I feel like describing Elephant as a Oreo cookie feels like a weird analogy for such a well-regarded album, but my stupid brain feels like it fits. It has a hard opening structure, a soft part in the middle, and ends as hard as it started. Everyone knows about it and has heard it (Seven Nation Army specifically), but you’ll be hard-pressed to find much of anyone who hates it. And after listening to it, I finally get the hype. This is such a collection of bangers from just two people. It feels like this bizarre classic rock album that stays modern enough to not feel like it panders to nostalgia. And Jack White is so talented, carrying the electricity through songs like Seven Nation Army and There’s No Home For You Here, while toning it down for You Got Her In Your Pocket. And Meg’s great too in In The Cold, Cold Night. I’m very glad this album is now a little more than just the Seven Nation Army album to me. Favorite Track: Seven Nation Army (I know, basic bitch pick, but it’s infectious) Other hits: Black Math, There’s No Home For You Here, You Got Her in Your Pocket, In the Cold, Cold Night, The Hardest Button to Button, Girl, You Have No Faith in Medicine, Well It's True That We Love One Another

Mad props to this generator for giving me a 80-ish minutes live album on one of my busier days of the week. Extra thanks for it being a jam band live album, so I get submitted to a meandering experience that threatens to persist until the heat death of the universe. There are some good parts to this album (lost probably somewhere in the solos), but jam band concerts are perhaps better experienced in person. Not on record. Favorite track: Hot ‘Lanta Other hits: Everyone other song that is not more than 10 minutes.

The thing about jazz for me personally is that it is difficult for it to sustain my attention for most albums. I usually have just little problems with jazz albums, such as songs that might take too long or most of the album sounding much of the same for its duration. I feel that, for me, these are issues that prevent me from giving Kind of Blue a perfect five rating. However, I would be remiss to not say that this is more than likely the quintessential jazz album. Miles and each of his company are at the top of their game on this album, each perfecting their craft to give one of the smoothest jazz albums in existence. Seriously, Blue in Green has to be one of the chillest jazz songs period in my opinion. As I mentioned, I personally can’t say that this was one of my favorites, but I do recognize the acclaim that this album has received and that’s good enough for me. Favorite Track: Blue in Green Other hits: So What, Flamenco Sketches, Freddie Freeloader

I can’t speak from experience, but I figure it must be very difficult to make a swansong album. On top of knowing your end is at hand (mentally and physically), but you must also leave your fans with something good to remember you by. I remember David Bowie’s passing somewhat well, but never heard that he released an album two days prior to his death. I’m regretfully not well-versed in Bowie’s discography to say whether or not it’s the perfect end for him, but as a stand-alone album, it is a great swan song. Lazarus in itself feels like a proper emotional goodbye to a legendary artist. Blackstar in its entirety presents classic Bowie with hints of art and experimental jazz. The result is an album that as haunting as it is reflective. I can’t say it was perfect, but for what it is, it works well. It’s a very fitting goodbye for someone such as David Bowie. Favorite track: Lazarus Other hits: I Can’t Give Everything Away, Dollar Days, Sue (Or In A Season Of Crime), Tis A Pity She Was A Whore

The Man Comes Around: Slightly upbeat but somber. Good start. Hurt: Contender for highlight of the album. Give My Love to Rose: Sad, classic country song. Brigade Over Troubled Water: Has a nice 70’s vibe to it. Fiona Apple adds a nice touch. Album has a nice variety while maintaining it somber, reflective tone. Really digging it. I Hung My Head: Sad story, sounds a little bit like Hurt First Time I Ever Saw Your Face: One of the slower songs on the album. Basic love song, but very emotional Personal Jesus: Very nice Depeche Mode cover. Probably the most poppy of the album, but given the original song, that’s expected In My Life: Great cover of this somber Beatles song. This song reminds me of a personal moment in my life and Cash captures that essence perfectly Sam Hall: Nice country song to deflect again from the sadness for a bit. Need a little bit of a break lol Danny Boy: One of the older covers on the album. Feels like a funeral song (it pretty much is). Is saying it’s sad overkill at this point? Desperado: Gonna be honest, never heard the original Eagles song, so this actually sounds like a country song more than a rock song. Good song though. Adding Henley as backup was a great move. I’m So Lonesone I Could Cry: Of course there’s a sad country song. Nick Cave is good backup. Tear Stained Letter: Such an upbeat song for such sad lyrics. Even the happy songs are sad lol Streets of Laredo: ok there are a good chunk of sad country covers here. They can be a bit similar to each other, but Johnny Cash does a good job keeping my attention. We’ll Meet Again: Fitting last song title, considering Cash’s circumstances. Great final song to cap off a legendary artist. Overall: Very somber album, which is no surprise given it to be the last released in Johnny Cash’s lifetime. Though mostly consisting of covers, they all perfectly represent the artist’s moment in time: reminiscing the past and living the last moments in the present. A great final effort. Favorite Song: Hurt Other highlights: The Man Comes Around, Personal Jesus, Bridge Over Troubled Water, In My Life

I have vague memories of seeing promotions for this album when it was coming out. ( I was really young at the time) I’m definitely aware of the hits this album after hearing them on the radio for years, specifically Wake Me Up When September Ends and Boulevard of Broken Dreams. Gotta say though after hearing the whole album for once, I really dig this one. Punk rock isn’t really my favorite rock genre (though at this point calling Green Day punk rock feels weird. Honestly I feel more inclined to think of Bad Religion or the Dead Kennedys and even that feels surface level) but this album has a great balance between punk and modern rock. I have a soft spot for the hits, but I also really liked some of the lesser know tracks like Give Me Novacaine and Letterbomb. The 9-minute songs were pretty good, not my favorites though. But overall, this was really good. Favorite Song: Wake Me Up When September Ends Other hits: American Idiot, Holiday, Boulevard of Broken Dreams, Give Me Novacaine, She’s A Rebel, Letterbomb

Can’t say I’m super familiar with the Kinks, but I enjoy this type of 60’s rock/pop. Some of the songs are more memorable than others. I like the minor elements of some of the songs though like the psychedelic elements in Phenomenal Cat and the subtle dark parts of Sitting by the Riverside. Overall, this was pretty good. Favorite Song: Picture Book Other Hits: Do You Remember Walter?, Starstruck, Phenomenal Cat, People Take Pictures of Each Other

I’ll guiltlessly admit that my first exposure to Muse was during the hay days of the Guitar Hero fad, primarily Knights of Cydonia from Guitar Hero III. Well honestly, it was mostly me watching my brother play because I sucked at the game. We also ended up purchasing Supermassive Black Hole, but only because the song was easy to play and finish 100% without over or under strumming or as the term is, full combo (FC). I considered Knights to be one of my personal favorite tracks from that game, but I wasn’t sure if that would apply for the whole album it’s on. I’m pleased to say, however, that I thoroughly enjoyed this whole album. I’m admittedly a sucker for, I guess that over-the-top grand rock and Black Holes and Revelations delivers for me. From the rapid fire of Assassin, the steady beat of Supermassive Black Hole, and the softer tunes of Starlight and Invincible, this was a rare album to hold my attention for its entire duration. Knights of Cydonia acts as the perfect cap off to the album, and seems like a personal full circle moment to me, considering it was how I even heard of Muse. I won’t say I in particular that Muse is my favorite band or even one of my preferences, but this album feels like the peak for them to me. Favorite track: Knights of Cydonia Other Hits: City of Delusion, Starlight, Invincible, Supermassive Black Hole, Exo-Politics, Assassin

I’ll admit that the 50’s is certainly not my favorite decade for music. While there are exceptions, most 50’s songs to me just feel the same to me. I only occasionally listen to the “oldies” at special family events, it seems. Despite this, I found Fats Domino to be among the exceptions. He had such a smooth voice for a big guys and it shines, whether he singing the slow blues tunes such as Blueberry Hill and Troubles of my Own, or the fast jumping jives such as La La and Honey Chile. This was a short but sweet package. Hope all the 50’s albums are like this. Favorite Track: Troubles on my Own Other Hits: Blueberry Hill, La La, Blue Monday, So Long, Trust in Me

