Imagine Johnny Cash's Live at Folsom/San Quentin albums. Now swap the legitimate and interesting setting of a concert in prison with a fake TV studio-esqe Jazz club set with a small group invited studio audience. Now remember Johnny's little gaffs and jokes he usually has to segue between songs? They are going to take up half the runtime of the album. Also, they aren't going to be funny. Also, instead of Johnny Cash we are going to get some mumbling dolt who is trying his hardest to sound like an old black soul musician, only to end up sounding like the love child of Chris Rock and Randy Newman. Now take that down a point or two from your expectations. The music that you can even make out over Tom's mumbling is perfectly adequate, unfortunately with how much the guy is rambling on you can't even enjoy it as simple background music. I think this was the first time in this list that I was checking to see how much longer I had to listen to this shit.

13 SPOOKY/UNSETTLING AMBIENT CREEPYPASTA SONGS [ROYALTY FREE, LINK IN DESCRIPTION] Every time I have thought about this and how they are definitely capable of creating an atmosphere with their unsettling ambient tracks, I am reminded of how I had to sit around and listen to a whole track with someone wailing hit by a rock and just get annoyed again. And what is with this nonce cover art? Makes you wonder what one of the lead composers was doing when he died in Thailand back in 2010 Highlight: AB/7A

Definitely not beating the lo-fi chill weed vibe allegations here. This whole album just feels easy to unwind to or have on in the back during a quiet/lazy day of work. I can see where someone could find this monotonous but this whole thing just flows together so easily. if I had to pick a specific part that stood out to me as a favourite it would be Midnight in a Perfect World

SHOUTOUT TO THIS WEBSITE FOR JUST FORGETTING THE MULTIPLE PARAGRAPHS I HAD WRITTEN AND CLICKED 'SAVE' ON MULTIPLE TIMES HONESTLY, IM GLAD IN A WAY IT FORGOT, THIS ALBUM DOESN'T DESERVE IT. THIS STUPID ANGSTY ALBUM WITH THE PHONE SEX RAMBLINGS IN 'GIRL' AND THE 10 MINUTE WAGESLAVE DRAMA THAT IS 'FRANKIE TEARDROP', EACH SET TO A SERIES OF 5 SECOND LOOPS ALL PULLED FROM MK ULTRA'S GREATEST HITS. I THOUGHT THEY USED TO BULLY PEOPLE FOR THIS KIND OF BEHAVIOUR IN THE 70S

Just a genuinely annoying fucking album. I would bet money on every song here being featured prominently in some shlocky Happy Madison production or something of that ilk. Highlights (AKA Things I hated the least) Jump: *** I'll Wait: *** House of Pain: ** 1/2

I mean what the fuck else can I rate this? There are several tracks in Bad that I prefer over this but this is a more consistently strong album altogether. A little frontloaded in terms of having some of his biggest hits in the first half. Highlights Thriller: ***** Still feels wrong without the music video accompanying it, still an iconic song nonetheless. I think the Vincent Pryce section might be etched into my brain (apparently he chose a flat sum of money over royalties for the song lmao). Wanna be Startin 'Somethin': ***** Such a groovy fucking opener, immediate confidence from the get-go. Might be one of MJ's catchiest beats. The way it feeds in from the opening is infinitely satisfying Beat It: ***** My favourite of the album. Feels more like something that would be on Bad than the rest of this album. Might be the best guitar work in his music (a tie up between this and Dirty Diana for me)

WARNING: This album will complete your metamorphosis into being a middle aged man. I could feel my hairline regressing to around a Norwood 5 by the time 'Reelin in the years' had come on. No wonder I'm more interested in watching sports these days. This Album really has it all, a wonderful track selection with not a single dull track, a groovy vibe, people getting cucked in the lyrics. Hell even the cover art looks like some shit you would see painted on the side of the rides at some shitty fairground (next to some weird painting of Elvis singing a duet with The Incredible Hulk or something). I had only heard maybe 1 or 2 songs on this album beforehand and was surprised at how one of those didn't even cut it for my favourites of this album. Highlights Do it Again, Midnite Cruiser, Reelin in the Years, Change of the Guard

I was promised WHITE REGGAE. What I got were elements of reggae infused into new wave rock. All while the cunty bartender dad from Lock Stock & Two Smoking Barrels puts on a funny accent and sings over it. I didn't hate this Going in I was already aware of Message in a Bottle. My memory of it wasn't as favorable as I recalled, this song is definitely worthy of its success beyond this album. I liked It's Alright for You and Bring on the Night quite a bit as well. But the big surprise/standout for me was Walking on the Moon. This song as well as Message in a Bottle are the two best instances of Sting's Carribean inflections. I love the opening to this one especially, the echo of the guitar between its very intermittent chords. It feels like this overseeing presence in the song as you are mostly accompanied by the Bass and Drums. I am a real sucker for dreamlike soundscapes in music and this one was really nice. Unfortunately the rest of the album was either very middling in quality or pretty bad. On Any Other Day stuck out to me as being particularly bad, the over-pronunciation of the lyrics in this American accent got on my nerves almost immediately. I could almost see this song being good if they took it in a different direction. The revelation of their son being gay is pretty funny if not for just how it dates the song. Not sure if this one was just a victim of being so early in the rankings that it became a punching bag but I don't see how its worse than a lot of the other music we have gotten so far.

Sometimes you just gotta go with your gut on something. I don't know why I tried listening to this on multiple seperate occasions between one another wondering if my opinion would change. I was initially concerned my contempt for britpop given how commonplace it is on this ranking would affect my enjoyment of this even though the album is more of a modern derivative that essentially paved what would become the new trend for hack british musicians to leech off of. But no, every time I gave it a listen I just came out of it thinking it was just sorta decent, nothing really grabbed out at me as being something I would like to throw in a playlist either. By no means a bad listen though, and each time I appreciated the novelty of the time capsule aspect, this just oozes the mid 2000's

I think I picked the perfect times to listen to this, first in the afternoon after work, then on a slow Friday. These songs were very easy to mellow out with, and I got to appreciate the lyricism here (the real highlight of the album) since I didn't need to focus as much on other things at the time. I am conflicted on how to score this though, these really only just pass as music, rather than poetry readings on audible. Cohen's voice is not unpleasant but you can tell he is not exactly trying to wow anyone with his singing and is letting the writing do the work for him. The only songs where I find he comes to closest to really singing are Teachers and So Long, Marianne (coincidentally, two of the better songs on here 😲) Similarly, the instrumentals are very basic and feel like they are only there to justify all of this being an album. But these simple tunes work because they don't overshadow the draw of the album, Cohen's writing. Highlights Master Song, Sisters of Mercy, So Long Marianne

I have not listened to this full album before and my knowledge of it is limited to the 2 or 3 biggest titles (mostly represented at the front of the track list) as well as one song which incites immediate laughter in me due to its connection to an autistic alcoholic stoner who was victim to people trolling him by exposing their genitals to him on skype As for the album itself it really melds into this odd rock opera about a boisterous pervert with hair like Daryl Hannah in Blade Runner, who consumes whatever vices are presented to them (I believe this is what they call hair metal). I can't really speak much to the individual tracks as they felt too similar. It's dumb but has a lot of energy in the performance, I don't really know what else to say

I did a bit of additional research to further inform my review and noticed that Dexys Midnight Runners are an English band. This came as a surprise to me as none of the lead singers vocals registered as that language in my head. His slurred and overly performative way of singing was a detractor from most of this album and often had me wondering if this man rode the shortbus or if the recording booth reeked of Pale Ale during those jam sessions. The brass on the other hand was a nice change of pace from what I am used to hearing and while a bit obnoxious at times was the highlight of the album (its introduction in the 4th track did jumpscare me though). I feel like the faster paced, more poppy tracks worked better for me than the slower and more sappy ones as they were carried by the energy of the instruments rather than being harbored down by the lead singers moody mimicry of his native tongue (his backup singers thankfully help him seem legible on some tracks). I feel as though track #3 (The teams that meet in Caffs) was my favorite track by proxy of it being a purely instrumental song. The rating ends up meeting itself somewhere in the middle due to the Yin/Yang that is the pleasant instrumentals versus a lead singer with a baffling way that he has chosen to sing There were moments where I was nervous this album was going to devolve completely into Ska music

Tried listening to this a few times over the extended review period and idk, it's just fine??? I don't really have anything witty to say for this one, it's just a little collection of various styles of alt-rock, each track was pretty unique I suppose The first half of this album made me feel like I was listening to the licensed soundtrack to an EA Sports title from 2004-2007

Unfortunately this [REALLY GREAT] website seems to have lost everything I had written for todays album, this makes me sad as I had actually written a bit more than I had initially expected for this. To summarize my initial thoughts, this was an unexpected surprise for a genre I think almost everyone is familiar with but is not something most people from our generation would consider themselves 'fans' of. 'A Natural Woman' is the song I am both most familiar with as well as it being by far my favorite track of the album. Lastly I wanted to emphasize how well her vocals complimented the energy of the instruments. Using a comparison with Dexy's Midnight Runners from last week and how I thought the stroke the caught on live mic from the vocalist was a detriment to the rest of the album and did not match. This album was the complete opposite. Despite my positivity though I am not sure where to put this with my final rating, as good as it is I do wonder if this is something I would regularly listen to, as I feel like that should be criteria for giving something a perfect rating.

