This might sound odd, but S.F. Sorrow has such a charmingly “60s” sound. Sure, it’s from 1968, but its mix of psychedelic tones, sitar accents, and layered vocals feels like a quintessential time capsule—and yet, in being so true to its era, it also feels timeless. Billed as one of the first rock operas, this is right up my alley. I love the concept of rock operas, and I really enjoyed this one, though it’s the kind of album I’d want to listen to start-to-finish. Out of context, the individual songs might lose some of their impact. At times, it almost sounds like a lost Beatles album. Between the vocal harmonies, the occasional sitar, and Phil May’s Lennon-esque grit, it’s hard not to make comparisons (meant entirely as a compliment). There’s also an impressive drum solo on “Baron Saturday,” but with two credited drummers, I have no idea who to thank. If I had a minor complaint, it’d be that the album just…ends. For a rock opera, I’d hoped for a bigger climactic closer. Standout Track: The whole album, really. It works because of how it comes together as a whole. Score: 4/5

When I saw this album pop up, I couldn’t help but celebrate—it’s a personal favorite, so I’m not approaching this one as a fresh listener. Metallica has been a staple of my music rotation for a long time, and this album is a key reason why. The rhythm guitar work of James Hetfield is the standout for me. It’s incredibly precise, powerful, and drives the album with relentless energy. The songwriting is impeccable, blending aggression with technical brilliance, and it still sounds as fresh as ever. Metallica sits firmly at the top of my “bands to see live” bucket list, so my bias here is undeniable, but I honestly think this is one of the greatest metal albums ever made. Standout Song: Master of Puppets Score: 5/5

Santana’s Abraxas is a lively and tightly packed album, bursting with energy across its 37 minutes. The drumming by Michael Shrieve and Greg Rolie’s keyboards are particularly outstanding, driving the album’s dynamic feel. While Carlos Santana’s guitar work is undoubtedly the centerpiece, he doesn’t dominate too much, allowing the full band to shine together. There are moments where the album feels like an extended jam session, but it never overstays its welcome. Incident at Neshabur stands out as a highlight track, encapsulating the album’s blend of jazz, rock, and Latin rhythms. A fantastic listen, and worthy of a solid 4/5.

Stevie Wonder’s Songs in the Key of Life opens with a mellow, gospel-tinged track, setting the tone for an album that covers a wide range of genres over its ambitious hour and 48-minute runtime. While not every track fully lands, Wonder’s genius is undeniable throughout. Sir Duke is a standout with its infectious swagger, making even non-dancers feel like they could hit the floor. In fact, the best Stevie is the kind you can strut to. Though Wonder’s musicianship shines, his voice can feel a little thin at times, emphasizing the message of the songs more than the delivery. This works well for the material, though some tracks, like Ordinary Pain, come across as filler in an otherwise rich collection. Isn’t She Lovely is, as the title suggests, a lovely song, though the crying baby intro is a bit grating. Still, you can’t help but admire the sentiment, especially knowing the song was written for his daughter, Aisha, who even gets a credit on the Wikipedia page! A sprawling yet iconic album, Songs in the Key of Life earns a solid 4/5, with Sir Duke leading the pack.

Marvin Gaye’s Let’s Get It On grabs you from the first note, with his voice immediately setting the tone for an album full of soul and sincerity. The opener is an undeniable classic, but it’s the authenticity of the whole album that really stands out. It feels like these songs are pouring straight from Gaye’s heart, as if he’s rushed into the studio the moment inspiration struck. His vocal performance is almost like a magic trick—constantly surprising you with its range and emotion, leaving you wondering how he pulls it off time and time again. If I Should Die Tonight is the standout, showcasing Gaye at his most vulnerable and powerful. And, as a side note, the fact that the Marvin Gaye biopic starring Jesse L. Martin didn’t happen is still a real shame. This album earns a perfect 5/5.

PJ Harvey’s Stories from the City, Stories from the Sea presents a challenging listening experience. Her shouty vocals often overwhelm the music, creating a cacophonous atmosphere that makes it hard to appreciate both the lyrics and the instrumentation. Unfortunately, the music itself doesn’t offer much to elevate the album, feeling unremarkable and forgettable. I find her voice works better on the more subdued tracks, where it can shine without the need for constant intensity. In its current form, the album drifts by, requiring a significant effort to stay engaged. The frequent yelping can be grating, detracting from what could have been a more cohesive experience. “A Place Called Home” stands out as a decent track, but overall, this album earns a disappointing 2/5—mostly boosted by Thom Yorke’s contributions.

I went into Raw Power by The Stooges with low expectations, but the energy of the opener, quickly drew me in, even had me tapping my foot. The guitar work is solid, and the drumming is great, while Iggy Pop’s vocals—where I thought the album might falter—actually impressed me. Your Pretty Face Is Going to Hell was a surprise, with Iggy adopting a vocal style reminiscent of Alice Cooper, much more intense than what I’m used to from him. Although I enjoyed the album more than I anticipated, I don’t see myself revisiting it often. The standout track is Search and Destroy, but overall, I’d rate it 3/5.

Green Day’s American Idiot is an outstanding album, blending fast-paced punk, anthemic rock, and multi-part tracks that venture into almost progressive territory. Although I’ve typically found Green Day to be “okay” at best, this album stands out as one of my favorites. The instrument mix is solid, with guitars and bass doing their job well, but Trè Cool’s drumming is on a whole other level. While there’s a slight dip in quality between Give Me Novacaine and Letterbomb, the album still holds up as a classic. The hardest part of reviewing this album is resisting the urge to sing along. I wish I could have experienced one of the concerts where they played it in full. Standout track: Homecoming. Score: 5/5.

This Is Fats Domino! is a fine album, but the songs don’t leave a lasting impression on me. If I were watching a live performance, I’d politely applaud, but it’s not something I’d rush to buy. While Fats Domino deserves credit for his role in shaping the genre in its early stages, it sometimes feels like listening to a demo—a work in progress rather than the final product. To be fair, I might not be giving the album its due since I’m listening on YouTube, and the mixing doesn’t seem quite right. That said, some tracks are enjoyable, but the overall experience feels repetitive, particularly with the left-hand piano chords. The saxophone is nice, and Fats’ voice is pleasant, but a lot of the songs feel unfinished, like they started with an idea but didn’t follow through. Also, I don’t appreciate the confusion of there being This Is Fats Domino! and This Is Fats, causing a momentary panic about listening to the wrong album! Standout track: Blue Monday. Score: 3/5 (though it’s closer to a 2.5).

