Thoughts are the same as usual, still love it. Not my favorite Gaye album of the 70s by any means but still amazing on its own right Kinda funny how Let's Get It On and Distant Lover (the big songs on the album more or less) aren't really my favorites though. Both immortal tracks but i think I've heard those first few notes in a Reese's commercial one too many times If I Should Die Tonight is a testament to soul music being the smoothest shit known to man and i will not accept any slander of it. Please Don't Stay is also up there, that one only grows on me with each listen 8/10

No album in the top 100 (except maybe the Can albums) makes me feel as out of my depth while still enjoying it. Even me, a complete noob when it comes to third stream and more technically complex jazz, can admit this is an extremely well composed and performed record. Not much more I can say about it. 8/10

Finally, something I have a light bias against: power pop. As a genre I find most of the classics tedious, with exceptions like My Sharona, 867-5309 and anything The Police made in the 1970s being a bit rare. Outside of Big Star and Supergrass, I can't think of many bands in the genre that hover towards my musical preferences. Enter the Go-Go's, a band I am pleasantly surprised to learn is not a one hit wonder *and* has a bolded album! Also known for kick-starting the solo career of Belinda Carlisle, who was shortly drummer for hardcore punk band Germs and made the dream pop classic Circle in the Sand. A career of opposites. Musically this record's hard to dislike. It has a jangling rumble to it that's reminiscent of the Athens indie scene (R E.M., B-52s, Love Tractor). Of course the closest point of comparison for me is the Bangles, but this feels significantly more organic and carefree than their prime records. If there's a criticism I can levy against it, it just lacks a lot of staying power. The songs start to blend together and outside of We Got the Beat (extremely overplayed but fairly distinct), I can't see what makes this better than other new wave records at the time. Maybe a taste difference. A welcome step out of my comfort zone, even though I'm sure I'll never listen to it again. 6/10

Another album I've listened to recently thanks to the inclusion of progressive soul as a genre on the site. War's The World is a Ghetto is a loose and sprawling funk/soul album that embraces several styles of psychedelic and progressive rock, jazz fusion, and even Latin music. The Cisco Kid is my stand-out favorite, but the whole thing is consistent in its groove. While it's not something I'd listen to every day (Why Can't We Be Friends would be my pick before this), the highly adventurous spirit and willingness to experiment War showcase in their music shoots down any claim that funk and soul are "simple" genres. 7/10

The Clash are undeniably an incredible band that created many an important single, potentially the most essential in the new wave movement, but I never considered them primarily a punk band. Their real strength, surprisingly, is their versatility. They could hit you with tracks inspired by hardcore punk, reggae, rockabilly and funk all on the same disc side. Of course, my favorite aspect of them is their knack for crafting these sugary, melodic, funky, (almost!) soulful pop tunes that stay stuck in your head for years. Rock the Casbah isn't on this record but it's a perfect example of what I mean! *On* this record there's a few songs I can point to: the very last track sums up why I love the Clash. "Train in Vain" is easily the best song Paul Weller never wrote; a short blue-eyed soul ditty about betrayal and heartbreak I've been in love with ever since I first heard it. The bouncy rhythm and driving harmonica riff keeps you hooked and coming back for more. "Spanish Bombs" is a delightfully jangly, ahead of its time piece of pop that wouldn't feel out of place performed by the Smiths or the Pixies. Overall, this album is just as good as I remember it being all those years ago. I think I've even underrated it a bit. It's not my favorite new wave album, but it represents a lot of what I love about music in the 70s and 80s. Carefree, eclectic, optimistic, pessimistic, real, it's all here. Me like. 9/10