For some reason my original review has messed up once again, this time my saved review was what I had written for Guero, I will try to summarize my thoughts once again I thought this album was going to have something going for it at the start as the first few songs (particularly the first track) were very nice, the album quickly meanders into very plain, almost timid sounding music I am not sure of what the bands usual sound is but this album felt like the equivalent of someone coming on stage to give a big 'rah rah' speech after they had only come up with their opening hook.

Beauty Lies in the Eye had me waiting for the opening to end, when I looked down at my phone to see the progress bar and seeing that there was only 20 seconds left of the song Stereo Sanctity concludes with multiple shrill shredding riffs to signify the end of the song, when this persisted for another 10 to 15 seconds I was thinking to myself 'okay I get it'. I feel so naive in hindight, not knowing this would be my gripe with pretty much the rest of the album. There are times when the music in this is going really well, and as a whole I feel I should vibe with this kind of experimental rock, but then it will be interrupted by a 30 second outro of the guitarist frotting against either the chords or the whammy bar on his guitar and it just hurts the experience even more.

I sure am glad I didn't write this one off due to its adoration from the music section of a certain Cantonese cave painting forum. This whole thing was a pretty cool trip to be honest. My first listen was a total trippy breeze, a lot of the tracks felt like they naturally segue from one song to another. This felt like a coming of age story in the way things move. Smaller tracks would set the ambiance for different stages of life, bridging the way to the bigger and more bombastic tracks being our fondest memories we hold onto. This was a nice contrast to how many of these albums we have been given so far which feel front-loaded with the best of the album before waning in quality as it goes along. The opening track feels like the beginning of life, especially with the distant fleshy pulsating in the back of the opening, before making its way into the calm but uncertain times of a child. These first 3 tracks gave an odd sinking feeling at times. Summertime Clothes by contrast is this ecstatic burst of joy, an anthem of the good times in life, the feeling continues across the next few tracks but slowly wanes away as the tracks took on a more somber tone. Feeling like either the end of a night of celebration or even the joys of childhood & adolescence being dulled away by the mundane routine of adulthood. Brother Sport brought back the joy of earlier tracks, and as the final song feels like it is the start of something new. On top of finding fun in the albums structure, and I will probably prefer to listen to the full album whenever I put this on again in the future. There are plenty of individual songs in this that were just really good. I definitely meshed better with the psychedelic stylings on this rather than what was presented in 'Forever Changes' a few days ago. If I had to nitpick anything it would be that a few of the last tracks before Brother Sport were not as good, and that some of the line delivery in a few songs where it was purposefully stilted didn't land with me. I'm really glad to have finally found something new in this list that I will definitely come back to in the future. Favourite Tracks - Summertime Clothes - Bluish - In The Flowers

Not nearly as bad as I had expected, my biggest prolonged exposure to The Smiths was David Fincher's The Killer and I didn't mind it there but wasn't sure if it was something I would go out of my way to listen to. On my first listen through which I tried to avoid interrupting, I was definitely left with the impression that the album was mostly a sad and mopey affair towards the middle and end of the tracklist. When I was going back through and paying more attention to the individual songs my opinion changed a little and felt that there were definitely some songs that added a bit of levity to an otherwise delicate and moody album. Even with the few songs that did sound like already treaded ground, the songs themselves were not bad. There was also a lot of humour in the album, morbid or otherwise which was fun. That line about the double decker bus was certainly something. Highlights - The Queen is Dead The titular track fucking rocks, felt distinct from the rest of the album with just how traditionally Rock & Roll it felt compared to the rest of the album (Bigmouth is maybe the only song I feel was in line with this track). Why couldn't Sonic Youth have the same restraint this song does with using the whammy bar to close the song out? - Frankly, Mr. Shankly "I want to catch something that I might be ashamed of" Was Morrissey a bug chaser? Goofy fucking song (not derogatory) - I Know It's Over Probably my favourite of the more moody side of this album. Morrissey has an interesting way of singing, he has this voice of a cunty yodeler. The kind of thing you would expect some obnoxious bard you're not supposed to like to have in some fantasy setting. But have to begrudgingly appreciate his talent - Never Had No One Ever Again, kinda getting into familiar territory from this point forward but still a nice song. The part with the whistling was nice and eerie - Some Girls Are Bigger Than Others BBW/Architect Anthem. The Guitar on this song is fantastic and had me jamming out to a track I would probably otherwise just laugh at. I suppose that's not necessarily a bad thing, it was nice to end on a more fun track too.

Little Michael does it again Bad is aggressively 80's, absurdly catchy and unfortunately, a tad underwhelming with only a FEW select songs. Michael is similar to James Cameron in that they are both extremely talented creators who surround themselves with equally competent staff and crew to help make their productions the most polished pieces they can make. This shine can obfuscate the flaws of a bad film in Cameron's case, but when you are dealing with something as segmented as an album it doesn't quite work. Some of these songs are not necessarily 'Bad', but stick out like a sore thumb while sitting next to some of the most genre defining tracks of the era. This shouldn't take away from how incredible the highs of this album are. It has nearly all of my favourite MJ tracks in one place, each of which lift to the equivalent of a 9/10, but prevent me from being able to say it is perfect album. I don't even know what to discuss about the things I liked in this album (I feel like it is all self-evident). Some of these songs are Michael operating at 100%. A lot of it is similarly in-your-face as Thriller. The amount of synth in this album feels like a very rich meal, where it is so plentiful that you will enjoy it at first but might be a little sick by the end if you don't have the stomach for it (I thankfully did). On top of having some of my favourite MJ tracks in songs like Bad, Smooth Criminal and Dirty Diana (those starfuckers got a crazy ass song after them huh) I feel like each of these work better as songs than Thriller does. Where these are all great songs with equally incredible music videos (the synchronised dance in Smooth Criminal goes unnecessarily hard) I always felt like there was a piece missing when you didn't experience Thriller with the music video included. I don't know what the fuck they were thinking with Speed Demon, I enjoy the instrumentals on this one but feel taken aback by the lyrics. A really dumb song even by pop music standards that feels like it was born from the brain trust of 'badass' Michael Jackson iconography (remember at the end of the Black or White music video where he is screaming in the rain then just animorphs into a panther?) Liberian Girl is a similar situation, where parts of the song individually are really fucking good but I can't see myself wanting to listen to it. Another case where it would be better as just an instrumental track. The backup singers towards the end salvage it a little bit too.

This Album had just the right amount of Scooby Doo representation that I want out of an album without it feeling like pandering. I felt a little numb to the lyrics in these songs and sorta tuned them out after a while. Some of the beats they have are really good though. How I Could Just Kill a Man is a classic and the best part of the first half, I honestly preferred everything in the 2nd half of the album a lot more.