The Doors’ self-titled debut album feels incredible considering how young the band members were at the time—Jim Morrison was only 23, Robby Krieger 20, and John Densmore 22. Ray Manzarek, at 27, adds a maturity that’s evident in the album’s heavy use of keyboards and organ. The album feels ahead of its time. Even though the band’s influences are clear, the way they blend and reinvent those influences feels forward-thinking, almost like a precursor to bands like Franz Ferdinand with their dry humor. Morrison’s vocal range, from crooning to shouting, is a fascinating mix, somewhere between Dean Martin and Billy Idol. This is undoubtedly a true classic. Standout track: Light My Fire. Score: 5/5.

Dusty in Memphis can be a bit misleading at first glance—it sounds like it could be a live recording, but it’s actually a studio album. There’s no doubt that Dusty Springfield can sing, and her vocal talent is undeniable. However, aside from a few exceptions, I don’t feel like the songs live up to the standard her voice sets. This is surprising, considering songwriters like Burt Bacharach, Carole King, and Randy Newman are credited. The songs are still good, but it feels like Dusty deserves more than just “good.” Standout track: Son of a Preacher Man. Score: 3/5.

Going into The Undertones, I was optimistic, knowing Feargal Sharkey’s voice from his solo work. But overall, this album left me underwhelmed. None of the songs really stood out, and even their most famous hit, Teenage Kicks, was just “okay” for me. Some tracks, like True Confessions, felt like unfinished ideas. It had a nice drumming sound, but that was pretty much the whole song. Ultimately, it was a disappointment. Standout track: Teenage Kicks. Score: 2/5.

Appetite for Destruction is an album I’m incredibly familiar with. Guns N’ Roses have always been a band I’ve enjoyed, including Chinese Democracy, but this debut has more grit, aggression, and danger than any of their other releases. Overflowing with testosterone, this album strikes the perfect balance between rock ‘n’ roll swagger and skilled musicianship. Axl’s voice—like if a chainsaw and a wildcat had a baby—combined with a ridiculously talented band, results in what is quite possibly the greatest debut album in rock history. It’s packed full of classics. Standout track: Paradise City (seeing it live was extraordinary). Score: 5/5.

Stardust by Willie Nelson is an unexpectedly gentle, almost lullaby-like album that feels like it’s meant to be listened to in a quiet, relaxed setting. Nelson’s voice here is warm and unhurried, paired with subtle, sing-song guitar leads that weave through each track with a comforting rhythm. There’s a sweetness and sincerity in his delivery, making each song feel like it’s crafted for easy listening rather than dramatic impact. The album is gentle enough to slip into the background, yet it’s also engaging if you let yourself sink into its calm, nostalgic flow. I found myself picturing this album as the perfect companion for winding down at the end of the day, letting the warmth of Nelson’s voice and guitar lull me into a peaceful state. However, listening to it on a drive to work made me feel the album’s softness almost too keenly—it lacks the energy I might need to start the day. It’s an album that, while calming, teeters close to “Muzak” in its gentleness. Still, Nelson’s version of Don’t Get Around Much Anymore stood out, with his guitar taking on an almost conversational tone that was easy to sink into. Overall, Stardust is sweet and tender—an album to settle down with, not necessarily to get fired up by. Standout track: Don’t Get Around Much Anymore. Score: 4/5.

Radiohead are a genuine puzzle for me. For years, I didn’t pay them much attention, and then somehow In Rainbows made its way onto my list of favorite albums. And yet, here I am again with Amnesiac, once more teetering on the fence, caught between admiration and bewilderment. Listening to Amnesiac continues this paradox. There’s Thom Yorke’s voice—sometimes haunting, sometimes droning, leaving me unsure whether it’s something beautiful or just flat. And the music itself keeps me guessing: at times, it feels deeply inventive, as though Radiohead are tapping into something profound. Other times, I wonder if it’s simply strange for the sake of being strange, with Yorke and the band leaning hard into weirdness without a clear purpose. I’m not sure if Radiohead are a “Marmite” band for most listeners, but they certainly are for me. With Amnesiac, I can’t quite land on either side; it’s like an album that deserves both a 1/5 and a 5/5 simultaneously. Tracks like Pyramid Song stand out, intriguing in their atmosphere and elusive lyrics. Yet for each song I connect with, there’s another that feels like it’s challenging me to try harder than I’d like to. Overall, Amnesiac is complex, weird, and constantly contradictory—maybe that’s exactly what makes it so fascinating. Standout track: Pyramid Song. Score: 3/5 (but somehow, also a 1/5 and a 5/5).

Car Wheels on a Gravel Road is one of those albums that feels perfectly fine but doesn’t quite break through. Listening to it, I can appreciate the music and Lucinda Williams’ voice—both are well-executed and undeniably pleasant. Still, the album feels almost like background noise, something I could enjoy more as part of a film soundtrack than as a standalone listen. There’s a subtlety to Williams’ work here that might be impactful in the right setting, yet, track by track, everything blends together into a sort of “nice, whatever” vibe. The songs are consistent in tone and quality but maybe a bit too consistent, to the point where it’s hard to pick one that really stands out or sticks. It’s not that anything is lacking per se; it’s just that the album as a whole never quite grabs my attention or pulls me in. Standout Song: None, really; they all feel like parts of the same backdrop. Score: 2/5

I went into Catch a Fire without high hopes, having never quite connected with Bob Marley’s music. Even while watching the One Love biopic, the music felt like an interlude in the compelling story of his life rather than something that truly engaged me. After giving the album a chance, my opinion remains largely unchanged. While there’s some impressive lead guitar work on the opening track, Concrete Jungle, the rest of the album doesn’t leave much of an impression. Marley’s style and sound are clearly unique, but here, it just doesn’t resonate for me. Standout song: Concrete Jungle Score: 2/5

Leh-’Nérd ’Skin-’Nérd), is filled with familiar tracks and Southern rock hallmarks, yet it strikes me as a good, though not outstanding, listen. Some songs I already knew—Free Bird, Tuesday’s Gone (through Metallica’s cover), and Simple Man (from Shinedown’s)—stand out as highlights, but the album as a whole doesn’t fully grip me. Instrumentally, there are some real gems here. Billy Powell’s piano work on Things Goin’ On adds a welcome flair, and of course, the legendary guitar solos on Free Bird still hit with impressive power. However, Ronnie Van Zant’s vocals don’t quite match the punch of the music. His voice is pleasant but feels like a weak link against the energy of the band’s sound, where a stronger vocal presence might have elevated these songs further. Standout Track: Free Bird Score: 3/5

The Beach Boys Today! showcases the group’s signature vocal harmonies, which are undeniably fantastic. The intricacies of their harmonies and the falsetto vocals that rise above the mix bring a lot of texture to each track. Just hearing those voices blend so seamlessly is enough to draw me in, and it’s clear they invested real artistry into the vocal arrangements. Yet, despite these vocal highlights, the songs themselves often don’t stick with me. While the harmonies are beautiful, many tracks seem to lack the depth or energy to hold my attention beyond an initial listen. Most of the songs don’t quite leave a lasting impression, though there are exceptions, like Help Me, Rhonda, that stand out for their catchiness. Some of the more upbeat numbers also lean into a “twinkly” or “jangly” guitar sound, which I find slightly too twee, almost bordering on irritating. The album’s closer—a studio chat among the band—also puzzles me; while it might offer a glimpse into their personalities, it feels like an odd inclusion that detracts from the album’s flow. Standout Track: Help Me, Rhonda Score: 3/5