As much as I love Bob Dylan, I have to admit that I think I'm bad at critiquing Bob Dylan. He's the best lyricist we'll possibly ever see in popular music, but I find his biggest appeal to be in how effortless he adopts various styles of American music. From the talking blues of his debut album to country on Nashville Skyline, the soft rock of Infidels to the electric blues of Modern Times, Bob doesn't get enough credit for being a chameleon; he takes his lyrics over wherever he sees fit and it (generally) works. Besides Johnny Cash and arguably Bruce Springsteen, he *is* the American songbook. Blonde on Blonde is my personal favorite of his commonly accepted 60s peak. Ironically in the middle of peak Bob Dylan hate, this album has a slightly jovial tone to it. Tracks like "Rainy Day Women" and "I Want You' are among his most upbeat and carefree, though I rarely listen to them outside the context of the album. The real gist of BoB and what makes it one of his best is that despite its length (nearly 75 minutes) and three of the songs eclipsing 7 minutes, it never gets old or tedious. "Memphis Blues" feels FAR too short. Above it all, Blonde on Blonde feels like an outlaw's manifesto, Dylan running from the expectations of fans and critics alike, trying to chart his own path as a songwriter. Unfortunately, this rebellious attitude of mid 60s Dylan was cut tragically short by a motorcycle accident in July 1966. After this incident (which is shrouded in mystery, some questioning if it even happened), he came back with a more stripped back sound highly influenced by country. Where this version of Bob would end up, if he would even be alive in two years time, is a mystery. And maybe it's better that way. 9/10

My thoughts on the Cocteau Twins are very complicated...I'm not a big fan of their typical sound (e.g. Treasure), as it's a bit too dense and not melodic enough for me. At least how I like my dream pop. I'm one of those people who'll tell you Slowdive clears My Bloody Valentine any day of the week to emphasize how much I like a strong focus on melody in the genre. It seems like the Cocteau Twins are a band I was destined to never get. However, on Heaven or Las Vegas, I completely get the appeal. There are at least three songs here that are undeniably top-tier dream pop. "Cherry-Coloured Funk" didn't get released as a single because it would've been too powerful for human consumption; instantly sets you up for an out-of-body experience. I'll bet it's one of the best songs I'll listen to in this whole 1001 album challenge. "Fifty-fifty Clown" was the first song I ever heard from this record, with its arresting and ethereal atmosphere. It's my pick for runner-up, though you can't make out a word Liz is saying. The title track is undeniably iconic, while its my least favorite of the three I'll mention, it sums up the mission of this record extremely well: it's about the journey, not the destination. While there are definitely dream pop albums that will appeal to my tastes more, ones that expound on the atmosphere and texture that this band set up in more engaging ways, I can't deny the fact this is a brilliant record. Even if I don't think it's "top 100 albums of all time" level good, it grows on me more with each listen. 8/10

Gonna let you in on a little secret: when it came to the great color-coded blues rock duo rivalry, I prefer the Black Keys. That isn't to say I don't like the White Stripes either though. If anything, they have a "rawer" sound that's a bit less informed by psychedelic soul and Led Zeppelin and a bit more informed by classic garage rock, mod i.e. classic Who, etc. They're both at the top of the genre in their respective era, but I listen to them for two very different things. That being said, this is the most perplexing addition to the list so far. Every song (besides the incredible opener Blue Orchid) sounds like a minor variation of the exact same song. It's so forgettable compared to White Blood Cells or Elephant with nary a standout track. I'm on the ropes here, it's not particularly awful but it sets a high bar at the start and IMMEDIATELY disappoints. Unfortunate start to the hard rock selection of the list. 5/10

“Rock ‘n’ roll was here a longtime before I came along . . . . Let’s face it. I can’t sing it like Fats Domino. I know that.” - Elvis Presley, 1957 Seeing the amount of people who do this challenge but get completely filtered by classic rock and roll and rhythm & blues makes me nothing short of depressed. The New Orleans style of R&B was an extremely formative style of music, without it we wouldn't have these modern mutations of rock, RnB, soul or even ska. Fats Domino was one of the most important artists to this scene of R&B, with his soulful bellow gliding over everything he touched. "Blueberry Hill" has stood the test of time as a rock & roll standard for a reason. This Fats record isn't without flaw, but it's at the very least pleasant. With that context combined with the sheer ripple effect this thing produced in the late 50s, I can't give this any lower than a 7. Highly enjoyable, would listen again. 8/10