The Healer (of my insomnia lol) Wow this one was a letdown for me, I was excited to finally see some blues on this list but good lord nothing here stood out... ...With the exception of that first song with Carlos Santana holy shit the title song is a legitimate 5/5 track, it's pretty cheesy but I love the atmosphere it sets, the way it just introduces different elements of sound throughout its opening really set this apart and left me hoping this album would have more tracks like this that really sought to stretch what they could do with the genre. Though you could even argue this was a Santana song that Hooker was featured on, given this is the guest track that felt the most heavily influenced from its guest attraction. As it turns out, everything else in this album is just adequate, perfectly listenable but nothing standout and nothing I really think I would go out of my way to listen to again. The last 2 tracks are probably the only other ones I would say I really enjoyed. I was surprised with myself for having such a harsh reaction to this album, and wanted to give myself a bit more of a perspective on it. So I took a bit of a look at the history of this album and listened to some of Hookers other songs. While I couldn't name him off the top of my head I had heard plenty of his songs and he is certaintly a terrific musician. From what I read the accolades this album receives feel more like legacy praise than an apprection of this album in particular. A way to acknowledge someone who was overlooked in the past and compensate for their lack of recognition. A recent example of this would be Jamie Lee Curtis' win as a supporting actress in the 2023 Oscar season. Regrettably it seems that Hookers other albums (like so many others) were cut from this list because the editors were on an Elvis Costello/David Bowie/Morrissey binge, so I will not be able to give praise to the work that I actually enjoyed (I hope I'm mistaken). Standouts The Healer: ***** My Dream: **** No Substitute: **** 1/2

Did they have somewhere to be when recording this? Baffling that a 12 song album is just short of 28 minutes long. Reminds me of The Beach Boys. These guys really loved getting bitches didn't they? Not really bad just very boring and repetitive. I don't have much to say about this one unfortunately due to the duration and simplicity of a lot of it. Highlights Love Hurts: ***1/2 Lucille: *** A Change of Heart:***

Probably the most fun listen outside of MJ or Animal Collective so far. The samples used for their beats in this one are a real standout. Their style of yelling out one liners you feed the substitute teacher doesn't really grate on my nerves like it seems to with others but can make the album a bit samey in places. I feel like a lot of my favourite songs from this band come from other albums on this list. Highlights Shake Your Rump: ****1/2 Very bombastic opener, maybe their most underrated song. great lyrics and beat throughout Egg Man: **** Goofy ahh song, very catchy despite using psycho of all things as a sample lmao B-Boy Bouillabaisse: **** What even was this? a 12 minute mashup chopped up? its own mini album? I liked how a lot of it felt less over-produced than a lot of the other songs. It was basically a little demo reel of Beastie Boys. It starts a little slower but really picks up between stop that train and hello brooklyn.

Wow, the titular 'Kid A' song right near the beginning was bloody dreadful. It felt like I was being waterboarded with the T-1000's liquids. There were some pretty nice songs afterwards though! Everything in its right place grew on me with repeated listens (though some of the weird digitized garble in the back sounds like some annoying pixie trying to get my attention). The National Anthem was a pretty bizarre track which I feel weird about enjoying, definitely a standout for how chaotic it is for a band that is often criticized for droning on too much. Treefingers was probably my favorite song, such a lovely ambiance. Favourite Songs: Treefingers, Optimistic, The National Anthem Least Favourite Song: Kid A

Did someone rip ass into the microphone at the start of Kingdom of Doom? "There's a noise in the sky", No I think one of you needs to check for skidmarks. Man, I don't know if I just wasn't vibing with this one or if my mood was off but I don't think I felt a single thing listening to this. I am aware of a few of the members of this super group and like The Clash and Gorrillaz well enough. It felt technically competent in most places, but also void of any emotional investment. Damon Albarn described it as a mystery play themed around London so perhaps being bland was the intention? If it somehow was it doesn't make for a memorable experience. I listened to this twice and don't think there was a single standout or memorable track. There was also plenty of parts where the supergroup part felt like it might have hurt the production, a too many cooks kind of scenario where people didn't want to compromise on their vision and it just ends up sounding like the induction day for your Grade 1 music class, they even had someone smashing away at the triangle at some point.

Imagine Johnny Cash's Live at Folsom/San Quentin albums. Now swap the legitimate and interesting setting of a concert in prison with a fake TV studio-esqe Jazz club set with a small group invited studio audience. Now remember Johnny's little gaffs and jokes he usually has to segue between songs? They are going to take up half the runtime of the album. Also, they aren't going to be funny. Also, instead of Johnny Cash we are going to get some mumbling dolt who is trying his hardest to sound like an old black soul musician, only to end up sounding like the love child of Chris Rock and Randy Newman. Now take that down a point or two from your expectations. The music that you can even make out over Tom's mumbling is perfectly adequate, unfortunately with how much the guy is rambling on you can't even enjoy it as simple background music. I think this was the first time in this list that I was checking to see how much longer I had to listen to this shit.

This was mostly serviceable, poppy rock songs that were occasionally hamstrung by an inconsistent lead singer. He has weird nasally octave he hits that was really unpleasant to hear. The one track that was a supposed hit from this album didn't really impress me that much either, honestly the bonuses at the end were my favourite parts of this whole thing. Also, writing a song called 'Timeless Melody' and then just making a generic pop rock song is very funny Highlights Over (Live) I.O.U (Alternate Version)

Damn, that shit was groovy. No wonder it went on to outshine the movie it spawned from. My biggest (and really only) issue is how frontloaded it feels, with my 3 favourites from the album being the first 3 songs. Everything after it feels more incidental and (as it very much is) backing tracks to set pieces of the movie. I think the biggest downside to these is the either lack or absence from Mayfields vocals. That being said the album has a song called Junkie Chase so what the hell am I even doing complaining about this I was also going to review the movie itself as a little side piece but couldn't find a reliable streaming version of it. Highlights Little Child Running Wild Pusherman Freddies Dead

Truly a monumental accomplishment in corny dad rock. As well as being the soundtrack to the new developments in many peoples lives. We all knew that one annoying kid who thought learning the start of Smoke on the Water was the coolest shit ever, and I guarantee Highway Star was involved in a number of fatal road collisions (and one intergalactic space anomaly collision for my beltalowda). I was honestly more interested in the lesser known tracks on this compared to the hits that I am more well versed in. The repeated motifs, mostly lifted from Highway Star were a nice bit that felt like it made the album a more complete piece (though my cynical side wonders if they just wanted to reuse parts from other songs). The biggest surprise on this was Lazy. I liked a few of the other songs that I wasn't familiar with before like Maybe I'm a Leo and Pictures of Home. But Lazy came out of nowhere and might be my favourite song on this thing. I've never considered Deep Purples vocals to be their strong suit, I don't know if it's just the mixing but the vocals always feel like they don't take the command of a song like most others do and feel like they are usually performed in spoken word or at their most emphatic an angsty yell. Lazy doesn't really suffer from this since it practically ignores vocals for about 2 thirds of the song and just jams out, the actual singing feeling aptly lazy. It starts to feel like it takes on a blues feeling too as it moves along. Especially when they whip out the harmonica. This shit is definitely getting added to some playlists.

Probably my favorite piece of British Rock encountered this far on this list. This albums thrilling and intoxicating pop-infused rock tracks definitely sped past my initial expectations, but definitely hit a speed bump or two when it comes to my faults. Songs like How High and Only Teethin' really stood out to me, taking this album to exhilirating new speeds with their guitar riffs and piano/organ performances really breaking past the proverbial sun roof and plunging the album to new heights. This pleasantry comes to a harsh and sudden stop when I notice the lack of said piano in the mix, what happened to that guy? Why was he only in a few tracks. This leads me to my biggest issue which seems to plague 9/10 brit rock bands being the lead singer. This was more of a 'The La's' issue than a Dexy's one. Instead of being consistently irritating, the singer was just kinda just swerving all over the place in quality. The album ends on a very nice instrumental piece titled Rob's Theme. This song is just a good vibe, the kind of thing you put on after a bit of casual daydrinking and want to go for a Sunday drive in your BMW 520i to. The 1 and 2 ratings on this song feel like a real robbery of this bands accomplishments. I hope my modest, yet positive review can serve as a figurative getaway driver from such negativity. Highlights Rob's Theme 🍺🚘🛣️💈💥🚗💀

