced-out fever dream. When it works, it really works. Tracks like “Brainstorm,” “Time We Left This World Today,” and “Master of the Universe” tap into a heavy, hypnotic groove that feels like the soundtrack to a sci-fi trip gone sideways. The energy is raw, the ambition is huge, and the atmosphere is thick with fuzz and phasers. But then there are the moments that pull you right out of the experience. The vocals, at times, veer into full Dr. Frank-N-Furter territory — theatrical, campy, and unintentionally hilarious. Some of the interludes and spoken-word bits sound less like serious space rock and more like a glam metal parody on a sketch comedy show. There’s something admirable about how far Hawkwind leans into the madness, but it’s a double-edged sword. Space Ritual is a fascinating listen, but not always for the reasons it intends. Great in doses, exhausting in others. Favorite song: Master Of The Universe

A Love Supreme is clearly the work of a brilliant musician at the height of his creative powers. John Coltrane’s technical mastery and emotional intensity shine throughout the album, and there’s no denying the spiritual weight behind the performance. It’s ambitious, deeply personal, and influential — a cornerstone of jazz history. That said, while the musicianship is top-tier, the album doesn’t fully hold up for casual listening. The entirely instrumental format, though impressive, lacks the variety or accessibility that makes some other classic records stand the test of time a bit more easily. For those already invested in jazz, it’s a rewarding experience. But for others, it can feel distant — more of an intellectual achievement than something you’d return to often. A Love Supreme deserves respect for what it is, but it may not resonate as deeply across all listeners or generations

Psychocandy is often praised for its influence and boldness, but as a listening experience, it’s a tough sell. The album buries its pop sensibilities under a relentless wall of distortion, feedback, and static — what the band likely saw as avant-garde now feels more like self-sabotage. Songs are drenched in noise to the point where melodies struggle to breathe. It’s like trying to enjoy a great song through an AM radio station that’s just out of range — you think there’s something good underneath, but the interference wears you down. The combination of sweet vocal lines with ear-piercing feedback is jarring, and not always in an interesting way. Credit where it’s due: they were doing something different. But different doesn’t always mean enjoyable. This might be a landmark in noise-pop, but that doesn’t make it easy — or pleasant — to sit through.

The Predator is Ice Cube at his sharpest — politically charged, aggressive, and lyrically fearless. Dropping in the wake of the L.A. riots, this album doesn’t pull any punches. It’s intense, angry, and still incredibly relevant. Ice Cube uses his voice as both a weapon and a warning, delivering some of the most potent verses of his career. Standouts like “When Will They Shoot” and “Now I Gotta Wet Cha” hit hard with gritty production and focused rage, showing Cube’s ability to balance street realism with razor-sharp commentary. “It Was a Good Day” is the album’s most iconic track — smooth, reflective, and a rare moment of calm in an otherwise hard-edged record. “Say Hi to the Bad Guy” closes things out with a defiant swagger, cementing Cube’s image as hip-hop’s unapologetic antihero. While a few tracks don’t quite hit the same mark, The Predator holds up as one of Ice Cube’s strongest solo efforts — a powerful mix of storytelling, social critique, and West Coast attitude. A must-listen for anyone serious about ‘90s hip-hop. Favorite Track: "It Was a Good Day"

A Hard Day’s Night isn’t The Beatles at their absolute best — but it’s the sound of them getting there fast. Their third album, and the first to feature only original songs, marks a major step forward in their songwriting and confidence. The band was starting to evolve past their early pop roots, and you can hear the ambition beginning to take shape. The title track explodes out of the gate with one of the most iconic opening chords in rock history — a sonic announcement that this is a band leveling up. “If I Fell” is a standout ballad, tender and beautifully crafted, with that trademark Lennon/McCartney harmony melting perfectly in the chorus. “Tell Me Why” brings energy and urgency, while “And I Love Her” is a soft, heartfelt moment that shows McCartney’s melodic gifts were already in full bloom. It’s not their deepest or most adventurous work, but A Hard Day’s Night captures The Beatles on the rise — sharper, more cohesive, and ready to change the world.