Listening to alternative rock radio during my late formative years was one of the building blocks to become the appreciator of 90s and 00s post-grunge that I am today. Of course, "You Oughta Know" and "Ironic" got a LOT of play. Jagged Little Pill is so synonymous in my mind with 90s pop culture that my mom owns a vinyl record of it. However, despite all this, I can't get myself to care much about it on a musical level. You Oughta Know is a good song, but it's just that, good...it feels a lot more relatable when you're younger. Ironic is still anthemic and pleasant, but it sounded better when I was a kid. If anything, listening to this album made me realize why I don't click with Olivia Rodrigo's GUTS that much. It's all pleasant, well written, genuine but doesn't do much to elevate itself in my mind. Nowhere near the best post-grunge album by Canadians released in 1995. 6/10

Another thing that'll make me feel out of my depth several times on this list, pre-1970s rock. Though this barely makes the cut at 1969, and I generally like the Kinks, I'm not sure how much I like their melodic sound compared to the garage/frat style of their really early stuff. The Who are my touchstone standard for this era and the Kinks were always just a bit less interesting than them to me. I don't have many words for this one as a result, it's pleasant and the concept of tracing modern British history back through song is fun but it's not something I'd seek out. The coolest album I'll probably never listen to again. 6/10

This might sound like an oxymoron, but my favorite Depeche Mode songs always end up being the more organic ones. Personal Jesus is more of an alt-dance track but the guitar riff it's centered around gives it a really nice distinction and breath from the rest of Violator. "Enjoy the Silence" is a song I've never really been impressed with despite it topping all the top 10 most emotional pop songs of the 80s lists. Songs of Faith and Devotion is my favorite album I've heard from them because of their full pivot into alternative rock. Those crunching guitars, sweeping arrangements, even hints of trip hop entering the mix throughout the record make it extremely interesting. So how do I feel about their darkwave era where none of that was present, and none of that mattered? Well, Music for the Masses is a good album: you can press play and instantly hear the influence it's had on the darker side of synthpop. The arrangements are on the minimal side, but atmospheric and detailed; you could even go as far as to say something like The Things You Said is "lush" thanks to the textures used. I was pleasantly surprised at how much I enjoyed the grooves throughout, it makes a lot out of the space it builds and the sounds it uses in a way that reminds me of the Chameleons or the Sound (Khai approved post-punk)...I might even prefer it to Violator? Cut a few songs off the second half and I'll have to think on that. It's not something I'd seek out on my own time, but I ended up really enjoying this album. Ending up on this album reminds me I desperately need to check out Ultra. Maybe that'll be my new favorite Depeche Mode. 7/10

Not really into music today so I'll try to keep my thoughts short (though Nina deserves eulogizing far more than I'm capable of right now). It's entirely possible "Four Women" will be the best song I discuss on this whole journey. I've always been arrested by its sultry atmosphere, describing the struggles of womanhood from the perspectives of four women. It was famously sampled in Jay-Z's Story of O.J. by No I.D., which helped expose a new generation (me) to the music of Nina. For that I am forever grateful, as it's an incredible piece of music from an unmatched performer in the world of soul music. The rest of the album doesn't slouch either: it may not be as high profile as Pastel Blues, but I think I prefer it. As much as I love Jeff Buckley's Grace (which is hopefully on this list as well), Nina's version of Lilac Wine is so much better. 8/10

My grandpa is very homophobic and I disagree with him on many fundamental values, however he's the person I inherited my music taste from and I feel indebted to him despite our disagreements. One of my fondest memories with him was listening to 80s hits CDs in his car, and when Culture Club came on he *always* made it a point to condemn Boy George's homosexuality while painting him as a hell of a singer. And while I ended up very gay (ultimately a disappointment to my grandfather), we can agree on one thing: Boy George is a hell of a singer. To be clear, he isn't Pete Burns level cool and as far as white sophisti-guys Mick Hucknall outclasses him heavily, but I've always had a soft spot for him and his chameleon-chasing antics. "Karma..." has grown a bit off me over the years but it's still an iconic piece of 80s pop. "Miss Me Blind" I heard first on Watch Dogs 2 and it instantly became my favorite song from the band; about a year later and that hasn't changed! It has a great soulful bounce to it that rivals anything Spandau Ballet or Scritti Politti were putting out years later. While this album isn't all zingers, it doesn't overstay its welcome and doesn't try to be anything more than a product of the times. That makes the songs quintessential of the New Romantic era; its datedness is its biggest strength. 8/10