Really neat funky album. I think I heard That Lady enough times in commercials to get sick of it, but most of the other songs are bangers. I personally really love their Summer Breeze cover. I heard the original one enough times (my mom loves soft yacht rock, so it comes on a LOT), but the Isley cover keeps the vibe from the Seals and Croft version, while adding it’s own funky rock elements to make it stand out. Some of the album started to blend together a bit too much for me, specially the middle. So it feels like a 3.5 to me personally. But 3 is too low, so a 4 feels better. That and I loved that funky electric guitar. Favorite track: Summer Breeze Other Hits: That Lady, The Highways of My Life, What It Comes Down To, You Walk Your Way

This album seems to be important to its genre and to those that are fans of hip-hop, but I can’t say that this was an album I enjoyed much. I’m honestly not the biggest fan of hip-hop. It’s either something I can enjoy or something that can bore or even annoy me. This album kinda got boring to me at times. There were good spots, though. One of the popular singles “How I Could Just Kill A Man” was good and I enjoyed “Psycobetabuckdown”. I appreciate the influence this album had. But for the most part, this was not exactly my cup of tea. Favorite track: How I Could Just Kill A Man Other Hits: Psycobetabuckdown, Hand on the Pump

I have never heard of Ms. Dynamite in my life prior to this. Honestly just like Destiny’s Child to me in some ways. This was…ok I guess? Most of it is just standard early 2000’s r&b-hip-hop and for a hour-long album, it sort of drags. I liked a few of the songs, but otherwise it’s an album that seem to have had its glory days. This is only here because it won a Mercury Prize, which I have no idea how meaningful that is because I’m not British. Favorite Track: It Takes More (Bloodshy Main Mix) Other Hits: Afraid 2 Fly, Krazy Krush, Gotta Let U Know (also the usages of 2 and U is annoying, stop it)

You know an album’s good when the instrumental song on it is a banger and not some transitional track or some forgettable portion of the album. Full transparency, I’m not even a big Rush fan (Geddy Lee’s vocals can sometimes get on my nerves), but this album has some of my favorite songs, imo. As mentioned, YYZ is a wonderful instrumental song and Tom Sawyer and Limelight and classics for a reason. I like the first side better than the second side, but this album overall satisfies that Prog rock urge of mine. Favorite track: Limelight Other Hits: YYZ, Tom Sawyer, Red Barchetta

My father was a Beatles fan first and a Rolling Stone fan second. It’s a close relationship (I think he loves both equally), but as a child, I was mostly most exposed to the Beatles and as such, have a preference to them. With that being said, I think this list is going to have a good chunk of Rolling Stones albums. So I’ll make up for my lack of Rolling Stones experience down the road on this journey. I will say that this album was a perfect start for me personally. The amount of blues and country influences in this album surprised me, but it helped really make this album flow. I couldn’t help but to just get lost in it, even if the lyrical content was more humbler than some other Rolling Stones songs I heard. From the jumping start of Gimme Shelter to the smooth title track to the angelic and bopping You Can’t Always Get What You Want, this was a very pleasant 42 minutes. Favorite track: You Can’t Always Get What You Want Other hits: Gimme Shelter, Let It Bleed, Love in Vain, Country Honk, Live With Me

I have to be honest, I was a little weary to get a second hip-hop album from 2002 very closely after getting A Little Deeper by Ms. Dynamite. After enduring that album for a hour of my life that I’m not getting back, I didn’t know how this album would go. Thankfully, it seems like the generator wanted to make up for giving that previous album because this was so much better. The titular five give the album a great flow while also maintain socially conscious without having too much edge. I have no idea how I never heard of these guys. The album did lose a little steam at the end (the six-minute sample song at the end just felt out of place and took me a bit out of it), but this was a very pleasant surprise. Favorite Track: Thin Line Other Hits: Freedom, High Fidelity, A Day at the Races, Sum Of Us, If You Only Knew

Jazz feels like a fucking hard genre to evaluate. It’s either going to be hip and cool or put me to sleep. This album was nice, but felt like background music. Like at a high-end city bar or something, this would be great. But I only have my backyard for this album today, so it just doesn’t have the same vibe, I guess. I respect the talent. The call and response from the saxophone and bass can be great, but for a little over 30 minutes, this one was just fine for me. Favorite track: Samba de Uma Nota Só Other hits: Desafinado, Samba Triste, Bahia

I feel like describing Elephant as a Oreo cookie feels like a weird analogy for such a well-regarded album, but my stupid brain feels like it fits. It has a hard opening structure, a soft part in the middle, and ends as hard as it started. Everyone knows about it and has heard it (Seven Nation Army specifically), but you’ll be hard-pressed to find much of anyone who hates it. And after listening to it, I finally get the hype. This is such a collection of bangers from just two people. It feels like this bizarre classic rock album that stays modern enough to not feel like it panders to nostalgia. And Jack White is so talented, carrying the electricity through songs like Seven Nation Army and There’s No Home For You Here, while toning it down for You Got Her In Your Pocket. And Meg’s great too in In The Cold, Cold Night. I’m very glad this album is now a little more than just the Seven Nation Army album to me. Favorite Track: Seven Nation Army (I know, basic bitch pick, but it’s infectious) Other hits: Black Math, There’s No Home For You Here, You Got Her in Your Pocket, In the Cold, Cold Night, The Hardest Button to Button, Girl, You Have No Faith in Medicine, Well It's True That We Love One Another

What a weird bizarre surprise this album was. This is not even close what I expected, given the album cover and year of release. Honestly sounds like a proto-Talking Heads album. It’s a good mix of some soft songs with some nice guitar heavy romps. Not quite perfect, but very great. Favorite track: Re-make/Re-model Other hits: Virginia Plain, 2HB, The Bob (Medley), If There Is Something, Chance Meeting

I’m going to be honest. I’m not really into Elvis Presley. I like some of his songs (particularly Can’t Help Falling in Love With You), but I just can’t get into him. To be honest, I’m not a fan of 50’s rock n’ roll, despite rock being my favorite music genre. To be fair, this debut album has its place in history. Obviously, it put Elvis on the map and made him the proclaimed King of Rock n’ Roll. But it’s honestly just ok. My biggest problem is that his voice doesn’t sound like is hit his stride yet, so he sounds a little off in some of the songs. It’s a debut, though, as his voice did get better with age. But outside of Blue Suede Shoes and Blue Moon, the album was only decent. It almost feels like 2 stars to me, but I think 3 will do. It’s mostly is a 2.5 for me personally. Favorite track: Blue Suede Shoes Other hits: I’m Counting on You, Blue Moon, Money Honey

I have a confession to make. I really don’t like The Doors. I don’t know what it is, but outside of a few songs, I sorta can’t stand them. Maybe it’s Jim Morrison’s voice or the fact that the hits on this album are 7-8 minutes that end up on the radio and linger for 40% of my car-riding experience. It’s weird, they just piss me off. My dad likes The Doors, but my mom doesn’t, so I guess I picked up my apathy for The Doors from her, along with Tom Petty. This album doesn’t change my perspective much. As mentioned, I don’t like either of the 7-minute songs (L.A. Woman or Riders on the Storm) and the deep cuts don’t do much to change my mind. There are a few things that stop this from being a 1-star, mainly because I’m not that insane, but I can’t say I found this enjoyable. If there are more Doors albums on this venture (and I’m 99% sure there will be, ugh), I hope at least one will be at least decent to me. But this is my trash opinion and I’ll stick with it. Favorite track I guess: Hyacinth House (it was nice and short, I actually kinda liked it.) Other hits: The Changeling, The WASP (Texas Radio and the Big Beat)