Vanishing Point is a moody, genre-blending trip from Primal Scream that never quite finds its destination. It’s atmospheric, dubby, and drenched in reverb — more about vibe than structure, and often more interested in texture than hooks. There’s ambition here, and plenty of cool moments, but the album sometimes drifts too far into its own haze to fully connect. Tracks slide between trip-hop, dub, and psych-rock, with varying success. Some songs feel sharp and immersive, while others lose momentum in long stretches of mood without much payoff. It's a bold step forward from Give Out But Don’t Give Up, but not as immediate or iconic as Screamadelica. Overall, Vanishing Point is interesting, often compelling, but not always memorable. A good headphone album for a specific mood, but not one you’ll be reaching for every time.

This feels like a watered-down, overly polished version of Steely Dan — all the slick production, none of the edge. If you’re a Steely Dan fan and thought, “What if this sounded cheesier and less interesting?” — well, this is the album for you. The whole thing is soaked in that unmistakable early ’80s gloss: synthetic drums, clean-as-a-whistle horns, and a general vibe that sounds like the background music in a corporate training video. The musicianship is solid — it is Donald Fagen, after all — but the soul just isn't there. That said, the title track is legitimately great. It's the one moment where the smooth production actually works in the album's favor — nostalgic, well-written, and atmospheric in all the right ways. But aside from that, most of the album blurs together in a sea of sterile grooves and elevator-funk. If you're here for Steely Dan’s sharp wit and gritty cool, The Nightfly will leave you wanting. Two stars for effort and one standout track

This might be a classic in some circles, but for me, it’s a tough listen. If you enjoy hearing the same phrases repeated over and over for four minutes straight — long before EDM made that kind of repetition feel cool — then this might be your thing. But for anyone looking for variety or depth, this album wears out its welcome fast. Most tracks feel like extended loops with very little payoff, and the vocals often come off as background noise rather than anything truly engaging. It’s glossy, danceable, and polished, but it all starts to blur together pretty quickly. The one real highlight is “Savoir Faire” — a smooth instrumental that lets Nile Rodgers’ guitar work shine.

I once read that you're either an Oasis person or a Blur person — and after listening to Parklife, I can say without a doubt I'm firmly in the Oasis camp. Always have been, still am. There's just no comparison. Parklife feels all over the place. It's quirky, sure, and I get why people say it's clever, but most of the time it just comes off as smug and trying too hard to be artsy. The songs bounce between styles without much cohesion, and while there's some catchy stuff here and there, nothing really sticks with me. If I had heard this back in 1994 or 1995, I'd have shrugged and gone right back to Definitely Maybe. Blur might have been critical darlings, but Oasis had the soul, the swagger, and the songs that hit you in the chest

You’ve Come a Long Way, Baby is just a fun album, plain and simple. It’s not something I’d throw on for deep, focused listening, but as background music? It’s perfect. It keeps the energy up without getting in the way — great for driving, cleaning, or just vibing out. “Rockafeller Skank” is still a total banger and basically impossible not to nod along to. “Praise You” has that weird charm that sticks with you, and “Kalifornia” brings a nice groove with some grit. The whole album’s got that late-90s big beat thing going strong, and Fatboy Slim knows exactly what he’s doing behind the boards. Some of the tracks can blur together a bit, but honestly, that’s part of the charm; It’s not trying to be overly serious. Favorite song: Kalifornia

Boston’s debut album is straight-up one of the best first albums a band has ever dropped. It’s packed with hits, and honestly, every single track is solid. It doesn’t feel like a debut — it feels like a band already at their peak. Everyone knows “More Than a Feeling,” and yeah, it still rules. But “Smokin’” might be the most fun track on the whole album. That organ solo? Absolute fire. It gives the song this cool, old-school vibe that just rips. Tom Scholz’s guitar tone is instantly recognizable, and Brad Delp’s vocals are insanely good from top to bottom. The whole thing is clean, tight, and somehow still sounds huge after all these years. Favorite song - Smokin

Rumours is one of those rare albums where the music is just as legendary as the drama behind it. Fleetwood Mac was falling apart while making this thing — cheating, breakups, shouting matches — total chaos. And somehow, out of all that personal wreckage, they put together a near-perfect record. It should have been a lesson for John McVie and Lindsey Buckingham not to shit where they eat… but hey, it worked out for them. The tension, the heartbreak, the spite — it's all baked into the songs, and that's exactly what makes the album hit so hard. “Secondhand News” kicks it off with a jolt of energy and bitterness. “Go Your Own Way” is a breakup anthem that somehow sounds both sad and stadium-sized. And “You Make Loving Fun” is smooth, joyful, and dripping with irony given everything going on behind the scenes. Every track is tight, emotionally raw, and endlessly replayable. Rumours is messy in the best way. Favorite song: Go Your Own Way