I think the novelty of this album is lost on me. Without the story and the legacy attached to this event this is kind of a failure of a live album. I'd say historically I don't mind Bob Dylan, he's got a funny way of singing that is good for a laugh but I don't think I would change stations on the radio if he came on. I can see why people get annoying at the abundance of the harmonica but it never really bothered me. But this really is a piss poor excuse for a live album. I am sure they worked the best magic they could in 1998 to salvage a live recording from 1966 to some extent but the quality is mediocre at best and feels very flippant with what audio is received/how it is balanced. During the acoustic section in the first half his voice is captured at its clearest. But the guitar is much quieter, making it feel insignificant to the performance. Then the harmonica will come in and seemingly top out whatever microphone Bob is blowing it into. If this album is what has frozen a majority of listeners into suffering PTSD from his harmonica I honestly wouldn't blame you. Secondly, on how it feels like a failure of a live album. I don't think this is their best performances. Bob is fine during the first half, but the poor mixing of his guitar and the lack of any other performers other than him make this section feel like one long drag. The electric portion was better on average in my opinion. The addition of new elements sets the songs apart more and his band 'The Hawks' felt like they put a lot of energy into their performance. My biggest gripe with that half is the vocals, I don't know if it is the fault of the recording, or if Bob was exhausted or just pissed off (more on that in a moment) at this point in the show but he was a lot less intelligible in this half. During the final performance with 'Like a Rolling Stone' it almost felt like he was trolling the crowd with how he was dragging out the chorus. Lastly, for a live performance. There isn't really much that is showcased outside of the songs. You get a bit of the crowds reactions between songs in the acoustic section and the jump between songs on the album seems pretty seamless, which I am not sure if it is just an editing thing which this album clearly underwent. Or that the performers were just going through their songs like a shopping list so they could get out of there. That is until the electric section. Where the transition between songs is a lot more abrupt. You will get a small snippet of cheering at the end of a song, before a harsh cut into now crowd noise for their next song. That would be because these geniuses thought they could just carefully edit around the songs to try and hide the fact that the crowd for whatever reason turned against this concert during the electric portion. Reportedly, in the original audio there is a lot of booing and heckling between songs in the 2nd half. Were the audience misled into thinking they were just getting a traditional concert with just Bob? Was this protest against the more rock & roll focused 2nd half in contrast to his more folk music beginnings? Either way it is a bitch made thing to do, especially when trying to present this as a legacy recording of a live event. I was initially considering being more generous and giving this a 3 considering my enjoyment of the 2nd half, but them tampering with one of the live elements of the show (which should be half the justification for why the recording sounds the way it does n the first place) doesn't sit right with me. This also has me wondering how I will enjoy Bob Dylan albums further into this list. Because while I may like him here and there I could see his style getting on my nerves if I have to sit down and listen to it for upwards of an hour.

13 SPOOKY/UNSETTLING AMBIENT CREEPYPASTA SONGS [ROYALTY FREE, LINK IN DESCRIPTION] Every time I have thought about this and how they are definitely capable of creating an atmosphere with their unsettling ambient tracks, I am reminded of how I had to sit around and listen to a whole track with someone wailing hit by a rock and just get annoyed again. And what is with this nonce cover art? Makes you wonder what one of the lead composers was doing when he died in Thailand back in 2010 Highlight: AB/7A

Wow, this list has frontloaded us with a lot of British Pop-Rock albums. Surely there must only be a few of them left at this point, right? While I think this album is going to get grilled pretty harshly by our group due to britpop fatigue. I don't think there was any salvaging this one to begin with. Maybe I'm just feeling too cynical as well. But a majority of the songs in this album feel too repetitive. I get that this is a pretty basic criticism that can be applied to pop in general. But a lot of the first half of this album just felt like a selection of 1 minute chorus loops with some basic instrumentals to feed itself together with. More than any I have heard in a while felt really desperate to create a catchy hit song. With most of them just feeling forgettable. In my darkest moments of basic indifference to this music, just as I was hoping for something interesting to happen with the album. The monkeys paw finally curled and gave me the song 'We're not supposed to'. These guys were real innovators I tell you, doing an Alvin and the Chipmunks edit of one of their own songs back in 1995. I also thought it was funny how they tried to do a bit of an artsy flourish by having the instrumentals of Strange Ones fade naturally into the beginning of Sitting up Straight. Because for whatever reason they thought it would be nifty if these two generic britpop songs just melded together my brain even more than they already would have. Sofa of Lethargy was probably the closest thing on this album to something I would put on one of my play lists. That along with a few of the catchier tracks at the start are the only things making me give this a lenient 2 grade. Highlights Lenny Alright Sofa of Lethargy

A welcome change of pace for our list so far. This was some of the easiest listening we have had so far. I felt like the music was going to tell me to sit down and not work so hard during my first listen on the job. The easy nature does make some parts of the album bleed into each other without much to differentiate the tracks. But I would still say there are highlights, particularly any of the tracks including Astrud Gilberto's singing alongside the main male vocalist. I am not sure how to aptly describe it, but everyone here feels like they are giving the appropriate level of effort to this if it makes sense. It's more of a quiet confidence that the album exudes, with all of the individuals involved getting a track where I feel they really shine. This album really reminded me that I should probably make a Jazz/Bossa Nova playlist Highlights Everything (Particularly The Girl from Ipanema, both versions. Corcovado. Vovo Sonhando and So Danco Samba)

Aaaaaand back to our regularly schedule britpop to make us question our reason for doing this list. I don't even want to go into detail on this, it's not something I'll listen to again, nor is it something that has had any sort of longstanding reputation. It didn't chart well on its release and the Wikipedia article basically just says 'yeah, this album exists. Also it placed in a few ranking lists. I'm not even giving this the courtesy of a 1 rating because for all the issues I had with some of the albums I have given a 1 so far, they did not leave me feeling bored or indifferent towards their existence. I don't even want this scarring the bottom of my summary page on the hall of shame. It would simply be better to just forget this and move on.

This is the kind of thing I want out of a live album. I am glad to have been given two similar albums previously which can be compared to this. Because they both struggled to accomplish what the prison albums from Johnny Cash achieved. Tom Waits' simulated live diner experience was just that. A faux live performance where Waits spent too much time doing shtick without enough actual music. Bob Dylan's Royal Albert Hall album was almost the opposite. Sticking to just the music and minimizing or in some instances censoring the live audience for a live album. When you present this without these parts of the experience, while also being a bootleg album with much poorer sound quality than the studio versions of these songs it feels almost redundant. Today's album on the other hand skips most of these shortcomings at least. Compared to his album from Folsom this is definitely more of a fun, showman style. They emphasize his banter and jokes a lot more and seem to have recorded the live audience a lot better. And you can tell this was a riot for them. The way they pop off in celebration whenever Johnny makes a gag at the expense of the prison or at the system itself. With some bits in there about the recidivism and the prisons failure to reform those it contained. While I like a lot of the more somber songs he uses in the second half of his Folsom album. I can see why they pretty much ditched that for most of this. As not only did this selection of tracks create a more lively atmosphere but this album was also being recorded for a UK broadcast, with them trying to dictate what he should play. He would later in the set famously flip off the crew for this and for getting in the way of the crowd. That being said. I wish the standard version of this album had more to it. It's about 15 minutes shorter than Live at Folsom, contains a lot more banter and one of the songs is a reprise of what was performed just before it. I'm not sure who made this decision but it almost makes the fun feel like it's over before it even begins. I still think the songs chosen and the energy of the live crowd carry this. But I reckon Live at Folsom has a better balance of performance and crowd interaction while also having a bigger and better variety of songs. Highlights A Boy Named Sue, I Walk the Line, San Quentin (Both Performances), Peace in the Valley.

Really glad to see things like this get some recognition. Especially after feeling like I was being suffocated with moldy beige paint equivalent that was Shack and The La's. I liked the tracks that used all of the elements like El Cumbanchero and Choferito Plena. The more folky tracks felt more like a chant and got a bit repetitive for their duration. even by Pop or Electronica standards I thought these got a bit samey. That being said I think Asabache was my favourite song. They went fucking ham on that conga drum. This album was very easy to appreciate but outside of a few songs I'm not sure if it was something I would come back to outside of this list.