(I know it’s been pointed out by others, but the album shown is actually a double album, consisting of both Devotional Songs, as well as another album called Love Songs. On Spotify, only the second disc is mentioned in the actual book. This can help spare you from spending 90 minutes on one album.) I had zero idea what I was getting into with this one. I have never heard of Nusrat before and I had no idea knowing whatever the hell Qawwali even was. Apparently, Nusrat was immensely talented and was highly regarded even to this day. And I’ll confess that I can see that through this album, as I surprisingly kind of enjoyed it. The songs are long and a tad repetitive for my tastes, but the rhythms in the tracks are enticing. They’re really infectious and Nusrat gives every track his all. Devotional is certainly the word for it. I can’t say this album blew me away, but it was good through and through. It’s a 3 from me, but it feels more like a 3.5. I wish we could do half stars. Favorite track: Yaad-E-Nabi Gulshan Mehka Other Hits: Allah Hoo Allah Hoo, Ali Maula Ali Maula Ali Dam Dam, Ni Main Jogi De Naal

It’s about as classic as punk rock can get. A classic debut for a classic band. All the aggression, rage, and socially rebellious lyrics parceled nicely in a 35-minute package. Get in, cause havoc, leave. I’l admit that the tracks are a tad repetitive, and Police and Thieves felt a little out of place for me. But these are very minor complaints. Punk rock albums all have similar sounding tracks and lyrically Police and Thieves fits very well. Overall, it a near perfect effort. Favorite track: London’s Burning Other hits: Janie Jones, Career Opportunities, Remote Control, 48 Hours, Garageland

The more I look at this band, the lamer they look. There’s something about a band dressing up like revolutionaries and singing bubblegum pop that seems uncool even in the 60’s. But to be honest, that could have been way worse. The singer is a bit better than he has any right to be and I think this album feels like a guilty pleasure. The lyrics are a little lame though (wtf even is Little Girl in the 4th Row), so it was a close call between 2 and 3 stars. But in the end, I’ll give it three…barely. Favorite track: (I’m Not Your) Steppin’ Stone Other hits: Kicks, All I Really Need Is You, Melody For An Unknown Girl

You know, I can’t tell how much of the Paul Simon songs I heard were with Garfunkel or were part of his solo efforts. Regardless, he is definitely one of the greatest singer/songwriters of all time and this album is one of the highlights of his career. It is a big collection of varying styles, from classic folk rock, to reggae, to even some Brazilian samba. Yet the album keeps a very somber, very personal tone throughout its runtime, as seen in the likes of Duncan and Run That Body Down. It does feel likes it drags near the end a little, but this is a very good album overall. Favorite track: Me and Julio Down By the Schoolyard Other hits: Duncan, Peace Like a River, Everything Put Together Falls Apart, Paranoia Blues, Mother and Child Reunion

Talking Heads is one of those bands that I keep hearing about, but have not really heard much of their music. Outside of Psycho Killer and Once in a Lifetime, I haven’t heard much from them. I’m hoping this list will change that…assuming the generator’s nice to me. However, this album is kind of what I expected from the little of Talking Heads I heard. I admire how accepted Talking Heads is with the music world given how experimental they are. David Byrne is the perfect paranoid vocalist, as he anxiously decides on what city he’ll live in, wonders why he can’t persuade people, and verbally assaults animals for thinking that are better than us.(lowkey that ridiculous track is my second favorite from the album) Always bizarre, but never ostracizing, this is Talking Heads at what they are good at: balancing the line between commercially safe and abstract. Favorite track: Cities Other hits: Animals, Life During Wartime, Drugs, Mind, Paper

I had two questions in my head when this album popped up on my list: “Who the fuck is Todd Rundgren?” and “Why in god’s name is a double album on this list?”. This is a behemoth of an album, length wise, and I’ll be honest, it took me two sittings to get through this. That being said, I’m going to regurgitate what I saw on Wikipedia, and state that the album is divided into four parts, which makes the listening experience more manageable. The first part is standard pop. The songs were good, but I was nervous that it was setting the tone for the rest of the album; safe and maybe monotonous. Fortunately, the second part is more abstract and experimental (expect Marlene), which helps Todd sustain my attention to the halfway mark. Honestly, I was hoping the rest of the album would be like this. However, the third part was a bit ambiguous, as it felt more… rock inspired? Wikipedia says this part is where the “kid gets heavy” but it only felt like half the album was more heavy. The other half just felt like more first part rejects. Then the last part was sort of a garage section, complete with banter between Todd and his band. This part has its charm, I’ll admit. I say this, there are plenty of good songs on this album, such as the hits like I Saw the Light, and Couldn’t I Just Tell You, along with some lesser known songs like Torch Song and Wolfman Jack. You can pick a good selection of tunes from this double album. But for a package that makes Tool albums feel short by comparison, it’s only ok. And honestly, ok for a 90-minute album is not very good. The quality of the songs, however, as well as Todd Rundgren’s vocals, do save this album from being rated too low. It’s a good album, but maybe not for 90 minutes. Favorite Track: Couldn’t I Just Tell You Other hits: Hello It’s Me, I Saw the Light, Slut, Wolfman Jack, Torch Song, Breathless, Saving Grace

If you were to ask me what genre of album Cafe Bleu is, I would respond “yes” without a hint of irony. Wikipedia says it is sohisti-pop, which sounds like a bullshit genre. Just call it jazz pop or something. But this album goes so all over the place that those two genres don’t even describe half of Cafe Bleu. It’s one thing that half of the songs are instrumentals and the other half are sung. But this album goes everywhere. One minute it’s the Weather Channel (Blue Cafe), then Paul Weller is serenading me with his voice (My Ever Changing Moods, The Whole Point of No Return), then it’s high energy jazz(Dropping Bombs on the Whitehouse), and then Paul decides to rap (A Gospel) and I die a bit inside. I am very conflicted on this one. Obviously the album’s lack of focus kind of hurts it for me. Variety is good, but this feels a little too much. However, I did really enjoy some of the songs, mostly the slower ones. The aforementioned Weather Channel vibe hits in a good way. Mixed with Paul’s vocals, I almost considered this album a guilty pleasure. I kind of wish that is was the whole album, I probably would have enjoyed it a lot more (and it would have spared me from some god-awful rapping). As is, I give this a 3, but it’s more of a 2.5. Favorite track: My Ever Changing Moods Other hits: You’re the Best Thing, The Paris Match, Blue Cafe, Strength of Your Nature (this song is kinda stupid, but I kinda dig it, even if the lyrics are literally two sentences)

They say you should always separate the art from the artist in the case of artists who are assholes. Sometimes that can be pretty hard, especially if the artist is considered one of the best guitar players of all time. But in the case of 461 Ocean Avenue, I don’t have to deal with that because this album is just shit. It’s a collection of mostly blues covers and none of them are remotely listenable. They’re just dry and boring and uncomfortable to listen to. There is barely a memorable song on this album. So I don’t feel so bad crapping on an artist who is racist, anti-vaxx and overall a talented asshole. I especially don’t feel bad crapping on some shitty covers of black artists by said racist. Seriously that cover of I Shot the Sheriff is balls. “Favorite” track- Please Be With Me (the most tolerable of the album, and solely Clapton’s) Other “hits”- Let it Grow, maybe

So… I have a confession. I’m one of those people whose Radiohead experience is only “Creep”. Yep, I’m one of those people. So I’m hoping this project will put an end to that and it appears that day has finally come. And came so soon too, as this is my 25th album, so lucky me. I wasn’t sure going into this how I’d react going into this past what looks like Woody from Toy Story having an orgasm. Truth be told, I was fearful that the album would be esoteric and highbrow and I would be indifferent to it. But fortunately, that wasn’t the case at all. In fact, I shocked at how much I loved this album. It’s surprisedly easy to get into, mainly just being top notch 90’s rock. Thom Yorke has incredible control of his vocals, and the album has a great mix of soft-ish rock, to studious arenas to even touches of grunge. I’m really kicking myself for not going past “Creep” with these guys, since all the songs here are great, specifically Fake Plastic Trees and High and Dry. That track really got to me. To be fair, I’m not sure how the Radiohead albums will go. This was the album after their debut Pablo Honey, so I don’t know how experimental this band got overtime. This could be as assessable as they get. And I don’t know when that will be, assuming the generator wants to stop giving constant 70’s crap. But this is how my Radiohead venture starts and I think it couldn’t have been more perfect. Favorite track: Fake Plastic Trees Other hits: High and Dry, The Bends, Street Spirit (Fade Out), Planet Telex, honestly the rest of the album while I’m at it.