Frank Ocean’s Channel Orange has moments that shine when he really lets loose vocally. When he leans into singing with genuine emotion, the result can be captivating. Pyramids is a perfect example, blending intricate storytelling with an unforgettable melody, and Sweet Life has a warm groove that pulls you in. Andre 3000’s guest spot is a high point as well, bringing his signature energy and charisma to the album. However, a lot of Ocean’s vocal style on Channel Orange leans toward that reserved, almost monotone delivery that I associate with Drake. The detached, almost indifferent tone often pulls me out of the music rather than drawing me in. It’s as if he’s holding back, which makes it hard to connect fully with the album, even though I can see the craft in it. On a lighter note, I couldn’t help but mishear “set the cheetahs on the loose” as “said Vegeta’s on the loose,” which was a funny moment in an otherwise mellow listen. Overall, while there’s definitely artistry to appreciate, I just found it hard to engage emotionally. Standout Song: Pyramids Score: 2/5

It’s hard to believe Hot Fuss has been around for twenty years. This album practically defined mid-2000s indie rock, and it still holds up. Listening takes me right back to shouting, “Hey shut up!” in the backseat of a friend’s car along with Andy, You’re a Star, or trying my best to sing Somebody Told Me on Singstar (though maybe without the rapturous applause I clearly deserved). Hot Fuss is packed with brilliant, anthemic tracks that demand a sing-along. What’s surprising, to me, is how strong the album’s second half is; even though the opening tracks got more radio play, every song here shines. Tracks like All These Things That I’ve Done and On Top showcase just how much range The Killers were aiming for, layering Brandon Flowers’ unmistakable vocals with that soaring, synth-heavy sound. Though the band’s later albums have their own highlights, Hot Fuss will always have a special place in my heart. It’s a debut that feels timeless, still every bit as exciting and raw as it was back then. Standout Song: Mr. Brightside Score: 5/5

Garbage. If you think I’m spending a Saturday listening to this tuneless drivel, and giving that pair of gormless monobrowed Planet of the Apes rejects a minute of my time, you are sorely mistaken. This could be the Million and One albums to listen to before you die, and Oasis wouldn’t belong on it. The most overrated band in history. Standout Song: Don’t be silly. Score: 1/5

The Suburbs by Arcade Fire turned out to be a very pleasant surprise. I didn’t know exactly what to expect going in, but it certainly wasn’t this. The album mixes catchy hooks with introspective lyrics, creating a reflective atmosphere that balances melancholy without ever feeling morbid or overly dark. Win Butler’s vocals work well with the tone of the album, and while I prefer his singing over Régine Chassagne’s, her contributions are limited enough that it doesn’t disrupt the overall flow. Standout Song: City With No Children Score: 4/5

Five Leaves Left opens with a style that instantly feels introspective, and as I started listening, I was struck by how much of Nick Drake’s vocal approach seems to have influenced artists like Eddie Vedder. Not necessarily relevant to this album on its own, but it added an interesting layer of context for me. Drake’s voice, while pleasant, has a certain detached quality that I found difficult to fully engage with. It has a drifting, somewhat inconsequential tone, which makes me shift my focus to the guitar. The guitar work has a similar quality—it’s delicate and atmospheric but not exactly gripping, leading me into this loop of refocusing from voice to guitar and back again. Oddly, listening to both together as a whole doesn’t quite resolve this feeling of drifting. There are highlights, though, where the arrangements feel more layered. For example, Way to Blue has a string arrangement that elevates the song, giving it a fuller, richer sound. The word that kept coming to mind as I listened was “meandering.” The album feels like a one-sided, stream-of-consciousness conversation, and while this has a certain charm, it also feels unfocused at times. As a debut, Five Leaves Left hints at ideas that could be refined, and perhaps with his next two albums, Drake will bring more definition to his style. I’m curious to see if his later work will add to my impression of him as an artist. Standout Song: Way to Blue Score: 2/5

The World is a Ghetto by War showcases the undeniable talent of the band’s musicians, but despite this, I found the album tedious. War has a reputation for their unique blend of funk, jazz, and Latin influences, and while the musicianship is clearly there, the result, in this case, fell flat for me. Though I’m no stranger to lengthy songs, the two extended tracks on this album felt unnecessarily drawn out. Instead of using the length to build something immersive or dynamic, the tracks just seemed to prolong a sense of repetitiveness, making it feel like dullness stretched to its limits. For me, any momentum the band could have built is lost in this excessive runtime. Standout Track: Pass Score: 2/5

If Songs the Lord Taught Us is truly divine inspiration, then I’m happy to remain an atheist. This album comes across as a cacophony of substandard musicianship, topped off with tuneless yelps that pass as singing. It’s chaotic, rough around the edges, and, while clearly aiming for a tongue-in-cheek style, it’s a joke that I just don’t find entertaining. I can see that this album has its fans, but the gritty, unpolished quality fails to resonate with me. The Cramps may have built a reputation for this raw, campy style, but, in my view, there’s a fine line between endearing and unbearable. Here, unfortunately, it lands on the latter. Standout Song: None Score: 1/5

Is this some kind of sick joke?

Most of my experience with U2 comes from greatest hits albums, and I never felt the need to explore much further. But War surprised me. It’s rawer, less polished than I expected, with The Edge’s characteristic guitar effects stripped back considerably. This pared-down approach gives the album a gritty energy, with the songs carrying a certain urgency. I’m not sure what U2’s current reputation is, but back in school, they were often treated as something of a joke. Bono was “that guy who wore sunglasses indoors” (later explained by his glaucoma), and there was always that joke about, “Well, stop clapping then.” Despite all that, I’ve always liked them. They’ve built up an impressive catalogue, and hearing the deeper cuts on War reinforces just how good they can be. Standout Track: The Refugee Score: 4/5

This might sound odd, but S.F. Sorrow has such a charmingly “60s” sound. Sure, it’s from 1968, but its mix of psychedelic tones, sitar accents, and layered vocals feels like a quintessential time capsule—and yet, in being so true to its era, it also feels timeless. Billed as one of the first rock operas, this is right up my alley. I love the concept of rock operas, and I really enjoyed this one, though it’s the kind of album I’d want to listen to start-to-finish. Out of context, the individual songs might lose some of their impact. At times, it almost sounds like a lost Beatles album. Between the vocal harmonies, the occasional sitar, and Phil May’s Lennon-esque grit, it’s hard not to make comparisons (meant entirely as a compliment). There’s also an impressive drum solo on “Baron Saturday,” but with two credited drummers, I have no idea who to thank. If I had a minor complaint, it’d be that the album just…ends. For a rock opera, I’d hoped for a bigger climactic closer. Standout Track: The whole album, really. It works because of how it comes together as a whole. Score: 4/5