Look, I’ve got nothing but respect for Dolly Parton. She’s insanely talented, sharp as hell, and probably one of the most generous people on the planet. But when it comes to Coat of Many Colors, the music just hasn’t aged all that well. Yeah, the title track is heartfelt and personal, and I get why it’s important in her catalog. But a lot of the rest of the album feels dated — super simple arrangements, old-school country storytelling that doesn’t quite land the same way today. It’s more charming than compelling, and after a few songs, it kind of blurs together. Dolly’s voice is great, and you can tell she was already a strong songwriter, but as an album, this one’s more of a time capsule than something I’d go back to often.

I love metal. I love old-school punk. And I especially love the anti-establishment, middle-finger-to-the-system attitude that came with early punk. I can respect what Napalm Death was trying to do with Scum — pushing boundaries, pioneering grindcore, doing something nobody else was doing at the time. But man... this album just sounds like straight-up noise. The songs are so fast and chaotic they barely register before they're over, and when they do stick around for more than 30 seconds, it’s just a wall of blast beats, distortion, and guttural shouting that never lets up. I tried to give it a fair shot, but even my eight-year-old asked, “Why are we listening to dogs barking?” And honestly, I didn’t have a good answer.

Music from the Penguin Cafe feels like the kind of album that exists mainly to be used in quirky radio intros or as background music for a BBC nature doc. And apparently, that’s kind of their thing — odd, artsy, slightly off-center instrumentals. Which is fine… for what it is. There are bits and pieces that are kind of catchy or interesting, but nothing that really sticks. It all just kind of floats by. Harmless, a little charming at times, but not something I’d ever throw on again. If you’re into music that sounds like it should be playing while someone explains how a hedgehog hibernates, this might be for you.

When you think of The Who, it’s hard not to bring up The Beatles and The Stones in the same breath. They were all part of that same British Invasion wave, but each went in their own direction. At the time My Generation dropped, The Beatles were already veering toward psychedelia, and The Stones were still doing mostly covers with a few originals sprinkled in. Looking back, I’d still rank The Who third behind those two, but what they were doing with this debut was bold and seriously influential. The title track, “My Generation,” has aged into a full-on anthem — raw, rebellious, and way ahead of its time. “The Kids Are Alright” shows a more melodic side, with that jangly 12-string Rickenbacker that sounds a lot like what The Byrds would be doing just a few months later on the other side of the Atlantic. And then you’ve got a handful of tracks that are bursting with early punk energy — rough, fast, and not afraid to get a little messy.

With a name like Meat Loaf, you kind of know you’re in for something a little over-the-top — and Bat Out of Hell definitely delivers. It’s theatrical, bombastic, and totally not afraid to lean into the drama, but that’s what makes it so fun. You get the sense that Meat Loaf didn’t take himself too seriously, and honestly, the album’s better for it. The title track is a great opener — epic in every sense of the word. “You Took the Words Right Out of My Mouth” is super catchy and hard not to sing along with, and “All Revved Up with No Place to Go” throws in a sax solo that gives it a cool, unexpected twist. It’s a weird mix of rock, Broadway, and straight-up camp, but it works. Favorite song: Bat Out of Hell

Beyond Skin was just… weird. I went in not knowing much and came out kind of confused. It jumps between so many styles and sounds that it’s hard to get a feel for what the album is even trying to be. There are moments that almost click, but then it veers off into something totally different and loses me again.

The Fat of the Land sounds like pure, peak '90s electronica — loud, aggressive, and totally unapologetic. It captures that chaotic energy of the era with pounding beats and distorted vocals, and somehow it all works. One of the things I liked most was how the songs flow into each other. It’s not just a bunch of singles thrown together — the whole album feels connected, kind of like what Pink Floyd did with The Wall or Dark Side of the Moon. Obviously a different genre, but the same idea: a full experience from start to finish. Favorite song: Fuel My Fire

Close to You is a solid album, even if it’s not totally my thing. Karen Carpenter’s voice is undeniable — super smooth and full of emotion — but most of the music just doesn’t hit for me personally. A little too soft and polished for my usual taste. That said, I’ve got to give her props for the covers. Their versions of “Help” and “Reason to Believe” were both really well done — honestly, I think they pulled off the latter better than Rod Stewart did, which I wasn’t expecting.