I’ve only known two Supertramp songs in my life up to this point: The Logical Song and Give A Little Bit. And I’m not particularly a fan of either of them. So I wasn’t expected much from this album when it popped up for me. But holy fuck, did this one get to me. There really isn’t that hint of cheese that I heard from my prior Supertramp experiences (all two songs worth). There some good shit in this prop-pop mixture and some of this even gave me some emotional vibes. Not really too much of a fan of Dreamer, though, the popular track of the album. Personally, I was more into Hide in Your Shell, and If Everyone Was Listening. Overall, this was a very nice expansion into Supertramp’s discography for me. Favorite Track: Hide In Your Shell Other hits: If Everyone Was Listening, Crime of the Century, School, Asylum, Rudy

I’m going to cut to the chase. Is this album a five out of five for me personally? No. I do feel that the album gets a little monotonous after Respect, and a bit too much of the tracks sound a little like each other. I’m also not really the biggest fan of soul. But with the negative stuff out of the way, it’s still a half hour of Aretha Franklin serenading your ears, and that’s probably better than maybe more than half of the albums on here. Favorite track: Respect Other hits: Soul Serenade, Baby,Baby,Baby, Good Times, Do Right Woman,Do Right Man, Save Me, A Change is Gonna Come

Mad props to this generator for giving me a 80-ish minutes live album on one of my busier days of the week. Extra thanks for it being a jam band live album, so I get submitted to a meandering experience that threatens to persist until the heat death of the universe. There are some good parts to this album (lost probably somewhere in the solos), but jam band concerts are perhaps better experienced in person. Not on record. Favorite track: Hot ‘Lanta Other hits: Everyone other song that is not more than 10 minutes.

I have been aware of this album, like most, due to 21st Century Schizoid Man. The sheer mayhem of its funky riffs and the barrage of saxophones are legendary in their own right. It’s definitely one of the heavier 60’s tracks in existence for sure. Until today, I have never ventured deeper into Screamy McScreamFace’s Venture Through Hell until now. And I have to say this album was absolutely not what I was expected. The album never quite gets as vicious as that first track, becoming somewhat more mellow in some areas. But despite that, it never loses its focus and it never disappoints. I Talk to the Wind is a perfect breather to the previous Schitz Fitz that still keeps a very slight feeling of unease. Epitaph then takes that unease and runs with it through a dystopian soundscape, as it’s subject tries to hold a small hint of optimism, but can’t (If we make it, we can all sit back and laugh. But I fear tomorrow I’ll be crying). Then comes Moonchild, which feels like an apology from the generator for giving me the meandering At Fillmore East and showing me that songs that seem to stretch out past 10-minutes can be bangers. It’s such a weird, bizarre miracle of a song that never overstays its welcome. Then comes the climax with The Court of the Crimson King, a powerful end that brings back some of the chaotic vibes of 21st Century Schizoid Man. I feel progressive rock is a love-it-or-hate-it genre for some and this album is considered essential for its progression (no pun intended). I’m still not sure what I think of prog as a whole, but I what I can say is this is a hell of an album. Favorite track: 21st Century Schizoid Man Other hits: the rest of the album

Seeing the reviews for this album, there appears to be two sides to this album: “Fuck Coldplay” and “Fuck you for hating Coldplay”. Personally, I feel rather indifferent to Coldplay. I’m not inclined enough to particular care for them. And that applies very much to Parachutes, but to be honest, I’m a little disappointed too. The first two tracks (Don’t Panic and Shiver) had this kind of alternative rock vibe that I was digging. I thought that maybe Coldplay was much more of a different band at this beginning stage, like more of an actual rock band rather than whatever they became today. I was a little nervous I might actually like the album (god forbid). But then the album softens and it just becomes a Coldplay album. It doesn’t help when Chris Martin’s vocals get a little grating when he goes for the high notes. I still don’t know what I honestly think about Coldplay and that even applies to the roots of the band’s discography. Favorite track: Yellow Other hits: Don’t Panic, Shiver, Sparks

The thing about jazz for me personally is that it is difficult for it to sustain my attention for most albums. I usually have just little problems with jazz albums, such as songs that might take too long or most of the album sounding much of the same for its duration. I feel that, for me, these are issues that prevent me from giving Kind of Blue a perfect five rating. However, I would be remiss to not say that this is more than likely the quintessential jazz album. Miles and each of his company are at the top of their game on this album, each perfecting their craft to give one of the smoothest jazz albums in existence. Seriously, Blue in Green has to be one of the chillest jazz songs period in my opinion. As I mentioned, I personally can’t say that this was one of my favorites, but I do recognize the acclaim that this album has received and that’s good enough for me. Favorite Track: Blue in Green Other hits: So What, Flamenco Sketches, Freddie Freeloader

I shit you not, before this album, I only knew Janelle Monáe from her bit part in We Are Young by Fun. All 10 seconds of her before Nate Ruess banishes her to the background. Then here comes this album, my first from the 2010’s. How have I gone so long without hearing anything about this? It’s a masterful blend of genres that Janelle transitions through each and every one of them smoothly. The suite suite was mostly very good, even if I felt it was a few tracks two many. The third suite, however, is a five star effort in itself. It really leans into its futuristic, psychedelic themes with the likes of Wondaland and Make the Bus. It’s also a wonderful r&b album, with the fantastically moving Say You’ll Go. In parts presenting an epic dystopian future and in parts keeping the pop vibe that was present in the 2010’s, this album is making kick myself for deeming Janelle Monáe as the Na Na girl for that one Fun song. Favorite track: Say You’ll Go Other hits: Cold War, Tightrope, Make the Bus, Wondaland, Neon Valley Street, Come Alive (War of the Roses), Oh,Maker

Listen, I consider hard rock/metal my favorite genres of music. Seeing artists such as Megadeth, Anthrax, and even Sepultura on this list peaked my interest. One of the things I’m a bit curious about is just how this list of albums treats such a heavy genre that is specifically made to be not very assessable to the general listener of music. Observing some of the reviews from some of the metal albums on here, most don’t seem to rate higher well, usually getting around about 2.5, with one of the lowest rated albums being Scum by Napalm Death, a grindcore. From what I see, most of those who partake in this album venture don’t seem to care for metal. It could be the metal bands doing their job; only making music that opposes mainstream tastes. But there is one band who crossed the picket lines and became something the metal genre seeks to resist; becoming mainstream. I have somewhat awaited the day to get a Metallica album. Of course the first Metallica album I get from the generator is the Black Album, the very album that gave Metallica their biggest success, for better or worse. Let me cut to the chase right now, this is not my favorite Metallica album at all for a few reasons. One, all the hits come at the beginning of the album. Save for Nothing Else Matters, the latter part of the album really doesn’t do too much for me. This is a problem when the album itself is a hour long, which makes the Black Album feel lengthy. Two, I feel that a lot of the thrash metal charm for Metallica’s earlier albums is not quite here. Being more broad in scope and commercial viability, it sort of lacks the edge of albums like Ride the Lighting and Master of Puppets. And third, this is where the band started to dip in quality. I mean, that feels like a common opinion, but like really, did Metallica do anything of much value after this? The closest things honestly are “Fuel” and maybe Death Magnetic. To me, this album feels like the point where Metallica reached that point of no return. The point where they became the metal band normal people listen to when they tell people they like metal. And that’s not very metal for Metallica. With that said, it’s incredibly difficult to hate this. The hits this album spawned are some of the band’s most diverse and it’s honestly impressive how well they manage to weave between mainstream rock and thrash metal and some of it really is among the band’s best work. Nothing Else Matters shows the band’s softer side with a very rare ballad. Wherever I May Roam powers the band into groove metal territory while Holier Than Thou and Through the Never keep the band’s roots firmly in thrash. And while it’s far from my favorite track, I somehow never get tired of Enter Sandman. The Black Album is a complicated album for me. This is not peak Metallica. That time was well past by the time this album came out. And even since it, some might say it was all downhill. But its success probably exposed many people to the genre of metal, making it a gray starting point to a polarizing genre. And getting to hear this in its entirety, I can see why. Favorite track: Tie between Nothing Else Matters and Wherever I May Roam Other Hits: Enter Sandman, Sad But True, The Unforgiven