This album is good—of course it is. It’s Paul McCartney in his prime, so there’s a level of quality that you expect and that he delivers here. McCartney’s knack for melody and songcraft shines through, particularly in tracks like Jet and Mrs. Vanderbilt, which bring an effortless charm to the album. However, I can’t help but feel Band on the Run is on the list as much for the McCartney name as for its actual content. While it’s enjoyable and undoubtedly polished, it doesn’t strike me as a “must hear” album. It’s one I’d happily revisit, but more for the ease of McCartney’s style than any profound impact. Standout Track: Mrs. Vanderbilt Score: 3/5

Low opens with an unusual move—an instrumental, Speed of Life, kicking things off. It feels more like a mid-album interlude, leaving me wondering, “Where are you going with this, David?” That question is soon answered with Breaking Glass, where a swaggering drumbeat leads into a funk-infused verse, punctuated by strange sound effects. Bowie seems to declare, “Don’t question me; I do what I want.” The short, fragmented tracks on Side One almost make this feel like a demo tape, as though we’re seeing glimpses into Bowie’s creative process rather than fully-formed songs. It’s intriguing, though it also makes me think I’d understand him better by starting with his earlier work. For me, Side Two is where Low really hits its stride. The atmospheric instrumentals bring out Bowie’s darker, more cinematic side, echoing the mood of a Vangelis score. The Brian Eno and Tony Visconti partnership here is clearly pushing boundaries, and it’s fascinating to see how influential this era of Bowie has become. I also love that Iggy Pop has a cameo on What in the World—it’s a fun detail that adds to the album’s charm. Standout Track: Sound and Vision Score: 4/5

The second installment in the Jimi Hendrix Experience trilogy, Axis: Bold as Love, is, for me, the least remarkable of the three. That’s not to say it’s a bad album—this is Hendrix we’re talking about, so of course it’s fantastic. But compared to the explosive debut of Are You Experienced and the sheer ambition of Electric Ladyland, this one feels a little less impactful. That said, the inventiveness here is astounding. Hendrix’s ability to bend and shape sound is unparalleled, and tracks like Spanish Castle Magic showcase his unparalleled talent. Listening to this album inevitably raises the age-old question: what if Hendrix had lived past 27? The fact that he released three iconic albums in just over a year is mind-blowing. It’s impossible not to wonder what he could have created in the decades that followed. Standout Track: Spanish Castle Magic Score: 3/5

John Prine’s self-titled debut feels like a masterclass in storytelling. The album alternates between funny and sad songs, though really, the funny songs are just the sad ones with the melodrama dialed up. As someone who appreciates a bit of theatrical exaggeration, I respect that. The combination of Prine’s distinctive voice and the mostly gentle country guitar makes this a very pleasant listen. His lyrics take center stage here, painting vivid pictures and capturing everyday life with wit and poignancy. My only complaint is that the songs start to blur together after a while. While the lyrics are brilliant, the delivery could have used a bit more variety to keep things engaging throughout. Standout Song: Your Flag Decal Won’t Get You Into Heaven Score: 3/5

At the time of its release, I imagine The Cars must have felt groundbreaking. But listening with 2024 ears, it comes across as fairly… paint by numbers. That’s not to say any of the songs are bad. If they came on the radio, I wouldn’t turn them off. But nothing about this album really stands out to me. In fact, having waited a few hours after listening to write this, I find myself struggling to recall any of the tracks. Score: 2/5

When I first tried to learn guitar (a failed endeavor), one of the first songs my teacher taught me was Blitzkrieg Bop. It felt like I could instantly play The Ramones’ entire repertoire. The pursuit of mediocrity that Ramones undertakes is almost admirable. The guitars are beginner level, the drums basic, the singing often unintelligible—and that’s the point. None of this is a criticism, because to call out The Ramones for a lack of technical skill is to fundamentally misunderstand them. The album was recorded in just seven days, and by the time you reach the last few tracks, they blend together in a way that suggests they may have been bashed out in one continuous session. The whole record feels like a challenge: they wandered into the studio, threw this together, and left it to the listener to either like it or lump it. It’s magnificently punk. While I wouldn’t call myself a huge fan, I deeply respect their ethos. Standout Track: Blitzkrieg Bop Score: 3/5

There are moments of beauty to be found in Clube da Esquina, such as the soothing guitar work on “Trem de Doido,” which provides a pleasant backdrop. However, as a whole, the album didn’t resonate with me. The vocals, in particular, were a challenge to get through, and at several points, I debated whether to finish listening. While I can appreciate the artistry behind the music, it ultimately didn’t connect with me in a meaningful way. Score: 2/5

I thoroughly enjoyed this album. Elvis’ voice is in top form here, especially on “Fever,” where his delivery is impeccable. The mix of ballads and upbeat tracks keeps things engaging throughout. It’s definitely one I’ll revisit. Standout Song: Such a Night Score: 4/5

This is an album so brimming with brilliance. I can’t help but feel that perhaps trimming it down would only serve to improve it. The problem there, is I could suggest a song to cut, and I’d probably have a large number of Beatles fans forming a mob. There’s no way you could get a consensus on what to keep. For example, my dad decries “Ob-La-Di, Ob-La-Da” as being nursery rhyme rubbish, but I love the silliness of the lyrics (and I think the little flub only adds to it), and the way the instruments are interwoven (was that a marimba I just heard - it was not, I clearly don’t know my instruments)? I do struggle to come to terms with the fact that “The Continuing Story of Bungalow Bill,” something out of a warped children’s TV show (complete with “singing” from Yoko) leads us directly into “While My Guitar Gently Weeps,” which is, to me, a classic song, and that opening guitar immediately washes over me like a soothing wave. There’s also something very ballsy about starting your album with a song parodying both Chuck Perry and The Beach Boys, but “Back in the USSR” absolutely works. For me, it’s really just the bloated nature of the album that stops it from being a perfect score. Standout Song: While My Guitar Gently Weeps Score: 4/5

I found this album dull. The repetitive instrumentation and the silly sing-song vocal style didn’t work for me at all. The rapping itself was fine, but not enough to redeem the rest of it. Standout Song: None Score: 1/5

I listened to this album on the way to work, stuck in traffic due to icy conditions. Normally, I’d be in no mood for music, but somehow O.G. Original Gangster cut through my foul mood. Maybe it’s because I grew up watching pro wrestling, but the swagger and over-the-top braggadocio on display made for a surprisingly enjoyable listen. I don’t know if I’d revisit it, but as a first-time experience, it was a pleasant surprise. Standout Track: As a metalhead, I should say Body Count, but I actually loved the spooky vibe and storytelling of Midnight. Score: 3/5 (a high 3)