It's genuinely impressive how this album stays so varied given how long it is. 1 Hour and 13 minutes including the interludes and yet I don't think I ever thought to myself that the album was feeling samey at any point. The quality of the beats are pretty top notch throughout. And Andre/Big Boi are incredible throughout. I've already spoken about the variety in this album but it's cool how for how different the style and delivery of the vocals is between songs it's still unmistakably them. Where I have some issues with the album are with some of the feature tracks. There are a lot of them and they range from being pretty good such as the opening Gasoline Dreams or Humble Mumble, to several that started to feel closer to being filler. Which does not feel necessary given the runtime of the album already. The interludes also bite into this a little bit but none ever go on past a minute and they are not baked into the songs so they can be easily skipped. I feel a little more inclined to give this a generous 9/10 or light 5 than push this to a 4 though. Highlights Red Velvet, B.O.B, Ms. Jackson, Gasoline Dreams, Humble Mumble, So Fresh So Clean, Stanklove

I've got some odd feelings with this one. As nasty as the subject matter is and how it ultimately tied into Amy's fate. This is musically pretty fucking fantastic. But not necessarily something I would go to frequently. It's not that I'm put off by the subject matter or anything. But rather that I think this throwback soul kind of album really became prominent from weaker artists in no small part thanks to the success of Back to Black. I think this has partially made me feel a bit numb to these sorts of melodies in a sense, but I can definitely still appreciate what is on display here. The instrumentation and production feel sincere to the era it is trying to represent and Amy's voice is an incredible fit. In terms of tracks that stood out to me, the album doesn't really feel lopsided but rather like there is padding between each of the good parts. I really like the opening Rehab song, as well as the middle stretch between Back to Black and Tears Dry on their Own. The final song Addicted is also quite nice even if it's not my favourite song to close on, the juxtaposition between the opening and closing songs of course being fairly grim. And foreshadowing what was to come not long after the album. I feel like the rest of the album is good to decent but does not stand out to me as much given my previous reasoning. I find the global rating for this to be quite surprising, my rating is effectively spot on with it but I would say there are better albums than this I have seen so far that have much more middling scores. I would like to imagine this is not just the same issue that people complained about with positive posthumous reviews for Blackstar when that came out. Though I can see why this would be an album that a lot of people can feel strongly sentimentality and relatability with. 7.5 points above the BAC Limit/10 Highlights: Rehab, Back to Black, Love is a Losing Game, Tears Dry on Their Own

This was an awesome surprise. I was initially sceptical when I was told this was early punk/protopunk and saw the global rating. I was imagining some swampy gurgling over the top mess performed by people with so many piercings they would cause a national tragedy if they stood too close to an MRI machine. What I got however was a very accessible album with was solid to good all the way through. I don't know why my expectations went the way they did. Hearing the protopunk makes so much sense. It really sounds like a metamorphosis between 60's-70' classic Rock 'n Roll to something with a little more edge to it. The lyrics are all pretty nonsense but it fits with how silly the album feels as a whole. I really liked the lead guitar in this, especially whenever they got a moment to just shred away on their own on songs like Teengenerate and California Sun. I'm kinda surprised with how low the global score is on this one. From what I read it seems like quite a few were from people who were not impressed with the lyrics on songs like Back to Africa and Master Race Rock. Both songs were too goofy for me to find myself offended by but I don't know how I'd feel singing the hooks to some of these songs out loud. Also, last but not least I'd like to shoutout the bands Backup Vocalist/Poster Boy/Self Described 'Secret Weapon' Handsome Dick Manatoba. He was pretty funny in the songs he was in the back of and I liked his pro wrestling style and how he cut little promos before some of the songs he was on like The Next Big Thing and Two Tub Man. I feel like these guys would be pretty cool to see live. So yeah, surprisingly awesome album. I feel like it's just on the cusp of being a 5 for me if it maybe had 1 or 2 super stand-out songs. The only one I wasn't a big fan of was Cars and Girls but while everything else is good I wouldn't say I was completely in awe with them. Great album nonetheless that deserves a bit more recognition for the goofiness on display

"Are you gonna dance or what?" Sadly I mostly listen to these at work otherwise I would be. Maybe I'll crack off a quite 2-step when nobody's looking though. Just as a quite aside before getting into the album. Doing this list is what motivated me to stop being a broke piece of shit and actually stick to a spotify premium subscription. and yet less than 40 albums in I manage to get an album which isn't even on the platform. And that part's a real shame too, because I really loved this album. The collection of different elements from the synth, drum machines and different vocalists between tracks keep things very fun and fresh. The only song that I think left a bad impression was In Deep, where I was able to enjoy parts of it but was distracted by the drunkard that came in the booth and started sticking his tongue out right into the microphone. Thankfully he got it out of his system and security were able to escort him out of the studio before the next track was being done. I imagine this had to be pretty influential at its time, I recognize a lot of these samples that were used in other electronic music later on (Theme From "Reportage" was sed as the opening for an old Japanese prank show a while ago). I'm glad our first electronic album for this list was something so funky. Now I suppose I'll just have to see if I can still put local files onto my spotfiy somehow.. Highlights People Hold On, My Telephone, Theme from "Reportage", Stop This Crazy Thing, Smoke Dis One

Practically a 5 for Side A alone. I loved that for how gaudy and eccentric the glam rock style is, it's still very well structured and well made. I was worried after hearing the first track on my discover and enjoying it back then that it would be a bit of a one trick/style over substance album. I was pleasantly surprised to find it exceeding my expectations. I loved the guitar and keyboard in this album. In fact they would be the highlight for me if it weren't for the ridiculous vocals from singer Russel Mael. I was shocked to realize that not only were all of the vocals, both lead and backing lines performed by one person. But that it was a dude? This guy has incredible vocal range. Side B was perhaps not as good as A in my opinion but was still pretty great, with standouts there for me being Hasta Manana, Monisuer and Complaints. I think this will definitely be a very love it or hate it album for most though. In my case however, this was a great find from this list and something I have already included a lot of in my likes/playlists on Spotify Highlights: Amateur Hour, Complaints, Thank God It's not Christmas, This Town Ain't Big Enough for the Both of Us, Hasta Manana Monisuer.

Bit of a short review today as Monday has been busier than usual. I think this is album that I respect the creation of more than the product itself, how personal it feels and the years of commitment it took to get it made. Obviously Kanye is a very controversial figure nowadays but I'd like to imagine people can appreciate the success story that this album was. All of that is not to say it's not a good album or anything either. It's such an easy listen with how goofy and fun a lot of it tries to be. I feel like a lot of artists these days use the soundscape of old soul in their hip hop as a form of window dressing. It feels insincere. In this case it was such an early case and still feels more innovative with how it was sampled and altered that it really feels like it set a new direction for rappers to take.

With a name like 'The Band', I really expected this to be a lot more up it's own ass than it was. I was only familiar with Weight & Long Black Veil (covered by other artists) before this and seeing the folk/psychedelic genre tags had me feeling like this might not be up my alley similar to a previous album covered on the list. But this surprisingly won me over as it went along. I enjoyed the more psychedelic rock tracks here than the folk ones, not to say those are bad by any means though. On that note, while they have their own distinct sound, I liked that there was some separation between the country/folk music and the rock tracks. Rather than just merging them together for a whole album. Highlights: To Kingdom Come, This Wheels on Fire, I Shall Be Released, The Weight

This had me going for a moment. between the classic rock stylings underneath the synth, a majority of the tracks being about affection towards a girl, and the album speeding by at close to 30 minutes. I thought someone had just dipped The Everly Brothers in a coat of New Wave paint and tried sneaking them back on the list. To be fair, I liked this quite a bit more than that album. Especially on a repeat listen. Highlights: Just What I Need, Moving in Stereo, All Mixed Up

Probably the album I tried to give the best chance in recent memory. I was keen to give this a good listen when being introduced to the dreamy/trippy and often melancholic instrumentals. Being released right near the turn of the century feels interesting too, given the change in direction of the indie revival/'landfill' era that would come to follow. When the elements of this album work for me, they work really well. drums and other percussion don't usually come to the forefront for me when listening to music but there was something really attention grabbing about them here. 'The Soft Bulletin' feels like an appropriate title for the guitar in a lot of this, never too overbearing and feeling almost cloudy in the atmosphere they bring. Most of my gripes with this are with the singer. Who takes aspects of other irritating vocal performances I have had issues with previously and blends them together. His performance feels very sincere and is at times tolerable, but will then go into some sequence where he is choosing to either over-accentuate things in an overly American way, or going into this hoarseness in his throat that leaves him sounding scracthier than the Squeaky voiced Teen from The Simpsons. I think it actively made me like the album less on repeat listens the more I tried giving it a chance Highlights: Race for the Prize, The Spark That Bled

"The Man Who initially received mixed reviews and sold slowly. Boosted by the success of "Why Does It Always Rain on Me?" and the band's appearance at the 1999 Glastonbury Festival, it eventually spent a total of 11 weeks at number one on the UK Albums Chart and brought the band international recognition. As of 2018, according to Concord Music, The Man Who has sold over 3.5 million copies worldwide. It was among ten albums nominated for the best British album of the previous 30 years by the Brit Awards in 2010, losing to (What's the Story) Morning Glory? by Oasis." - John Wikipedia This statement is probably the biggest indictment of Britpop and its consequences I have seen from this list so far.