I didn't listen to my album yesterday for obvious reasons if you're keeping up with the news. Sam Cooke would've actually been very relevant for the mood I felt at the time, but I was far too stressed to think about that. Thankfully the algorithm blessed me with one of my favorite 80s soul records with an adult contemporary lean that finally gives me a chance to talk about Bobby Womack. Bobby Womack is one of those musicians whose personal life overshadows the music for many people. Barring the obvious names, he was probably one of the most devious RnB musicians on the planet. But above all, he was an extremely skilled guitarist and soulful singer with extensive range. If you want a perfect example of those traits, "Communication" and "Understanding" are excellent starts to his discography in the 70s. In the 80s, his career underwent a revival with "The Poet". This short, but sweet, record was able to revitalize Bobby's career. It features the sleeper hit If You Think You're Lonely Now, which got sampled in Mariah Carey's We Stay Together (and is one of my favorite soul songs of the 80s). This album having so much bounce and flavor in the percussion session makes sense when you realize Paulinho de Costa of Toto fame was on rhythm duties; a little yacht makes everything sound better. I'll forever be salty about Quiet Storm not being considered a real genre on RYM, because this is a perfect contender for the best album in it besides the Smokey record that started it all. 8/10

Album #2 I own on vinyl in such a short period of time, which is very weird. However, it's a very welcoming slice of familiarity since Elton John is one of my all time favorite musicians. Goodbye Yellow Brick Road isn't my favorite Elton record but it's the one where Bernie Taupin's lyrics hit the perfect balance of excessive and practical, where EJ's piano work and arrangements made things click beyond a reasonable doubt. Rock of the Westies is a criminally underrated American-style coke rock romp (and works as a perfect foil to this record), but his best argument as essential to pop canon is this record. Even before I came into knowledge of EJ's catalogue, "Candle in the Wind", "Bennie and the Jets", "Saturday Night's Alright" are all omnipresent in pop culture. On top of being instantly memorable, they make great arguments for the variety of Elton/Taupin as a writing duo: from the ballad, to tbe rocker, to the prog rock suite, to the (dubiously offensive) reggae track; all the musical bases needed to sell are covered here and it pays off tremendously. It would feel boardroom-manufactured ala Thriller if it wasn't so unabashedly Elton. 9/10

I could go on a tangent right now about how much I hate the fact that country music often gets relegated to "the genre with Johnny Cash, Willie Nelson and alt-country" when in conversation with music nerds. As someone from the south it feels like something that speaks to *us*, and it's unfair to boil it down to any one or two acts. No Dwight Yoakam on here, no Randy Travis, no George Strait, but that's to be expected when 80s and 90s country gets ignored even further. That being said, if we are to boil country down to one act, it should be Johnny Cash. While this one isn't as good as At Folsom Prison and the overdubs get on my nerves a lot more, San Quentin does a fair amount to switch itself up from its live predecessor while keeping what made the last album so good. It's still raw, still badass, a bit less topical and "epic" than the last one but very worthwhile. 7/10

CATCH UP: NOVEMBER 11 Alright so I haven't heard this thing since I was a literal child, but one thing's for certain: there might be a reason for that? I consistently like it but I prefer my shoegaze with a bit more edge and alt rock lean to it, this still feels very informed by jangle pop and baggy styling that I'm not super into. It's still really good and I'm forced to give it 4 stars thanks to this site's lack of half stars, but man this is the most quintessential 7/10 thing that's ever 7/10ed. Swervedriver is better. 7/10

CATCH UP: NOVEMBER 12 Me being sick for a few days caused me to miss out on talking about another Clash album, this time their straight punk rock debut. I'll inevitably have to talk about the Sex Pistols' and Ramones' debuts and compare them to this, but one thing for sure is that the Clash are the critical favorites. Something about this record feels a lot smoother than the latter, not as pugnacious as the former: if you wanted to call this "pop punk" I wouldn't contest it. However what it lacks in breakneck aggression it makes up for in tight and effective songwriting, which ended up being the band's strength all along. I'd call it closer to the street punk I find myself being really into when I end up in a classic punk mood (thanks to it being what most of those street punk bands were trying to emulate in the first place). Thanks to this book for finally getting me to check it out! 7/10