There’s a belief I have with movies that I also have with albums. I don’t care how long or short it is, as long as it is enjoyable in relation to how long it is. A long boring movie is just as bad as a long boring album. That logic goes double for two types of albums: live albums and double albums. These albums tend to clock in at nearly 90 minutes in most cases (or god forbid more) and seem to never have enough material to justify listening to them. I will probably lose interest around halfway in and the rest of the album will be a slog. Now however, here’s a unique case. It’s a punk double album, meaning most of the album is filled with short songs. In addition, Minutemen bring a nice variety to the tracks, experimenting with multiple styles which should help to keep the album fresh through its nearly hour and a half runtime. I kind of like this concept, since it could make this double album actually listenable. And to be fair, most of it is. This was a refreshing change of pace for a punk album, trading the hard rock elements for more acoustic vibes while keeping the anti-establishment edge through its tracks. It seemed to work in retaining my interest… for some of the album. Look, there is good shit on this album, don’t get me wrong. This is perhaps one of the better double albums out there. But it still has that old familiar problem: I got bored halfway. The vibe went from “This is pretty good” to “Dear God, there’s still more”. That sucks because I appreciate this effort. It’s the closest a double album has gotten without losing my interest. I get why people would like this album. It’s just too long for me to consider great. Favorite track: Corona Other hits: History Part II, honestly most of the songs are too short to really single out.

I remember hearing Elton John on a classic rock radio station and had a weird debate in my head: Is Elton John really rock or was he more pop? His music never fully came across to me as “classic rock”. Maybe it’s because his weapon of choice was the piano, as opposed to the tried and true guitar. But I come to realize that debating whether Elton John fits the classic rock vibe was pointless. Because Goodbye Yellow Brick Road shows that Elton John was above simple labels. He travels across many genres and excels at each of them. (except reggae, maybe don’t do that one again. Looking at you Jamaican Jerk-Off) I will admit that around parts 2&3, the album’s power fades a little, which I’m learning is probably standard for double albums or any album longer than a hour. But the songs that hit have an immense impact. The singles spawned by this album have followed me for all my life, even if I never was around when this album was released (I’m in my twenties, so I have my parents to thank for exposing me to this album, along with other 70’s music). The memories of summer barbecues with Bennie and the Jets blasting from the speakers is the kind of shit that will follow me for the rest of my life. It’s the impact of those songs that elevate the album for me. So to answer my previous question, is Elton John classic rock or pop, I would say who gives a fuck. Goodbye Yellow Brick Road is iconic and that’s good enough for any radio station. Favorite track: Goodbye Yellow Brick Road Other hits: Funeral for a Friend/Love Lies Bleeding, Bennie and the Jets, Candle in the Wind, Saturday’s Alright (For Fighting), Roy Rogers, Grey Seal, This Song Has No Title

This is the first Neil Young album I have been given and I’m conflicted. The first side of this album just felt very one note. All the songs sounded the same and Neil just comes across as “old man yells at punk rock kids and obsesses over nature”. Most of it is fine, some of does sound good, but there is very little variety between the songs. And honestly, I’m not a fan of Neil’s voice. It’s that weird high-pitched folky voice that either you like or can get on your nerves and I’m the latter camp. The second side brings in Crazy Horse, but it doesn’t fare much better. Welfare Mothers and Sedan Delivery did nothing for me. They’re both ridiculous and not in a good way. There are two saving graces, however. Powderfinger is probably one of the best songs about someone getting obliterated by a gunboat ever. Niche genre really. But for real, this was a nice song. But the real highlight was Hey Hey Me Me (not to be confused with My My Hey Hey, the starting track). I think the bookend song idea is cute, but I really enjoyed the last track more. It really did bring out the Neil’s emotions toward the approaching trend of punk and the decline of tradition rock more so than the first track. Really, it’s Powderfinger and Hey Hey Me Me that save this album for me. Other than that, this doesn’t really bode well for the other Neil Young albums to come soon. I hope he gets better…please. Favorite track: Hey Hey Me Me Other Hits: Powderfinger, My My Hey Hey, Thrasher

There are some things in life that feel simplistic, but can become something more with creativity, like a slice of pizza or a hamburger. To me, Hard Again doesn’t break new ground. Some of the songs here rely on some well-known blues riffs. I mean, that “duh-da-duh-da-duh” riff on Mannish Boy is in virtually every blues work. But it’s the way Muddy Waters and his band perform the songs that give this album its kick. The mix between the electric guitar and the harmonica kicks so much ass and along with Muddy’s finely aged vocals, take what could have been a simplistic collection of blues tracks and spices them up. I’m not even a big blues fan and I found myself getting lost in the groove of it. Muddy doesn’t need to reinvent the wheel to take you for a ride. Favorite Track: Crosseyed Cat Other Hits: Mannish Boy, Little Girl, Deep Down in Florida, I Can’t Be Satisfied

Putting to words what this album is a little difficult for me, but I’ll try anyway. To me, this album is a moment in time; a last glimpse of rock as a dominant mainstream genre within the music industry. Back when the M in MTV meant music and not… whatever the fuck it’s supposed to mean now. A moment of authenticity through a live album that stays away from the greatest hits (for the most parts) and opts for covers, such as a then unknown David Bowie song and three Meat Puppets songs in a row. Kurt Cobain’s raspy-vocals fits really well with the pseudo-acoustic sound from his band mates. As a result, some of these songs are the best versions of themselves. Unplugged About A Girl feels more natural than Bleach About A Girl, and Dumb and On A Plain sound just as good as their original album counterparts. And I didn’t know The Man Who Sold The World was David Bowie. It’s more Nirvana’s now than Nine Inch Nail’s Hurt is to Johnny Cash. But this album is more than a live album; it’s a sense of finality. The world wouldn’t see the likes of a performance that has no hint of Smells Like Teen Spirit or many heavy-hitters. It’s a showcase of a band using their platform as a homage to their roots. A display of a band doomed to die at its prime, released months after Kurt Cobain’s passing. It’s perhaps the last gasp of rock as a mainstream force before the end of the century. It’s is, in essence, a moment. Favorite track: About A Girl Other hits: The Man Who Sold The World, On A Plain, Come As You Are, All Apologies, Dumb

This is as classic as thrash metal can come. Masterfully produced by Scott Burns, the bad boys of Brazil unleash their fury as they materialize their hellish soundscape of death and corruption. This is my favorite kind of thrash metal; vicious with some kickass solos to bridge the tracks together. However, and to piggyback off one of the popular reviews for this album, I agree this was the oddest choice for Sepultura over Choas AD. That album is probably considered more iconic and feels more “necessary” to listen to. Arise is great, but the band hasn’t reached their peak yet, as some of it feels too standard for thrash. That does cost it a star, but it’s still important for the band, and it a good showing of their work. With that said, I eagerly await the day the generator gives me Roots. Favorite track: Arise Other hits: Dead Embryonic Cells (try saying that title in front of your parents), Subtraction, Altered State, Desperate Cry

Peter Buck says that this album was inspired by the themes of loss and mourning associated with turning 30. As someone approaching 28 and a half, I didn’t need to heat that. Let me get this out of the way, The Sidewinder Sleeps Tonite doesn’t belong here. I get that it’s a breather on a downer of an album, but it’s too much. Even the band believed so, but it’s still a good song though. Otherwise, this dive into darker territory is among R.E.M.’s best work. Honestly, the real emotional part of the album for me was Nightswimming. (Everybody Hurts is great, but overplayed these days) That sense of reflection over “the good old days” in a world that seems to have moved on really gets to me. I won’t call this album a tearjerker, but it’s heavy and I certainly feel the weight. Favorite track: Man on the Moon Other hits: Nightswimming, Everybody Hurts, Ignoreland, Find the River, Sweetness Follows, Try Not to Breathe