Not great, not terrible. Somehow I feel like that's what the album is comfortable being. It really does feel like a lazy day out. Takes me back to days on the beach where something like this would be playing on some crappy blue portable CD player (it would either be something like this or So Fresh 2003/2004). Alternatively you would probably hear something like this at the 'mancave' of that one distant family friend who's house you only ever went to once for some party. Wish I had a little more to say about the album itself. It's just very easy listening, I suppose I felt more attracted to the instrumentals than the singing. If we have another 7 albums from this guy I sure hope the other ones are as good or better than this. I'd certain take this over derivative britpop with no legacy to it whatsoever.

Kind of a bloated album. For 70 minutes you would hope there would be enough to distinguish what's there and keep the music a bit more fresh but there's a few tracks that just felt redundant compared to better and similar tracks on the album. Chris Cornell's excellent vocals on the standout tracks really carry the more middling songs, it feels generous to give this a 4 but would also feel like a disservice to give a 3.

We already got a taste of proto-punk from 1975 a while ago. And yet here we go getting something which is somehow older and even sleazier than (The Dictators) Go Girls Crazy. I can't imagine the influence this album must have had. I'm also starting to think I enjoy punk a lot more than I had previously given it credit for, this landed in a very similar spot for me as our last punk album. in which pretty much everything included was somewhere ranging from good to great. If I had to compare the two I prefer the goofier nature of the previous punk album to this. But whats on display here is still only slightly below that in my opinion. As far as which version to listen to, I will primarily be rating the version provided by the website which is based on Iggy's mixes rather than those done by David Bowie. I like both of them and think they each have their own merits. Bowie's feels more focused on Iggy's vocal performance and can sometimes feel like it pushes the instrumentals out of focus too much (I mostly felt this on Bowie's version of Search & Destroy). It is still overall a better 'balanced' version. Iggy's really feels like it embodies 'Raw Power' in that it feels more loud and in your face, in some songs I actually preferred this but also found that it could be a bit grating in others. I would give Iggy's version a 7 and Bowie's an 8. Highlights: Search & Destroy, Gimme Danger, Raw Power, Shake Appeal

Remember that part in the Mr. Bean movie when Willem Dafoe debuts that self-fellating art house movie that nobody enjoys? It wasn't enough for this to be another instance of meandering nyquil-core from the late 60's. Everything about this album just screams insincere and trying too hard to appear artsy. My listening experience was already bad enough and I don't like to think this way about something since it feels anti-art to just dismiss something in such a way but I really cannot shake the douchey vibe this album gave me. 'I Will Laugh in Your Face', that's probably what they were thinking when they saw people giving this crap praise in retrospect since apparently people had the right idea initially and crapped on this album. What is the importance of keeping this on the 1001? So I can know The Bee Gees were dogshit when they weren't making disco tunes?

Beautiful and Bombastic in equal parts. In my opinion the best Peter Gabriel album in terms of having the majority of my favourite tracks of his included. I think anyone could listen to this and come home with one or two new songs for their likes/playlists. Extra kudos to Sledgehammer for having arguably the greatest music video of all time. Highlights: In Your Eyes, Don't Give Up, Big Time, Sledgehammer, Red Rain

Bit of a quick review since I was busy with a few things and missed the time to really flesh anything out for this one. I really liked it initially and definitely enjoy the overall indie vibe that Smith has. Instrumentals are all great and his style of singing won me over by the end. That being said I feel like there is a lot of filler in the middle section of this album that just dragged on for a while. I'm not usually bothered by long/padded out albums but this one particularly felt long to me. Definitely liked the songs that stood out to me and would probably give this a 4 if they had trimmed out maybe 2 or 3 songs. I can definitely see why this would be a 5 for someone though. Highlights: LA, Junk Bond Trader, Better Be Quiet Now, Can't Make A Sound

While this album is pretty rad for a majority of its runtime. I don't see it as the high octane speedball of an album that some reviews are claiming it to be. I'd say it has an interesting mix of much more chill or even psychedelic moments in between the energy. Especially on tracks like Remember Tomorrow and Strange World. That's not to say this is trying to be high in concept or artsy, it's pretty classic Metal and doesn't try to be anything it's not. Really awesome guitars throughout, for this album I like Paul Di'Anno's vocals especially in the previously mentioned 'chill weed vibe' parts. Though I do think I overall prefer Bruce Dickinsons singing, especially for the direction the band would take in the future. Highlights: Prowler, Remember Tomorrow, Phantom of the Opera, Transylvania, Strange World

I was prepared to give this a 3 for being something I could appreciate but wouldn't be sure if I would regularly listen to. However holy shit this felt so long. Not just in terms of the total runtime but each track individually felt like it went longer than it needed to. That being said, very thoughtful of him to name this album after his 2nd daughter. You can tell this guy must really love his family

Despite the title of the album I did not feel very inclined to do a repeat listen of this album. I wouldn't really call it bad, there's certainly some elements I don't like but I would say the album is mostly competent. I don't want to make a running gag of it but I would really say my main complaint was that the album really did feel like it was just repeating itself at points. Definitely something where I think I could just pick 1 or 2 songs from the album I enjoyed the most and still get the same feeling I would from the rest of the album with just those 2. Another of my big complaints would be the vocalists who take the lead between songs. They both range from serviceable to getting too much into a shouty tone. At their worst, one of the singers starts to get a bit shortbus-core with his intonations while the other one sounds like if you ordered The Beasties Boys on Temu. Not only did this just not create a strong melody for me with the instrumentals but it ultimately just feels like a distraction. My favourite parts from a lot of this involved the stretches that just featured the instruments.

Really not sure what was the holdup on me reviewing this since it's not like I really have much to say about it. I really liked it though! I did think It was feeling a little samey by the end, still a very good listen all around

More of a fun album than Bob's mean mug would indicate on the cover. As with our previous album covered, I preferred the electric tracks more than the acoustic tracks. Still not sure if I am a fan of Bob Dylan though, this was good but not really something I think I'm gonna be throwing on my playlists Highlights: Outlaw Blues, Subterranean Homesick Blues

These Punk albums are having a good track record so far of being fun and having a selection of good but not great tracks. While I would say that sentiment extends to this album, I didn't enjoy it as much as some of our previous Punk albums and my favourite song from it was probably the track that feels the most distinct from the rest of the album (Maps). Instrumentals are perfectly serviceable but didn't really do anything to blow me away. The vocalist is good and the scratchiness to her voice at parts helps the music stand out, but on some songs like Tick it can be a bit much.

Probably the most I have felt something was necessary to be on this list while simultaneously not being the biggest fan. I feel like the actual album itself is a bit overhyped for whats there. I don't know if I just wasn't in the right headspace either during this listen but dreamy atmosphere and melody mixed with the melancholic lyrics felt off-putting in a weird way. I want to rate this higher on its significance to the industry as a whole. But I couldn't even confidently say any of the songs on here are a favorite of mine. You could compare its technical accomplishments in its field to Birth of a Nation. Minus the blatant racism and depiction of the Ku Klux Klan as superheroes of their time.