Oh, I love this. I love this kind of music in general, really—it’s the sort of music I put on to relax or to work to. Sure, it gets a bit samey, but it’s just so soothing. Frank had the kind of voice I could listen to for hours. I will say, though, that although I do try my best to make allowances for differences in vocabulary between then and now, the song Makin’ Whoopee was somewhat challenging to listen to straight-faced. However, I did look it up, and when it was written, the phrase simply referred to celebrating marriage, rather than what it might suggest to modern ears. Standout Track: You Make Me Feel So Young Score: 4/5

Look, autocorrect, it’s Lauryn. Just let it happen. This is a good album. Lauryn Hill has a fantastic voice, her rapping is sharp, and the songs are well-crafted. There’s a lot to appreciate here. That said, I feel like she leans into over-singing at times, which can be a bit much. And I absolutely could not stand the skits, intros, and outros scattered throughout the album. They felt intrusive and took away from the overall experience. If there’s a version that cuts all that out and just leaves the songs, I’d prefer it by far. Standout Track: Ex-Factor Score: 3/5

I wasn’t expecting the album to open with a song like Let the Good Times Roll. Ray really attacks those vocals, delivering a rip-roaring opener that immediately sets the tone. The first half of this album is dedicated to Ray performing Big Band classics, and it’s absolutely wonderful. The songs are so joyous and expertly played, filled with energy and life. There’s such a lovely quality to Ray’s voice—it’s hard to describe, but it’s almost like a singing saxophone, warm and full of expression. The second half swaps out the horn section for a string orchestra, creating a much more subdued atmosphere. It’s unusual to see an album with two such distinct halves, and it ends up feeling almost like two separate EPs. That said, the quality of the music never falters. The orchestration is rich and lush, washing over you like a warm blanket. Standout Track: Let the Good Times Roll / Come Rain or Come Shine (it only feels right to pick one from each side) Score: 5/5

I’ve never quite understood the trajectory of Franz Ferdinand’s popularity. When this album and its follow-up came out, they were absolutely massive, seemingly omnipresent on music channels. Then, even though the quality of their output never wavered, they seemed to slip under the radar. Their later work, including their collaboration with Sparks, deserves just as much attention as this debut. But this—this is great. It’s catchy, lyrically sharp, with those words delivered beautifully in Alex Kapranos’ signature sardonic style. Everybody knows the iconic guitar breakdown in Take Me Out, but for me, the gorgeous keyboard melody in Auf Achse steals the show. There’s a slight dip in quality in the final third of the album, which is why I’m saying 4 rather than 5, but this remains a wonderful debut. Standout Track: Auf Achse Score: 4/5

I went into this album expecting not to enjoy it. And I didn’t. But I didn’t expect how I felt about it. I thought I’d be giving it a 1/5 rating, but there’s something there, something I wasn’t anticipating. All the things I expected to dislike about the album—its aggressive tone, the snarled and sparse vocals, the repetitive nature of the songs (I actually accidentally listened to half of “Smack My Bitch Up” again because I hadn’t noticed the album starting over)—didn’t sit well with me. Until, at some point, I stopped trying to listen to it as an album. I thought dismissively, “This is the kind of music they play in movies when they want to disorientate the viewer,” and then something clicked. I began picturing chase scenes or futuristic video game levels, and suddenly the music made much more sense in that context. I’m still giving it a 2/5 because I can’t see myself revisiting it, but it’s surprising how much more I appreciated it once I changed my mindset. I honestly thought this album was destined for the 1/5 pile. Standout Track: Mindfield Score: 2/5

I’m trying to judge each album as standalone, but when the algorithm gives me two Ray albums in quick succession, it’s hard not to compare them. The Genius of Ray Charles, released three years before this, somehow feels more contemporary. That said, this is still a very good album, and I’m starting to suspect I might be a fan of Mr. Charles. His voice and delivery are as superb as ever. However, the backing choir on this record has a dated sound that didn’t work for me personally, which held it back slightly. Standout Track: I Can’t Stop Loving You Score: 4/5

I feel like enjoyment of this album hinges entirely on whether or not you like Siouxsie Sioux’s vocals. I do not. Score: 2/5

This served as quite nice background music as I worked today, but I can’t see myself listening to it anywhere else. I felt it was maybe a tad long too. Score: 2/5

Radiohead remain such a marmite band for me. Thom Yorke is capable of singing like an angel, and yet so often he drones. The album is never unlistenable, but a lot of it blurs into one for me, so it never quite gets above the level of “background noise.” I’m starting to think that my love of In Rainbows is an exception to my usual take on Radiohead. Standout Song: We Suck Young Blood Score: 3/5

This is a very safe, very middle-of-the-road album—but that’s not necessarily a bad thing. It’s mellow without being dreary, offering a soothing listening experience that’s pleasant and relaxing. While I personally prefer modern Coldplay, where they’ve leaned into dancier elements, this album still holds up as a strong example of their early work. The songs are polished and radio-friendly, with Chris Martin’s vocals bringing a gentle warmth throughout. The album may not be groundbreaking, but it’s consistent and enjoyable, even if it doesn’t reach any dazzling highs. Completely unrelated to the music, but I have to say—Chris Martin’s guest appearance on Modern Family was genuinely hilarious. That has nothing to do with the album, but it’s stuck with me! Standout Song: Amsterdam Score: 3/5

This album is simplistic in its arrangements and, at times, even repetitive, but it’s hard to fault it when it’s delivered with such enthusiasm and tongue-in-cheek humor. Ray Davies’ sharp wit and observational lyrics shine throughout, and the band’s charm makes up for any lack of complexity in the music. It’s an album that feels like a cheeky grin—playful and irresistibly enjoyable. The mix of satire, storytelling, and lightheartedness gives Face to Face its enduring appeal. While it may not be the most sophisticated record, it’s packed with personality, and I found myself thoroughly entertained. Standout Track: Mr. Pleasant Score: 4/5

Sadly, I found this album to be quite forgettable. The overuse of samples created a repetitive experience where many songs blurred together into a droning monotony. Flavor Flav’s nasal delivery grated on me, and while Chuck D’s commanding performance stood out, it wasn’t enough to save the album overall. That said, my criticisms of the album’s abrasive tone and confrontational delivery feel tempered by the context. The aggression and dissonance are reflections of the environment and culture that Fear of a Black Planet was born from—a world of systemic oppression and deeply entrenched racial injustices. Unfortunately, the issues this album confronts remain troublingly relevant today. Public Enemy’s approach was never going to be timid or restrained when addressing such vital sociopolitical matters, and I respect their unapologetic passion. Ultimately, I suspect part of my disconnect stems from not being in the album’s intended audience. As a middle-class white guy from England, my lived experiences differ drastically from the perspectives woven into these tracks. I can recognize the album’s importance and artistry, but it wasn’t one I could connect with on a personal level. Standout Track: Burn Hollywood Burn Score: 2/5