CATCH-UP: NOVEMBER 13 I graduated from the school of separating art from artist so it would be extremely hypocritical of me to levy Nico's alleged awful beliefs around how I evaluate this record. However, what I can do is admit I've never got the appeal of The Velvet Underground & Nico. It's not a "bad" record per se, and it's very influential, but maybe listening to so much music it's influenced has spoiled me in advance. Likewise, in Chelsea Girl, I can hear a thousand chamber folk and folk pop acts being birthed. In that respect it's highly engaging, but it's not an album I would feel compelled to come back to off influence alone...the German-ness of her voice is just too much for me. Despite all the above that I just wrote, I learned that Jackson Browne and Bob Dylan worked on this thing, which makes me destined to like it at least a bit. +0.5 points on my personal scale. 6/10

CATCH UP: NOVEMBER 15 Oasis have to be my favorite band to never have a masterpiece album. A lot of my favorite bands I can just pretend they have a 9/10 worthy record, and even here Masterplan gets CLOSE, but god the three big singles just feel played out on this one. Wonderwall is still a good song and I'll defend it in that respect, but it's pretty consistent in quality with the other cuts here. I'm not sure if this album has "grown off me" in the traditional sense because I still adore Oasis as a band, but it's never been my favorite listening experience compared to Definitely Maybe or Masterplan. Those might be the masterpiece I so desperately wish this one was. But it ain't. However, when this record gets good, it's some of the best tunes Oasis ever wrote. Morning Glory is one of my favorite songs of all time, in the upper tier of "music that makes me remember life is worth living", and Some Might Say could warm even the coldest of hearts towards the Gallaghers' sappy style of Britpop. I don't think there's any route this album could take to perfection, maybe it just wasn't meant to be...but I can bear this reality too. 8/10

When I was a kid I had a needlessly contrarian hipster phase that included me hating EVERYTHING Georgia, which includes R.E.M. That standpoint is really stupid as I am a known lover of them now, but it was a very real view I held for a while. I thought I was too "cool" for their style of alternative rock, favoring far heavier radio rock like Sevendust or Collective Soul. (I still do to be honest, but I can appreciate this strand of Peach State songwriting much more nowadays.) That being said, nowadays this record is a bit too lightweight for my tastes? I still like it, but it lacks a lot of the driving energy that Green and Document were known for. Of course it has classics like "Everybody Hurts" that boosts its score and it's once again saved by the "have to give everything an 8" clause this site makes me stick with... It's a solid record, but not the first R.E.M. I'd reach for. 7/10

This is clearly a meme inclusion and I probably shouldn't dignify it with a full review, but while I'm here there are a few cool things about this album: 1) it's by Britney Spears, who is an icon I generally like (even on her less critically acclaimed records that get lots of play in gay spaces i.e. Work Bitch, Womanizer) 2) I used to be obsessed as a kid with this Olly Murs track called "Troublemaker" in the mid-2010s, which happens to be a near chord-for-chord ripoff of (You Drive Me) Crazy. Unfortunately this version doesn't have a Flo Rida feature like that track does, because it easily would've boosted the energy. 3) Max Martin's legacy as an all-time producer in pop just about started here, and without him I would not have my favorite album ever Found Heaven. So thank you Max. Even if we haven't met on the fairest terms here. What's the most heartbreaking part about this inclusion is it's a peek into the early era of poptimism, when journalists weren't QUITE there yet. If they had only waited a few years, maybe they could've predicted Blackout becoming the cult classic instead and this review could be way more interesting. But alas, I'm stuck talking about this one. In one ear and out the other... 4/10