For something that was mostly a samey hodge-podge of reflections following 9/11. It really didn't have to be song long. I didn't hate the music in here but I did get a bit tired of it by the end, the first half was mostly better and I enjoyed some of the tracks that felt like it was doing something a little different such as Worlds Apart with its mixture of electric and native folk elements. In much the same way as the United States government, I think there were some administrative errors made on this album. Coming out rather quickly after 9/11 (and apparently only being recorded starting in 2002) there was a lot of excess that could have been cut off this in both the amount of tracks and their duration. A lot of songs felt like they went a minute or even two minutes above what I would expect in some cases. Also a special shoutout to Mary's Place for sounding like the extended cut of some theme/outro for a corny 80's SitCom

Funny that they are called public image because I would probably have to go into total exile if someone heard this blaring from my headphones

Bob continues to be hit or miss for me, where my feeling is that I enjoy whats there and can see the appeal but don't think it is something I would have in my regular routine. Overall I'd say this one was more enjoyable than previous albums. Like a Rolling Stone is of course a big standout. I wish I had a little more to say for what seems to be one of his more popular albums

Come on man, I feel mostly indifferent towards the fuckin Eagles. It's easy to put on in the back and isn't really bad by any means. It just gets bogged down for me with how similar a lot of it sounds, as well as just not really being something I would see myself listening to regularly. Shoutout to the abundance of banjo in this, goofy ass instrument

You will catch me Stroking my shit before you EVER catch me Throbbing my Gristle. This one feels pretty overrated given its global score, I enjoyed it quite a bit but can't really see it at some post-punk, Y2K era masterwork. This feels like something I have spent a solid amount of my life witnessing in the background, usually plastered onto the TV in the waiting area of a Hairdressers or on the idle screens of some Bowling Alley, likely being put on from VH1/MTV/Rage I like the distorted, garage style sound they have going here. Though the way they describe the creative process behind this sound does sound a bit hokey, it works for me. Highlights: Trying Your Luck, Alone Together, Hard to Explain

When it's stuck on one of the more tedious dreamy songs. it is a pretty cruisey and easy listen. When it strays from this it goes pretty hard. That might sound a bit negative but I wouldn't say I disliked the less interesting tracks, I just found them to be an adequate sideshow to the songs on here that I actually liked. Highlights: I Am the Resurrection, Made of Stone, Fools Gold

To me, this feels like a perfect example of all the correct elements coming together. All the individual elements here are good to great on their own, but together really feel like a perfect blueprint for the genre. Smells like Teen Spirit and the impact of Kurt Cobains death feel like they culturally overshadow the actual accomplishments of the band a lot of the time in my opinion. Especially when there are multiple tracks on here that I prefer over the opener (Come as you Are is definitely my favourite of theirs). It would feel as insincere as a white girl in a Dark Side of the Moon shirt to not give this album the respect it deserves due to its popularity Highlights: Come as you Are, In Bloom, Stay Away

Definitely not beating the lo-fi chill weed vibe allegations here. This whole album just feels easy to unwind to or have on in the back during a quiet/lazy day of work. I can see where someone could find this monotonous but this whole thing just flows together so easily. if I had to pick a specific part that stood out to me as a favourite it would be Midnight in a Perfect World

Hokey 80's theatre kid pop (Complimentary) The Lavender/Violet colour palette of the cover really matches the feeling this album gives, I know Kate Bush to be a bit out there in terms of pop artists which is not something I am against at face value but I was a bit concerned for if I would like all of this going in. Thankfully I was able to really relax and get invested in most of it, some of the songs in the 2nd half felt a bit redundant and like they were lacking something for their duration. I'm glad I am almost completely culturally oblivous to Stranger Things so I can just enjoy Running Up That Hill on its own without any baggage. Highlights: Running Up That Hill, Hounds of Love, And Dream of Sheep, The Morning Fog

Another case where I think an artists one and only inclusion on this list was credited to an album which has some historical significance. In this case being the album released during his incarceration. As opposed to one of their best accomplishments. There's a handful of good songs here but a lot felt pretty standard fare. I should probably give this a 3 but my disappointment at the lack of other 2pac albums on here and my bewilderment at some of the negative reviews for this push it to a 4 for me. Highlights: If I Die 2nite, Dear Mama, Young Niggaz

Truly an album made for the modern man. Reflecting the existential terror that rears its ugly head at the greatest threat we all face: Alimony Payments

Look, I get if you think Nirvana are pretty overrated. But getting this album just a few days after Nevermind really puts things into perspective and shows how much of an upgrade they are over this AliExpress type proto-grunge. The album really only shifts between being boring and irritating. The singer sounds like he's only just getting over puberty and the instrumentation feels like it is pulling some sort of prank where they are trying to repeat the same shit in a song and seeing how long they can get away with it for a full track. I wasn't sure which of these songs was in the original release so I just stuck this on until I tapped out, I got around 9 songs in before I got to the one with the corny cold open with the royalty free monologue from somewhere Highlights: Hitting the pause button and backing out to something else

I really loved the instrumentals on this one . I gotta say I wish I knew what the singer was waffling on about for most of the album. I'm sure this is mostly just me but I couldn't really gel with his singing since I often found myself pondering 'I THINK that's what he said???' The fun tunes that accompany it would be enough for a 4, probably the best folk styled music I have heard so far since it is given a bit more flavour by the punkier elements of the band. I did feel that the novelty of the style did wear out as the album got longer, stretching just above an hour.

Front-loaded to a comical degree. I don't think I am going to ruffle anyones feathers saying that the first few songs were probably my favourite. It's also not to say that the latter half of this is bad. In fact songs like The Last Resort and Pretty Maids are still really good. Just a bit more standard. Especially when compared to how much the first half of the tracks here blew up in popularity. It's more comparable to hitting consecutive home runs back to back, then spending the rest of the time taking walks. Instead of striking out after a few initial successes. idk man, I had a rough night, and I still feel mostly indifferent towards the Eagles. Great album at the end of the day

For something that was definitely more in the one hit wonder camp (I didn't even realise this was the Lovefool band at first despite still hearing it regularly). I was surprised with how much of the album I enjoyed. The first few songs were alright and had me expecting this would be sitting at roughly a 3. But the album was surprisingly middle loaded and really got me hooked in the stretch between Never Recover and Losers. The last few songs (Iron Man - Choke) are all still good and I prefer them over the first few tracks, but the middle of this album does a lot of heavy lifting. I really liked the indie style on a lot of this. A really cool surprise of an album honestly

Funny how this was a posthumous release because I was also looking for an early exit on this one. It was already feeling pretty slow but I wanted to tap out just a few songs in once he started yelping towards the end of Car Hiss by my Window.

This feels like a weird one to rate. I did not have the best first impressions going in, especially with how much of a wanker Nick Cave comes off as. His singing voice is definitely a bit different but works for the songs and the overall tone of the band. I would say that is my biggest point of praise in general, the instrumentation is pretty good throughout but I was impressed with how they maintained a very strong atmosphere throughout the entire album. With all that being said though, I did find the tone and lyrics to be a bit much. They REALLY want to be edgy and out there in a way that started to get old towards the end of the album. I would say Jack The Ripper (also my least favourite song on the album) was the one that really took me out of it. Possibly an odd complaint, but I also thought they leave very little room for the instrumentals to breathe through. About 85% of the runtime I think that Nicks voice is booming over the rest of the song. Obviously the lyricism of these songs is a highlight to a lot of reviewers but I would have appreciated giving some moments for the rest of the band to come through. So yeah, a pretty competent album that I was initially ready to dislike but found myself appreciating some of its craft. Not sure if it is something I'll be returning to anytime soon but I wouldn't say it was a bad time by any means.

Queen has this habit of coming across either really catchy or really annoying. I don't even think it's entirely their fault, I think a lot of negativity towards the band comes from their overexposure. I wouldn't be surprised if every marketing and advertising firm on the planet had a copy of their greatest hits on standby. That being said this album was fairly front-loaded and hit or miss throughout. Killer Queen was the highlight for me, I'm sure some people would prefer something like Stone Cold Crazy or Brighton Rock but the latter of which is tainted by the stupidity of the final act of Baby Driver's plot for me (See? another instance where negativity comes from overexposure). The latter half of the album is also filled with some incredibly short segments that would almost feel more like interludes than their own tracks on a different album. I'm not sure about their inclusion as they sound more like the concepts for a song rather than one in their own right. On a more positive note, Bring Back That Leroy Brown reminded me of Norm Macdonalds 'Meaner than a concentration camp dog' bit. Highlights: Killer Queen, Stone Cold Crazy