This feels like a weird album to get for my first David Bowie album. People seem to really like Station to Station, but I couldn’t really get into it. It’s fine, but this isn’t my favorite David Bowie material. Most of it is average and it doesn’t help that 5 out of the 6 songs go over 5 minutes. The songs are pretty good however, and I like the diversity of it. Golden Years is a pretty good funk/disco romp and TVC15 is a solid art rock track that has Bowie tap into something like the Talking Heads. It’s a 3.5 for me, as four seems too high. Favorite track: TVC15 Other hits: Golden Years, Stay, Wild is the Wind

It’s a 50’s rock n’ roll album. It’s got the “doo-wap” backing vocals and all the high energy legally allowed in the late half of the decade. It is everything that represents 50’s rock n’ roll. Just one problem: I don’t really like 50’s rock n’ roll. I don’t hate it. It’s just not my cup of tea. It’s all hokey and cheesy to me. But the trade off is that the albums from this period are usually short, so they are not the worst. I cut the album some slack because it is influential and Buddy Holly is one of the most revered tragic figures in music history. And I did enjoy the softer songs. Favorite track: Not Fade Away Other hits: That’ll Be The Day, It’s Too Late (I’m not putting Oh Boy here, too cheesy for me)

Oh god, the day has come to delve into Kanye West. Rap/hip-hop is not my favorite genre, so my knowledge of Kanye’s music is almost non-existent. I saw this as a blessing considering how Kanye (or Ye, whatever the fuck he wants to be called) is nowadays, or just plain any point of his career with his 1001 controversies. But I was told that this album is a landmark achievement, and it’s from 2010, so it’s easy to look at this as a reflection of a high point of Ye’s career before the wires in his head became fried. And this project is meant to challenge my tastes in music, so I’ll be fair… to an extant. Let’s start with the good: the production’s great. Surface level complement, I know, but anything that makes a hour of Kanye bearable to me is a miracle. The songs sound really good, as it’s the type of hip-hop that’s more groovy than annoying, which is usually my vice for the genre. I couldn’t help but get lost in the likes of beats of Devil in a New Dress and All of the Lights. And the guest artists all add their weight to the album. (Though I agree Chris Rock greatly overstays his welcome in Blame Game) In a rare instance, I actually think Nicki Minaj is my favorite, as her part in Monster might be a contender for highlight of the album. As for Kanye himself… he’s fine. It’s Kanye. There’s good lyrics mixed with some self-indulgence. It’s tolerable. But here’s the weird thing: I have no desire to heard these songs again. I don’t really have it in me to listen to anything from this album. Most of the songs feel bloated to me and don’t have replayability to me. The closest song I can think of is Runaway, but that’s it. This album does nothing to sway my opinion of Kanye West: I can still care less. It’s the production and talent not nicknamed Ye that made this album not feel like a slog. I hope that if there is another Kanye West album in this project, it’s several hundred albums from now. Favorite track: Runaway Other hits that I thought were neat: Monster, All of the Lights, Devil in A New Dress, Dark Fantasy, POWER

This album frustrates me. I honestly thought this was going to be mid and it both was and wasn’t. When The Waterboys fuse their Irish folk with some modern (for the 80’s) sound, its works surprisingly well. I particularly loved World Party and We Will Not Be Lovers for this. But in the second half of the album, it veers too much into traditional and loses its appeal. Except for The Stolen Child, that was fucking awesome. There are also some other things too that knock it down. And A Bang To The Ear is way too long and Sweet Thing has this weird segment where they inject Blackbird by the Beatles in it. It’s really awkward. I really wanted to love this, since I rated 3 on three albums in a row. I see it as a 3.5, but that’s still a fourth 3. Damn. Favorite track: World Party Other hits: We Will Not Be Lovers, The Stolen Child, Strange Boat

I can’t speak from experience, but I figure it must be very difficult to make a swansong album. On top of knowing your end is at hand (mentally and physically), but you must also leave your fans with something good to remember you by. I remember David Bowie’s passing somewhat well, but never heard that he released an album two days prior to his death. I’m regretfully not well-versed in Bowie’s discography to say whether or not it’s the perfect end for him, but as a stand-alone album, it is a great swan song. Lazarus in itself feels like a proper emotional goodbye to a legendary artist. Blackstar in its entirety presents classic Bowie with hints of art and experimental jazz. The result is an album that as haunting as it is reflective. I can’t say it was perfect, but for what it is, it works well. It’s a very fitting goodbye for someone such as David Bowie. Favorite track: Lazarus Other hits: I Can’t Give Everything Away, Dollar Days, Sue (Or In A Season Of Crime), Tis A Pity She Was A Whore

This has to be punk at it’s absolute gloomiest. The reverb of the guitars, the depressed nature of the lyrics, the agony of it all, beautifully expressed by Ian Curtis. Imagine a very depressed Misfits. That’s this album. I won’t consider this a masterpiece. The gloom can get a little too off-putting at times. And it is an acquired taste for punk, lacking the high-energy in favor of dredge. But I really do jive with this darkness. It feels ahead of its time, influencing the likes of industrial and gothic rock, which I’m admittly a sucker for. It takes a bit of effort for any form of media to disturb me. This is one of the few that managed to do so. Favorite track: She’s Lost Control Other hits: New Dawn Fades, Insight, Disorder, Shadowplay, Wilderness

Let me start by saying as someone going into Billy Bragg blind, I don’t think his singing voice is bad. Yeah, it is aggressively British, but it kind of works here. He is not a great singer, however, so the more the album progressed, the more he started to lose me. Honestly, my biggest gripe with this is that it gets somewhat monotonous as it goes on. The songs started to blend together, as they feel too similar to one another; the same style of folk with Bragg’s divisive vocals. The saving grace of this album is the lyrics, balancing between love songs and political leanings. This leads to some great lines like “Something that every football fan knows, it only take five fingers to form a fist” and “Sometimes it takes a grown man a long time to learn, just what it would take a child a night to learn”. Well-versed and unapologetic, this album makes up for its shortcomings with its politically poetic bite. Favorite track: The Home Front Other hits: Greetings to the New Brunette, The Marriage, There Is Power In A Union, Levi Stubba’ Tears, The Passion

I’m thoroughly convinced that I subconsciously don’t give a shit about The Black Crowes. For whatever reason, I don’t really enjoy their songs. Maybe it’s Chris Robinson’s vocals or maybe it’s because I’m not a huge fan of southern rock, but I just don’t care. All of their songs sound literally the same, with little differences. And every single song, my attention span keeps waning before the songs are halfway done. I kind of like the hits (Hard to Handle, Jealous Again, She Talks to Angels), but I just don’t like going through Black Crowes albums. If the Southern Harmony and Musical Companion is on this project, I’m going to be very miffed. Favorite track: Hard to Handle Other hits: She Talks to Angels, Jealous Again, Twice as Hard, Sister Luck

This might seem like a minor detail to point out, but the little ambiance in the background of this album is such an interesting aspect. The clatter of the plates and glasses, the inaudible noises from the crowd. How do you think it felt to be a part of this experience? Sitting at a nice venue with some cool jazz. It’s probably a lot better than sitting in your room, trying to get your daily album done during your busy life. All jokes aside, this is some chill stuff. The trio of the piano, bass, and drums mix together very well, and this would make some amazing lounge music. While I’m not a fan of an album being primarily background music, this is a good showcase of early 60’s jazz. I just wish I can put it in the right atmosphere. Favorite track: Alice in Wonderland Other hits: Gloria’s Step, My Man’s Gone, Jade Visions

Ok, I have a question. Why are the streaming versions of this album missing songs? Most of the reviews talk about the album being 22 minutes. No, there’s missing songs. Like, is it for legal reasons or some other bullshit? So I had to use YouTube for this album, which already rubs me the wrong way. Honestly, it’s was probably too much effort for, of all things, a live album. Where most of the songs aren’t even Jerry’s. Hell, half of the album, is just Jerry doing whatever noises he can muster to pad the set list. But the dude’s got energy (probably the nicest thing I said about a racist pedo), so he gets two stars instead of one. Yippee. Favorite track: Money (That’s What I Want), I guess Other hits: I honestly didn’t give a fuck about the rest of this

Gotta hand to Frankie. This is an interesting concept album. Taking the same song and tweaking it for 15 songs is not something I seen before. Truly nobody like Frank Sinatra can match such a feat. Ok, jokes aside, this album should be a 3 from me. It REALLY lacks variety. But it’s still Frank Sinatra. And to me personally, he’s my favorite performer from this decade. His voice is timeless and at the very least, it’s good music to chill and loosen my mind to. And it’s probably the best the 50’s will get for me, so I’ll be nice and rate on a curve. Just this once. Favorite track: You Make Me Feel So Young Other hits: Idk man, just pick anything else. They sound similar.