Madonna – Ray of Light Given that my prior knowledge of Madonna extended only to her providing Die Another Day, one of the weakest Bond themes in history, I wasn’t very optimistic going into this album. But this? This, I liked. Ray of Light marks the intersection of Madonna’s reinvention of her style and my own musical tastes, and the result is excellent. Her vocals shine throughout the album, and William Orbit’s production elevates everything with a spacy, ethereal sound that feels timeless. Standout Song: Frozen (in my opinion, her greatest ever track) Score: 4/5

This album is a bit hit-and-miss for me, mostly due to the vocals. Both Thurston Moore and Kim Gordon fluctuate between a style I quite enjoy and one that doesn’t work for me at all. However, Steve Shelley’s drumming is consistently stellar, providing a strong backbone throughout. I found myself gravitating more toward the grunge-leaning tracks than the punk-inspired ones, which felt more in line with my tastes. Standout Tracks: Theresa’s Sound-World, Sugar Kane Score: 3/5

Don McLean – American Pie This is gorgeous—vocally, lyrically, emotionally. It might just be my favorite discovery so far. Upon finishing this album, my instinctive response was to lean back in my car seat, shut my eyes, and just smile (don’t worry, I was parked). The gentle warmth of these ballads washed over me completely. Songs like Vincent, Empty Chairs, and Crossroads are stunning, each filled with heartfelt emotion and delivered with incredible sensitivity. Of course, the epic American Pie itself is a phenomenal opener that sets the tone beautifully. If I had one complaint, it would be Everybody Loves Me, Baby. It feels like a record label-mandated upbeat track that slightly disrupts the album’s otherwise soothing flow. Standout Track: Vincent Score: 5/5

According to Spotify, I listened to the US version of this album. Whether that makes a huge difference, I couldn’t say. This album… exists. It’s never boring, but it also never truly grabs me. Michael Stipe’s vocals are fantastic, and the overall sound is pleasant enough, but it just doesn’t leave much of an impression. It’s an album I wouldn’t mind hearing again, but I doubt I’d actively seek it out. Standout Track: Man on the Moon Score: 3/5

The music here is undeniably strong, and the production is top-notch. But Amy’s voice? It’s like nails on a chalkboard to me. Worse still, she leans into this quirky enunciation, making every other word feel affected and exaggerated. Cursive singing really is a curse. Standout Track: None really stood out for me. Score: 2/5

Oh. Oh wow. I genuinely try to give every album its fair chance, making it to the end in case there’s a hidden gem waiting. But this? I had to stop. It provoked such a visceral reaction in me that I simply couldn’t continue. If you’re a fan, that’s great—music’s subjective after all—but I hated it. Absolutely hated it. Standout Track: I guess… the first one? Score: 1/5

Parliament – Mothership Connection This is really good. The insane keyboard work from Bernie Worrell is a particular highlight, adding an unpredictable brilliance to the tracks. The songs are catchy, expertly played, and the playful space theme only enhances the experience. I couldn’t help but imagine how incredible it must have been to witness these performed live. My only complaint is that a few tracks feel a little overlong and repetitive, but overall, this is a fine album that’s packed with personality and funk. Standout Song: Unfunky UFO Score: 4/5

The cover might suggest a mellow, stripped-back album of guitar and vocals, and while there’s certainly some of that here, there’s also a surprising dose of upbeat tracks with a delightful funk flavour. Joan’s voice is nothing short of spectacular, rich with emotion and character, and the backing band is equally impressive, elevating the songs with their superb musicianship. This album was a real treat from start to finish. Standout Track: Water with the Wine Score: 4/5

I’ve heard Speakerboxxx/The Love Below before, but this listen gave me a new appreciation for it, especially Speakerboxxx. The songs are expertly crafted, and Big Boi’s performance is a masterclass in rhythm. His delivery is sharp, percussive, and almost instrument-like in its precision, blending seamlessly with the vibrant, groove-heavy production. The tracks on Speakerboxxx exude energy and confidence, making for a consistently engaging and fun listen. This is the kind of hip hop that really resonates with me—clever, dynamic, and endlessly enjoyable. The Love Below, however, feels more hit-and-miss. Andre 3000’s willingness to experiment is admirable, but it comes at the expense of the sharp lyricism and intricate rapping that made him a legend. It’s like watching Michael Jordan play baseball—while he’s undeniably talented, you can’t help but wish he’d stick to what he does best. That said, Andre is incredibly versatile, and when his experiments work, they shine. Tracks like Hey Ya are undeniable pop masterpieces that showcase his creativity and charisma. Ultimately, while I admire the ambition of The Love Below, it doesn’t connect with me as consistently as Speakerboxxx. Even so, I appreciate the boundary-pushing nature of the album as a whole. Standout Tracks: The Rooster / Hey Ya Score: 3/5

David Bowie – Aladdin Sane Aladdin Sane opens with two tracks dominated by Mike Garson’s extraordinary piano work. On the title track, Garson delivers an extended solo that veers into avant-garde jazz, and it’s clear he’s having an absolute blast. Opener Watch That Man is a driving piece of rock and roll, steeped in a Stones-inspired swagger, complete with fantastic backing vocals and bold horns. While Watch That Man channels Bowie’s love of the Rolling Stones, Drive-In Saturday pays homage to ’50s doo-wop with a futuristic twist. Bowie doesn’t sound like he’s imitating; rather, he embodies the style so naturally that it feels effortless. It’s the difference between someone speaking a language conversationally and someone fluent in it. I love how the song closes with those smooth, repeating backing vocals while Bowie lets loose over the top. Panic in Detroit is another standout, driven by a hypnotic Bo Diddley rhythm and elevated by Aynsley Dunbar’s percussion, which was added after Bowie and drummer Woody Woodmansey clashed over the original drum arrangement. The gritty guitar riff complements the urgency of the song, giving it a relentless energy. In contrast, Cracked Actor is rawer, almost stripped-back rock with a bluesy edge. While it has a certain bite, it feels a little too straightforward for me, lacking the complexity or flair of the album’s other tracks. Time is where Bowie dives into theatrical cabaret, complete with surreal lyrics that make you pause (“You’re not alone, you’re watching yourself but you’re too unfair”). Garson’s piano work shines once again, adding a bohemian flair to the track that is nothing short of captivating. The Prettiest Star is a gentle ballad at its core, but Mick Ronson’s expressive guitar tone and David Sanborn’s jaunty saxophone elevate it to something special. It’s also nicely paired with Let’s Spend the Night Together, a raucous and unapologetically energetic take on the Rolling Stones classic, filled with frenetic piano and pounding drums. Unfortunately, The Jean Genie doesn’t leave as strong an impression for me. While it’s a Bowie staple, the bluesy riff feels a bit too repetitive and lacking the inventiveness that defines the rest of the album. Then there’s Lady Grinning Soul, the breathtaking closer. It’s Bowie at his most poetic and dramatic, blending lush piano arrangements with soaring vocals. Garson’s intricate playing and Bowie’s impassioned delivery make for an unforgettable finish. Bowie has always been an artist I’ve admired more than loved—his genius is undeniable, but many of his works have been hit or miss for me. With Aladdin Sane, though, this is Bowie I get. He’s audacious, versatile, and completely at home in every style he explores here. I absolutely loved this. Standout Track: Lady Grinning Soul Score: 5/5