There was a particular review on this site for Prince that really nailed on the head what makes Prince work so well, it specifically goes into how for all the different types of sound layered into each track. It does not come across as over the type or too rich/studio sounding. While Prince and MJ were both magnificent artists and entertainers. I would say Prince leaned more into the artist side than MJ. While the big hits of the album, such as When Doves Cry, Let's Go Crazy (possibly my favourite song in the album and a contender for GOAT opening track of an album) and of course the titular Purple Rain are the obvious highlights, the less popular tracks in between holds their own. Solid contender for my favourite album on the 1001 so far. And I sure as shit don't see it being dethroned as the greatest Original Soundtrack on this list. 💜💜💜💜💜/💜💜💜💜💜

Still goes really hard. While I've always liked the style and mood that their music sets I felt like I was really taken in more by their beats and samples than I have been listening to them in the past. The groups rhymes as a whole are all really good but the way they construct their beats and of course their usage of cheesy old martial arts dubbing gives it a sound that is both indistinguishably Wu Tang, while also giving room for different tempos and feelings. Which can range from more energetic and intense to you can really just lay back and unwind to. Probably the only negative thing I could even suggest is that (at least for the spotify version) the interludes are not segmented into their own parts on the album Highlights: Protect Ya Neck, Bring Da Ruckus, Wu-Tang Clan Ain't Nuthing ta F' wit

I expected something really dull from the genres listed. Was pleasantly surprised with how varied it ended up being. reminded me a little bit of The Band/Music From Big Pink. Though I would say I liked that album more

You could bottle this album and sell it at Chemist Warehouse as sleeping medicine. In terms of the instrumentation it's not the worst thing ever, definitely leans towards rock more than the pop side from what genre labels are attributed to this. In spite of what I would have to imagine is a mostly independent and very passionate project from the creator, he sounds like he is checking his watch throughout a majority of the very stretched runtime. Coming in at 1 hour there are some albums which have taken more of my time but this one was definitely up there in terms of feeling long just from the monotony of it all.

Starting to feel convinced that this group is a psyop to bury a single incredible song in an album where every other song is some stupid bullshit sung by a white dude in a reggae falsetto. Luckily for me, my tolerance for stupid bullshit is strong enough that I was able to enjoy some of this. That being said. I was almost ready to let that stupid 'Mother' song tank my rating for this album holy shit what the fuck happened there? Without it I would be comfortable giving this album a light 4, but its inclusion really has me considering giving this a 2. Regatta De Blanc didn't have anything this bad on it but I did prefer some of the chaff, non-hit songs on this a little more so I think it evens out to the same rating for me, how damning that the biggest Police apologist in my group is only willing to give this a 3. Highlights: Every Breath You Take, Synchronicity II, O My God, Wrapped Around Your Finger, Mother (NOT IN A GOOD WAY)

Bit of a tricky one honestly. I think this is something that I can appreciate and acknowledge the talent on display while not feeling that it is something I would want to listen to regularly. Jeff is obviously the highlight with his delivery and the way he is able to change tone in his vocals so frequently and smoothly. I found the band surrounding him to be pretty solid but without too many parts that stood out to me. I suppose it at least accentuates Jeffs talents as a singer, I just wish there was a bit more to latch onto instrumentally for me. Some songs in the later half dip into this a bit at the very least. Highlights: Lover You Should've Come Over, Dream Brother, Forget Her

Man, for something lauded as their 'best work' and 'a culmination of a string of the band's highly critically successful albums', I was hoping for a little more than what ended up feeling like a demoralizingly long and repetitive set of British folks getting through a country blues binge. Not the worst performances from them or anything but I felt like I had heard all there was to hear less than halfway through. It really started to bother me by the end

Seeing both the genres tagged for this as well as this lists current run of 'supergroups'. I was dreading that the albums name was going to be an omen for what's to come. I was pleased to find that while there is definitely a consistent throughline in the songs on this album, and you could absolutely manually look through certain songs on the tracklist and find them samey. The way they were presented in their correct order kept me satisfied. Though I can't really say it was something that was particularly entertaining. A lot of songs that were just pretty good. Highlights: Our House, 4+20, Country Girl

While the instrumental elements were a big highlight and bring a groovy but seedy vibe indicated by the album art. I could not fucking stand Bryan Ferry in a lot of this. The eccentric flourishes to his vocal delivery on a lot of tracks remind me of Russel Mael. The issue I found was that Ferry does not have the correct range for this kind of singing nor the commitment. he wants to hit notes like a diva but is seemingly too afraid to commit to the bit. Beauty Queen was probably the best song from his part given it has his best and most straightforward vocal delivery. Would probably be a 1 or a 2 if I was not a fan of the rest of the work done on this album. The sex doll song was pretty funny too. Highlights: Beauty Queen, In Every Dream Home a Heartache

My initial impressions were that Billy Joe Armstrong's singing voice has an uncanny way of making nearly every Green Day song sound the same. And while it can definitely get into retreading the same sounds, I think the bigger culprit here is the instrumentation on this album. It feels more like an early concept that is more interested in one specific sound/vision before trying to expand its horizons in future albums. Leaving the shuffle play on for a little bit after finishing the album and hearing some of their future albums solidified this for me. Not bad, just VERY samey.

Yeah maybe it's not as experimental as Kid A but holy shit I'll take this any day of the week over that opening track that just makes me think I'm being moneyshot with mercury. Also one of the better songs on this is called 'Just' and I find that funny. Highlights: Fake Plastic Trees, Just, The Bends

For the first time in a while I seem to have lost my review. I didn't have a lot written so it's not a big loss. It feels apt that this is from a group called Hot Chip given how much it cools off and gets kinda stale over time. I suppose this one is lost on me in terms of both a majority of its songs as well as its significance & cultural impact. A majority of the wikipedia summary for this thing talks more about the ways it was distributed more than anything. Highlights: Don't Deny Your Heart

SHOUTOUT TO THIS WEBSITE FOR JUST FORGETTING THE MULTIPLE PARAGRAPHS I HAD WRITTEN AND CLICKED 'SAVE' ON MULTIPLE TIMES HONESTLY, IM GLAD IN A WAY IT FORGOT, THIS ALBUM DOESN'T DESERVE IT. THIS STUPID ANGSTY ALBUM WITH THE PHONE SEX RAMBLINGS IN 'GIRL' AND THE 10 MINUTE WAGESLAVE DRAMA THAT IS 'FRANKIE TEARDROP', EACH SET TO A SERIES OF 5 SECOND LOOPS ALL PULLED FROM MK ULTRA'S GREATEST HITS. I THOUGHT THEY USED TO BULLY PEOPLE FOR THIS KIND OF BEHAVIOUR IN THE 70S

Legalize it - Peter Tosh (1976) Kinda perfect to get this on a lazy friday. Not sure I would have enjoyed it if I was working a busy schedule. As I suspected for Reggae I started to find it getting pretty repetitive. I can't even call it frontloaded or anything, the quality is pretty consistent throughout. Said quality however is not something that meshed with me beyond a pretty basic enjoyment, not sure if I cold see this being regular listening material. I did get a bit excited when Johnny B Goode came on, only to realise that it wasn't in the album and Spotify was just shuffling into Tosh's other music. In the words of Snoop Dogg (Formerly Snoop Lion; Bob Marley Reincarnated) "I don't even like Reggae"

Meat is Murder - The Smiths (1985) Not sure if I like this one as much as The Queen is Dead (an album I have grown to like a lot more following my review of it). I would say it has a comparable number of standout tracks that I liked, maybe not to the extent as those other songs but the quality is consistently high. Morriseys sad bitch boy antics that sorta snap you back out of what you're listening to continues here, though not quite as funny as it is in There is a Light That Never Goes Out. I guess that's what troubles me about rating this is feeling how it compares to the previous album. I still enjoyed this a ton but if I had to choose one over the other I would have to pick the previous album. Highlights: The Headmaster Ritual, That Joke Isn't Funny Anymore, Barbarism Begins at Home, What She Said

Tres Hombres - ZZ Top (1973) Occupies a similar position to me as something like Machine Head, where I am having a tough time really attributing different praise to the album for its really strong elements because they are just a given. this is another album that feels like it is not trying to impress me but just put on some good tunes and have a fun time. Compared to similar albums in this space though I am not sure where to place it. I like a few of these songs quite a bit, but there's not a lot of songs to this album and the non-hits really do feel like they are there to just occupy the space to qualify this as an album. It feels harsh to critique it this way as the songs I like would be a highlight on any album. But the lesser known stuff does not fill this album out too well for me. Highlights: Ride The Bus, Master of Sparks, La Grange