Really wanted this to be boring so it could break the 8/10 streak I'm being forced to give by this site's rating system, but damn it this one deserves it. I hadn't listened to any Stills record apart from his performances in CSN(and Y sometimes) and it ended up being incredibly good. Remarkably consistent over it's runtime and exactly in the cozy spot of country/folk rock I adore. Song of Love is the first track I've been introduced to through this project so far I can consider a real favorite of mine, with its propulsive rhythm and extremely catchy chorus. While this record can be a bit too overlong, it's very consistent. 7/10

New rule from here on our: "low 7/10s" get a 3 star rating, "high 7/10s" get a 4 star rating. I need to flatten my curve somehow and my ratings are indicating that I love way too much music this challenge is throwing at me when I probably won't return to most of it. I wish the first 7 under the new rule was an exception, but unfortunately I still really like this Doors record. Despite my ownership of their self-titled, I never really cared about that one beyond Break on Through and The End... The problem with being Gen Z is we're just not big Doors fans. That being said, I remember hearing "Ship of Fools" when I was a kid and thinking it was great! So the greatness of the Doors isn't fully lost on me. 7/10

The buzzcocks are very influential in regards to punk and commonly considered the first real "pop punk" band. This album specifically is more straightforward punk, not too catchy but still light enough to make the distinction understandable. I like my punk, especially from this era, with a lot more give (and if it's "pop punk" it needs more power pop lean to it for me to fully appreciate) but it isn't half bad. No huge duds but no standouts either. Solid all around, if not a bit forgettable. 6/10

I love alt-pop, I love future garage, I love generally smooth indie pop (at times). The problem with this xx record is it all feels combined in a very safe way...like the producer is allergic to any kind of risks that would make this project more pleasing to listen to. Don't get me wrong, nothing here is bad, but it does feel a bit terminally un-engaging and often drowns into the background. On Hold's Hall & Oates flip is my highlight on here and even that feels half-baked in its execution. Hopefully the xx and Jamie have better under their belt because I didn't get the appeal of this one at all. 5/10

One thing I love about these super old live records is the warmth of it all. I could instantly turn this record on and get the feeling im actually inside a murky 50s jazz bar, cigarette smoke and cheap wine filling the air. Hopefully I can review Sinatra soon and expand on that thought. Sarah Vaughan has a really damn good voice, and I'm one for a solid vocal jazz album, but there's something about this one that just escapes me. It's not a very deep record, and it's not trying to be, just a club live set with enough grace to carry you through the wee hours of the night. And sometimes that's all you need. 6/10

Album number 3 for this challenge I own on vinyl, and boy, is it a good one. This will probably be the longest review I write on the site, but it's worth it when it comes to this guy. For people who don't know me, I worship at the altar of Randy Newman. Besides Bob Dylan, he's easily my favorite songwriter of all time and I feel his contributions to the pop AND rock canon rarely get their deserved due. With his old age and recurring injuries, I've come to a really harrowing realization: I'm going to cry a lot and probably shut down mentally for a few days when Randy Newman dies. To explain why I'd have such a strong emotional reaction for an 80 year old man I've never met, let me explain one key reason Randy is a legend: I don't think there's a single other songwriter that sums up the worst parts of the human psyche in a way that makes you almost sympathetic to his characters by the end. Warren Zevon is the only other example that comes to mind, and even he can get too self-centered and cynical to get the point across the same way this guy does. No, Mr. Newman uses a dopey Southern accent and New Orleans R&B piano riffs to deliver the most sobering songs about slavery, subjugation, adultery (and... dancing bear? I ran out of atrociously terrible things present).... and it's some of the most brilliant songwriting I've ever had the pleasure of hearing. Even outside of politics he's extremely compelling at writing down-to-earth and overwhelmingly human depictions of loss and grief: just listen to "Old Man" and "Memo to my Son" as proof of that. The part that makes this whole album brilliant isn't really the biting satirical tone itself, thought that plays a part. It also isn't the subjects themselves, as clever as they can be (the title track is effectively an ad roll to join the transatlantic slave trade, for example), but where this album's strength really lies is its ability to make you think. Yes, Randy's songs are case studies, but how many people do we know that act like the racists and adulterers Randy postures as? How often have we engaged in awful behavior that we tried to justify, looking like complete hypocrites ourselves? Sail Away (and any Newman record worth its salt) is a series of unflinching takes on what humans are capable of, and sometimes the world needs that mirror as a reminder to do better. Please listen to this guy's full discography, you won't regret it. I'm going to cry a lot when Randy Newman dies. 9/10