This is a fantastic album and a cornerstone of progressive rock. As a fan of progressive metal, it’s fascinating to revisit the source of inspiration for so many bands I listen to today. Rush’s ability to blend technical complexity with melodic accessibility is on full display here, creating a mix of tracks that are both radio-friendly and satisfyingly intricate. The musicianship throughout the album is stellar. Geddy Lee’s basslines and distinctive vocals provide a strong foundation, while Alex Lifeson’s guitar work alternates between soaring leads and atmospheric textures. And Neil Peart—well, my controversial opinion is that he might just be a decent drummer. Joking aside, his performance here is extraordinary, with his precision and creativity shining across the album. What I particularly appreciated was the album’s balance. It offers a mix of accessible, almost radio-friendly songs alongside more intricate and progressive compositions. This combination makes Moving Pictures one of those rare albums that can appeal to both casual listeners and those who enjoy the technical intricacies of progressive music. With Moving Pictures, Rush found a perfect harmony between their artistic ambition and mainstream appeal. It’s easy to see why this remains a landmark in their discography and a benchmark for progressive music. Standout Track: The Camera Eye Score: 4/5

This did absolutely nothing for me. The songs were bordering on nursery rhyme, and honestly I was bored throughout. Standout Song: Good Vibrations (although I’d rather just listen to the original) Score: 1/5

I can only assume one version of this book was written by Thundercat and he’s managed to sneak himself in. Score: 1/5

This album feels like quintessential blues rock—solid, familiar, and comforting. While it might not push any boundaries or break new ground, I don’t think it needs to. Muddy Waters’ music here feels like “bread and butter”—reliable and satisfying. It’s the kind of album you can put on and instantly settle into, knowing you’re in the hands of a master. The production, overseen by Johnny Winter, gives the album a raw, live-in-the-room energy that adds to its charm. Muddy’s voice is rich and commanding, while the band behind him, including standout performances from Pinetop Perkins on piano and James Cotton on harmonica, keeps the groove steady and engaging throughout. The familiarity of the style might make some tracks blur together for listeners looking for something groundbreaking, but the comfort lies in its timelessness. “Jealous Hearted Man” was a particular highlight for me, with its raw emotion and infectious energy, perfectly capturing the essence of Muddy’s sound. Overall, Hard Again might not surprise you, but it doesn’t need to—it’s the blues at its purest, and that’s enough. Standout Song: Jealous Hearted Man Score: 3/5

Black Monk Time by The Monks If only they’d taken a vow of silence. Unfortunately, this album just wasn’t for me. Black Monk Time is a very experimental and abrasive listen, and while it’s hailed as a precursor to punk, I couldn’t really get on board. Wikipedia describes it as a precursor to punk, a genre that I’m not particularly fond of. Pop-punk, sure, but classic punk often feels more like something I tolerate than something I enjoy. The chaotic sound and the repetitive nature of the music made it a challenging experience for me, and the vocals—delivered with a lot of aggression and a certain strangeness—didn’t help matters. That being said, I did listen to the entire album, and I can at least appreciate the raw energy and rebellious spirit of the Monks, even if it wasn’t something I personally connected with. While I understand the significance of this album in the context of music history, it’s not something I’ll be revisiting anytime soon. Score: 2/5

This one kind of passed me by. I listened through the whole album, but nothing really grabbed me apart from Psycho Killer, which is undoubtedly a great song. I was a bit surprised by how underwhelmed I felt overall, as I went in expecting one of those albums where you know the big single, and then the rest turns out to be just as good. I’ve also enjoyed other work by David Byrne, which made it even more surprising that this didn’t resonate with me. Perhaps it’s one of those cases where the band was still finding their footing, or maybe it’s just not my taste. Standout Song: Psycho Killer (Fa-fa-fa-fa, fa-fa-fa-fa-fa-fa) Score: 2/5 (Fa-fa-fa-fa, fa-fa-fa-fa-fa-fa)

This is another album that didn’t fully connect with me when listening to it as a standalone experience. While there are clear influences from artists like Radiohead and Kate Bush, and a strong electronic undercurrent, I found it hard to enjoy as a cohesive album. However, when I started imagining it as the soundtrack to a dark thriller, it clicked in a different way. The music feels tense and frantic, with a cinematic quality that lends itself well to visual storytelling. That said, the album’s deliberately offbeat and unconventional vibe made it feel a little too self-conscious for my taste—more “music for Tumblr girls” than something I’d revisit. Standout Song: The Rip Score: 3/5

From Elvis In Memphis by Elvis Presley This album captures Elvis Presley at a later stage in his career, and while it may not feature him at his creative peak, his natural talent shines through. There’s a sense that Elvis is coasting a bit, delivering the tracks with a certain ease rather than pushing himself. Yet, even a sleepwalking Elvis is better than most artists on their best day, thanks to that extraordinary voice. The material suits him well, with a blend of country, soul, and gospel influences that give the songs a rich texture. Suspicious Minds is, of course, the standout—an iconic track that reminds you just how great he could be when everything came together. Standout Song: Suspicious Minds Score: 4/5

My only previous knowledge of Deee-Lite was the song Groove is in the Heart, a song so atrocious I’m pretty sure I would wake from a coma to turn it off. So when I saw this album pop up, I was sceptical. “Perhaps that song isn’t representative of the rest of their music” I thought, reluctantly hitting play. No, they seem capable of reaching the same lows consistently and without effort. The same caterwauling vocals, aggressive and irritating music, and headache inducing sounds were present in the first few songs. And then I gave up. Life is too short and too precious to spend any of it listening to Deee-Lite. Score: 1/5

One of the first things that caught my attention about this album was the cover. It’s unusual to see Dallas Taylor and Greg Reeves receiving second billing, a gesture that, while unexpected, speaks to the collaborative spirit of the record. It feels rare for non-frontline members to get this kind of recognition, especially on such a high-profile release. As for the music, it’s excellent—a soothing blend of folk-rock that feels both timeless and comforting. Each track brings something unique, yet the album flows seamlessly as a cohesive whole. It’s exactly the kind of music I’d reach for on a quiet evening or when I want to unwind. I decided not to pick a standout track this time. It feels almost unfair, given the collaborative nature of the project, to highlight one song and risk sidelining the contributions of the others. Score: 4/5