I feel like this is as cozy as late 60’s folk rock can be. It’s a nice slice of rugged Americana that doesn’t swing into country or come off as hokey. I could probably do without the Lost Cause nostalgia, though. Especially on The Night They Drove Old Dixie Down. That Gone With The Wind type shit. But besides that, this was fairly relaxing. Favorite track: The Unfaithful Servant Other hits: Whispering Pines, King Harvest (Has Surely Come), Rockin’ Chair, Up On Cripple Creek

So this is basically an indie-fied Coldplay. Truth be told, it’s alright. It’s better than my last Mercury Prize winner (A Little Deeper by Ms. Dynamite). But the songs just go on for a while. Like why are there so many 5-minute songs? It makes the album feel a bit padded out. Honestly, this whole Mercury Prize shows me the British have a mid taste of music. Favorite track: One Day Like This Other Hits: Weather to Fly, Friend of Ours, Grounds for Divorce, Mirrorball

This has to be one of the more masterful punk rock albums I have ever heard. It’s a great 33 minutes that never comes across as repetitive or grating. There’s something about X that gives off a different energy than other punk bands. I kind of get a Sonic Youth / Violent Femmes vibe, probably due to the female vocalist. It’s easy to see why they are considered so influential to the scene. Favorite track: White Girl Other hits: In This House I Call Home, When Our Love Passed Out On The Couch, We’re Desperate, Back 2 The Base

I don’t know if it was the production or the quality of the music, but I swear R.E.M. never sounds like an 80’s band. Seriously, It’s The End Of The World As We Know It could have been released in the 90’s and I wouldn’t call it out of place. Maybe it Michael Stipe’s vocals or the Scott Litt production that give R.E.M. their sound. Document has to be one of the more cryptic, but refreshing albums of the decade. I think this might be the band’s most consistently good album to date. Everyone does their due diligence, from Bill Beery’s backing vocals to Peter Buck’s shredding, and the result is an extremely fun album. I tethered between a 4 or a 5 for this one. The score will show a 4, but it’s more of a 4.5. Favorite track: It’s The End Of The World As We Know It (And I Feel Fine) Other hits: The One I Love, Finest Worksong, Fireplace, Welcome to the Occupation

I have to get this off my chest: Led Zeppelin is one of those bands that I never really seemed to love. They’re one of those artists that get celebrated to the Moon and back, but I just can’t seem to love their work. It’s probably due to every classic rock radio station playing their songs over and over again, and making me fatigued. Honestly, I was prepared to give a ok review of this album at best. But then something happened: it clicked. I think it might have to do with the fact that I don’t recall hearing any of the these songs before. The only familiar one is Dazed and Confused, and I actually like that song, so I didn’t mind hearing that again. Other than that, it was a fresh experience and it helped me grasp as to why Led Zeppelin is so well-beloved by every classic rock radio do in existence. Babe I’m Gonna Leave You is a fucking beautiful song, You’re Time is Gonna Come is a great gospel tune about a dishonest woman, and Black Mountain Side is short, but hella sweet folk. Robert Plant comes right of the gates swinging with his iconic vocals, sometimes sounding like he’s climaxing more than singing. But he gives the songs his distinct touch, which is vital for an album full of blues covers. This has to be one of the best debuts for a band, as it quickly established Led Zeppelin as a rock mainstay. I can’t say if the other Led Zeppelin albums will completely change my opinion of the band, but I think it’s a miracle I liked it this much. Favorite track: Babe I’m Gonna Leave You Other hits: Dazed and Confused, Black Mountain Side, Your Time Is Gonna Come, Communication Breakdown, Good Times Bad Times

Around the time I reached the legal age to drink, I had the brilliant idea that Coke can be mixed with any type of liqueur. With that logic, I decided to mix Coke with Bombay Sapphire Gin. When I tasted this unholy concoction, my reactions were all over the place. I was mostly disgusted, but tried to troop through it thinking it had to work. But the combination just didn’t work. Ultimately, I ended up dumping it. That’s exactly how I feel about Fear and Whiskey. The bizarre combination between punk and country isn’t the worst thing I ever heard and it feels like it almost works at times. But the mix of the harmonicas and electric guitars and punk vocals just never hit me right. Like the gin and Coke, it never clicked with me. I did finish the album, unlike the gin and coke. But I still can’t get the taste out of my mouth. Favorite track: Hard to be Human Again Other hits: Country, Darkness and Doubt, Abernant 1984/5

Peter Gabriel is an artist I was interested in exploring his discography. He always sounded like a unique artist and I liked the songs I heard from him previously (Solsbury Hill, Sledgehammer, nothing surprising). This was a very unique album to get through, and I mean that in a good way. It’s an arty take on 80’s pop music with many catchy tracks, most tackling political themes in creative ways. Family Snapshot was my personal favorite. I love how the song for its majority increases slightly in intensity, but suddenly softens near the ends. It was probably one of the bigger emotional whiplashes I heard in a song. Considering its background of being based on the memoir of a would-be political assassin who admitted he was looking for attention, it was perhaps the most intense track on the album. That doesn’t subtract from the other hits on the album that hit that activist itch, such as Biko and Games Without Frontiers. Peter Gabriel 3 is a well put together experiment of an album; not too abstract to drive away, but not too safe for commercial appeal. I hope if any of the other Peter Gabriels make this list, they sound at least as good as this. Favorite track: Family Snapshot Other hits: I Don’t Remember, Lead A Normal Life, Biko, Games Without Frontiers, Intruder

You know, Primal Scream is a very misleading name for a band. How many people would look at this album and assume that it’s going to be something like an alternative metal album or something similar? Thankfully, I was aware of the band prior to this to keep my expectations in check. Anyway, this was pretty middle of the road for me. Some of this was pretty good for what mostly feels like more of a psychedelic vibe with a nice industrial touch. But some of it just kind of goes on, without leaving much of a personal impact. I guess I’m not really a fan of albums that seem to be more for playing in the background and “vibe” too. Favorite track: Kowalski Other hits: Get Duffy, Stuka, Medication

I honestly have zero idea why it has taken me this long in my life to fully indulge in the Pixies. The only excuse I can think of is perhaps I wouldn’t “get” it. Maybe I’d go through an album and not understand what would make it that special. Like I would finish it and go “OK, but I don’t get it. Why is this acclaimed?” But that didn’t happen here. I get it now. This album feels like one of the very few so far that might actually be essential to listen to before you die. It is the blueprint for much of alternative rock to come within the following decade. I mean, most of this album sounds like a beta version of Nirvana around the time they only had Bleach to their name. It’s also one of the most well-balanced albums I heard so far. It feels pop-oriented, but touches upon other genres (Country for Silver, surf rock for Here Comes Your Man, even punk for Crackity Jones) to never feel slate. It’s definitely indie in nature, but never feels alienating or pretentious. The tracks stick to you and refuse to let go. Maybe it Francis Black’s vocals, coming out stretchy and torn before Kurt Cobain made it cool. Or how Kim Deal’s bass riffs perfectly intricate their ways through the songs along with the guitar riffs. How the hell did it take me this long to finally listen to these guys? Favorite track: Here Comes Your Man Other hits: Debaser, Monkey Gone to Heaven, Hey, Wave of Mutilation, Gouge Away