Oh, this is absolutely sublime. From the very first note, the musicianship on display is breathtaking. Hugh Masekela’s flugelhorn playing is, of course, the main attraction, and he does not disappoint, delivering a performance that is both technically masterful and emotionally resonant. But what really elevated this album for me was Larry Willis’s stunning piano work. It weaves through the tracks beautifully, sometimes subtle and meditative, other times vibrant and commanding. The interplay between Masekela’s horn and the other musicians is so fluid that it almost feels like they’re all speaking in a shared, intimate musical language. This is exactly the sort of discovery I was hoping for when I started exploring this list. Before today, I hadn’t even heard of Hugh Masekela, but now I’m eager to dive into more of his work. It’s the kind of album that feels timeless—both relaxing and invigorating all at once. Score: 5/5

I’m honestly torn on this one. Do I like it? Is it irritating? Is it catchy? Is it excessively quirky? The answer seems to be yes, or no, depending on the track. Björk has a way of creating music that’s impossible to ignore—her voice is undeniably unique, and her fusion of electronic beats with organic sounds feels ahead of its time. There’s no denying the boldness of her approach, but at the same time, it’s easy to find myself wondering if it crosses the line into being excessively “quirky.” Some of the tracks really pull me in with their infectious rhythms, while others have a somewhat grating, experimental edge. It’s a challenging listen, not in the sense of being difficult to appreciate, but in navigating whether I’m fully embracing its oddities or finding them a bit much. At the end of the day, I think I’ll settle on a 3/5. It’s an album I respect, but I’m not sure I’m ready to call myself a full-fledged fan just yet. Score: 3/5

There’s something about this album that feels like pure Christmas distilled into sound. I’m not sure how welcome it would be at other times of the year, but on Christmas Day, it worked wonderfully as part of the celebration. The sound is undeniably timeless, with Spector’s signature “Wall of Sound” production giving these holiday classics a warmth and grandeur that perfectly suits the season. Each track brims with nostalgia, making it feel like stepping into a vintage snow globe. Of course, the “Phil Spector” aspect casts a shadow, but purely as a piece of music, this album remains a beloved Christmas staple. Standout Song: The Ronettes’ version of Sleigh Ride—joyful, energetic, and impossible not to sing along to. Score: 4/5

This album is undeniably pleasant, showcasing Dennis Wilson’s impressive talent as a multi-instrumentalist and his ability to craft heartfelt, atmospheric songs. However, while it has moments of beauty, I found it lacking the spark that would make it truly memorable. The songs are solid, and you can feel the passion Wilson poured into this solo effort, but none really stood out enough for me to consider it a must-listen. It’s an album I respect more than I love—worth exploring for fans of The Beach Boys or anyone curious about Wilson’s solo work, but it didn’t leave a lasting impression. Standout Song: None particularly stood out for me. Score: 3/5

This was a mostly enjoyable album for me. The Police’s signature sound—a blend of rock with a quasi-reggae twist—makes it easy to listen to, and Sting’s vocals have a smooth, engaging quality that complements the music. The keyboard work particularly stood out, adding a lush texture to the arrangements. If I have one critique, it’s the inclusion of Mother. The song feels out of place amidst the rest of the album. It’s chaotic and jarring in a way that doesn’t quite fit the otherwise cohesive mood. Placing it at the end of the tracklist might have allowed it to feel more like an experimental closer rather than a disruptive interlude. That said, Synchronicity has a lot to offer, and Wrapped Around Your Finger was a standout for me with its hypnotic atmosphere and poetic lyrics. Standout Song: Wrapped Around Your Finger Score: 4/5

I went into this album expecting something frenetic and unrelentingly angry, but I was pleasantly surprised by how much more nuanced it turned out to be. That’s not a criticism—if anything, it made the album far more listenable and enjoyable than I had anticipated. The dual vocal approach is a standout feature, adding depth and contrast to the songs. Joe Lally’s bass work often takes center stage, and it’s a joy to hear. His playing reminds me of Flea from the Red Hot Chili Peppers—not necessarily in style, but in the way the bass feels like a driving force rather than just a background element. Whether one influenced the other or it’s purely coincidental, it’s a cool parallel. One particular highlight is the way the instruments build at the end of Brendan #1. It’s so effective that it made me wonder if they ever followed it up with a Brendan #2. The way the songs flow into each other across the album creates an immersive experience, making it feel like more than just a collection of tracks. This isn’t just “better than expected.” It’s genuinely impressive, and I’ll likely be revisiting it in the future. Standout Track: Blueprint Score: 4/5

I really struggled with this album. While I can appreciate the ambition and creativity behind it, the vocals just didn’t work for me. They felt grating, and that made it difficult to connect with the music as a whole. I can see why others might love it—Björk’s artistry is undeniable—but it’s simply not for me. Score: 2/5

When I saw this album pop up, I couldn’t help but celebrate—it’s a personal favorite, so I’m not approaching this one as a fresh listener. Metallica has been a staple of my music rotation for a long time, and this album is a key reason why. The rhythm guitar work of James Hetfield is the standout for me. It’s incredibly precise, powerful, and drives the album with relentless energy. The songwriting is impeccable, blending aggression with technical brilliance, and it still sounds as fresh as ever. Metallica sits firmly at the top of my “bands to see live” bucket list, so my bias here is undeniable, but I honestly think this is one of the greatest metal albums ever made. Standout Song: Master of Puppets Score: 5/5

This album just didn’t click with me. The shouty, abrasive vocal style was a significant barrier—I found it so off-putting that it overshadowed any potential enjoyment of the music itself. That said, I can appreciate and respect the energy and message the band brings to their work. While it’s not for me, I understand why others might connect with it on a deeper level. Score: 2/5

Olympia 64 by Jacques Brel Listening to Olympia 64 made me realize just how much of Jacques Brel’s artistry lies in his emotive delivery. He sings with such raw passion that you can’t help but feel moved, even if you don’t understand the words. That said, I suspect that knowing French would elevate the experience significantly, as I’m sure the lyrics hold just as much weight as his performance. Even without grasping the full meaning, I found myself appreciating the energy and intensity of the music. It’s an album that hints at more depth than I can fully access, which left me both intrigued and a little detached. Standout Song: Amsterdam Score: 3/5

This album showcases Bowie’s remarkable ability to adapt to modern sounds without losing his signature style. Released in 2013, it feels fresh and contemporary while still carrying the distinct quirks and charisma that define his music. It’s fascinating how effortlessly he blended into the musical landscape of the era and made it entirely his own. While I didn’t find it particularly groundbreaking compared to his earlier masterpieces, it’s still a solid, enjoyable album that proves Bowie never stopped evolving. Score: 3/5