Every year since about the time I was born, me and my family would take a summer trip to Long Beach Island. It’s a little beach town on the east end of New Jersey, about a hour away from Atlantic City. Starting in the early 2000’s, my parents would have a mixtape of songs that would sedate us through the car ride to LBI. The first half consisted of songs that were more recent… at least for the early 2000’s. A hodgepodge of songs like I Try by Macy Gray, It Wasn’t Me by Shaggy, a censored The Real Slim Shady by Eminem and some other stuff. It’s the second half of the mixtape, however, that is relevant to the album. That side consisted of songs from the 60’s and 70’s, with the likes of the Carpenters, Dionne Warwick, The Fifth Dimension and more. It was when I heard songs like Rainy Days and Mondays, California Dreamin’, Raindrops Keep Falling on my Head, and even Sweet Caroline. But the first song of this side was always What’s Going On. Thanks in part to the song being a part of one of my School Spirit Days, where all the grades of my school had to perform a synchronized dance routine to a chosen song, I was always familiar with What’s Going On (the song). It has always been a part of my life, being played every year on that drive down to vacation. I mean, maybe a song denouncing police brutality isn’t the best song to hype up for some fun in the sun, but I didn’t make the mixtape. Besides, Marvin’s silky smooth vocals with the serenading orchestra behind him was always relaxing to me, no matter the mood the song carried. For more than 28 years, I have not ventured past that song to hear the other tracks on this album… until today. I can confidently say that, in my opinion, this is the pinnacle of soul in the 1970’s. I know I not giving a hot take by saying that, but it is 1000% true. Never has an album addressed multiple issues of the time, from the aftermath of the Vietnam War, to life in the ghettos and even to the environment, with a sense of concern and subtle optimism. The flow of the album is remarkable, as Marvin seamlessly travels from one track to the next, never missing a beat. There always a nostalgic feeling along the album as Marvin ponders what the future will hold, something that somehow still applies to this day. We all try to keep a sense of some optimism despite looking at the world around us and wondering what else can go wrong. And even though Marvin may be a bit too dependent on the power of God (which he probably does a little too much), his message for love is much needed for all people. As of today, me and my family still go down to Long Beach Island, though we now go down in September rather than in the midst of summer. And while things have certainly changed, we still listen to the same songs on the way down. And while we never know how many years we got, I know that every year I’ll be hearing that familiar Marvin Gaye song again, just as I have for the last 20-something years. Favorite track: What’s Going On Other hits: Mercy Mercy Me (The Ecology), Wholy Holy, Save the Children, Inner City Blues (Make Me Wanna Holler)

I feel bad sometimes when I have to do international albums. On one hand, I love the challenge of finding some music in areas I never would have thought of looking. Not every banger has to be sung in English. But then when I get this types of albums, they don’t really keep my attention and this album is no different. There are parts of this album that I liked. I actually did enjoy some of the more dates aspects of the album (the synth effects and everything else that makes this album unapologetically 90’s as hell). But none of it could keep my attention for long, and I just lose interest before the final track. Baaba Maal is talented. I can’t deny that. But that can’t justify this nearly hour-long slog. Favorite track: Olel Other hits: Sy Sawande, Toro, Hamady Boiro

This has to be noise rock at its most melodic, accessible, and thankfully at its best. I love how the albums alternates between Thurston Moore’s more simplistic vocals and Kim Gordon’s sometimes subdued, sometimes vicious vocals between songs. It keeps the album fresh and stops it from becoming stale. Considering its length, the noise did get somewhat grating the more it went on, but this is still a good piece of grunge coming from Sonic Youth. Though so remain curious about the albums prior to this one. Favorite track: Sugar Cane Other hits: Wish Fulfillment, Drunken Butterfly, Chapel Hill, Youth Against Fascism, 100%

So, has anyone seen those images online where it says something like “Damn Homie! You Got The Whole Squad Laughing!” and it’s just people staring at you stonefaced? That’s my experience with this album. It’s bad satire that constantly thinks it’s making some kind of statement. Like yeah Frank, you showed them. I don’t know who the fuck “them” is (hippies I guess) or why half this album is animal noises and playing with your voice pitch until you sound like the missing fourth member of Alvin and the Chipmunks, but… you really stuck it to them. Also, “Nasal Retentive Calliope Music” and “The Chrome Plated Megaphone of Destiny” are the most painful songs I ever heard. Literally cringeworthy. Like I actually physically cringed during both songs. And I mean that with no irony. Favorite track: lol no nothing here this time

I feel like the generator is apologizing to me for giving me We’re Only In It For The Money by The Mothers of Invention. Like “Sorry for that shit. Here’s some actual good music from 1968.” I admire the sentiment, I mean Jimi Hendrix is legendary. There is no denying that. But I don’t think this is his magnum opus. Frankly, it kinda of suffers from a few problems. The biggest ones are its length and its lack of focus. Being double album sized and not bringing your A-game makes for kind of a meandering experience. Not that Hendrix is boring at all. There is some good shit here, especially near the end. Those last two tracks are godlike. But the two longer tracks, Voodoo Chile (not the return, that’s amazing) and 1983, overstay their welcome, especially 1983. Hendrix here is great in parts on this album and I was kind of hoping it would be more than that. Maybe I’ll get that from Are You Experienced. But Hendrix can still provide the goods even in he doesn’t fire on all cylinders. Favorite track: Voodoo Child (Slight Return) Other hits: All Along the Watchtower, Crosstown Traffic, Burning of the Midnight Lamp, House Burning Down, Have You Ever Been (to Electric Ladyland)

I haven’t hit 70 albums yet and I’ve gotten my third R.E.M. album. Not that I’m complaining, they have been consistently good up to this point. And Green is no exception. Actually, this might even be my favorite from them so far. I don’t know if that’s a hot take or not. But this is a really good mixture of some bubblegum pop with some serious asides. I’ve read that the pop was supposed to be ironic and satirical, but the band just ended up making some good pop themselves. Funny how that works. Though songs like Orange Crush and World Leader Pretend add a nice contrast away from the pop. Honestly, this feels like the send-off for R.E.M. as an outliner from the mainstream. This was the last album before Out of Time, which would make the band no longer a cult band. While I think Document is the last pure essence of R.E.M. as who they originally were, Green feels like the swan song to those days. And to me, they went out with a bang. Favorite track: Stand Other hits: Orange Crush, Pop Song 89, Get Up, Turn You Inside-Out, World Leader Pretend

I feel sometimes I forget that one of the more exciting aspects of doing this project is finding music that I never would have found on my own. I don’t know how obscure k.d. lang is in the musical landscape, but she wasn’t ever really on my radar. The genres for this album alone are all over the place. Pop, country, folk, jazz and apparently new wave? What is this shit, I asked prior to jumping in. I wasn’t expecting much at all. But this album blindsided me. This album is smooth, mostly thanks to k.d.’s outstanding vocals and the stellar production. I understand that most will find this kind of stuff boring or background material and I respect that opinion. I might even say that some of the middle tracks did kind of drag a bit, hence why this won’t be part of my 5-star gang. But in my opinion, it’s a lot better than what I was expecting. Favorite track: Constant Craving Other hits: Save Me, Season of Hollow Soul, Miss Chatelaine, Outside Myself

I’m going to be honest: this album didn’t do anything for me. Most of the songs rely on samples that are usually repeated over and over again. I get what it was going for. It an electronic vibe/dance album, so it’s part of the beat. But it mostly just kind of sounded annoying to me. I couldn’t get into it outside of a couple of songs. Honestly, Frontier Psychiatrist was the only track that sounded like a song. Everything else basically a lyric, repeating it over and over again, changing up a little for variety, and call it a day. If this is your sort of thing, that’s fine. But it’s not for me really. Favorite track: A Different Feeling Other hits: Frontier Psychiatrist, Etoh, Electricity, Two Hearts in 3/4 Time