Feels good to have absolutely no thoughts about an album for once. This is a solo album from the Pixies frontman, a band I like but have no strong feelings about. Unfortunately it seems like this solo album lacks the same conviction that makes Doolittle so iconic, opting for a grab-bag of alternative rock textures that don't result in anything interesting. I respect the attempt though. 5/10

Led Zeppelin fall squarely out of the period of rock I really care about, but for some reason this record stands out to me as a towering achievement in the genre (I say that as if it isn't Led Zeppelin). Babe I'm Gonna Leave You, Dazed and Confused, Communication Breakdown, How Many Times, all these songs effectively butchered and ripped classic blues and put a bunch of overdrive on it; in the process, this burgeoned an explosive mix that would come to define the next decade or three of popular music. I love this album despite all the reasons I shouldn't. Yes, Jimmy page is a riff-stealing asshat. Yes, LZ have become synonymous with the exact type of rock supremacy and elitism that's been ruining music discussions since I was in the cradle. But Led Zeppelin's best albums are a force of nature, this one being no different. Just close your eyes for a second and imagine bearing witness to this album releasing in 1969...

Alright so I like this one, but (and this is a big but) it feels a bit...too British for me? Jethro Tull is about my limit, and these guys exceed that with flying colors. The combination of contemporary folk rock with almost Celtic jigs is an interesting one but I can't say it's one I'd listen to again. Bonus points for being something original though!

Me getting this before any of the Smiths records is a good thing because now I can get my complicated thoughts about them out of the way: I PREFER MOZ SOLO. I'm disappointed it wasn't Vauxhall and I, though that is also on the list, but generally speaking I adore Moz's voice. He's the part of the group that really made the Smiths work for me and I'd gladly hear him glide over waiting room Britpop for the rest of his career. Something about Morrissey's smug Brit posturing becomes really endearing over time and I'm not sure if there's a proper comparison I can make. Matty Healy is a similar brand of douche and I love his music but you rarely understand why he is the way he is from listening to a 1975 song. With Moz what you hear is what you get, and for some odd reason I like that quality. He did seem to lack a filter when naming track 10 but that's neither here nor there; even at its most theatric and unapproachable, this thing works for me.

After Kanyeezy went the way of the westward son in 2022 and I was fully put off from him (one of my most played artists :/ ), I've often found myself returning to the artists he produced in his golden era to get my Ye fix. Despite often being compared to Common, Lupe Fiasco has a more poppy and hooky energy to his consciousness; Lupe is the Graduation to Common's College Dropout, if you will. There's still a number of incredibly soulful beats here like Real, Kick Push, He Say She Say etc. but there are some interesting attempts at bridging all the popular hip-hop styles at the time. Lupe's attempt at bridging into rap rock/alternative rock with the Mike Shinoda-produced The Instrumental might be my favorite song on here. You could absolutely make the argument Lupe's technical skill outshines his pop appeal, and immediately after this record it took a long LONG period of self-reflection before he could either balance or eschew one side to the music's benefit. However, this album represents something extremely special in hip-hop history and I'm glad Kanye breathed life into this thing. Coast.... (P.S. the outro never fails to make me laugh. 12 minutes of random shout-outs never sounded so good.)

Does break my heart a bit to give this a low score, but I've never really liked the tone of this album. It's almost cartoonishly misogynistic and gross in a way that pushes it way over the line for me. I am usually not a prude, but god it just gets hard to listen to after the halfway point... On the plus side, Snoop Dogg is an entertaining character when he's not going in detail about how much he fornicates. If you can get past that more than I, it's a fairly laid-back West Coast rap record that reminds you of hip-hop's golden age. "What's My Name" is mostly absent of the tropes that made this album a slog to get through for me and it's really good. 5/10

First off G Love & Special Sauce is a wild ass name LMAOOOOOO Dudes were like "how many euphemisms for splooge can I put in a stage name" (am I even allowed to say that on this site? meh I guess we'll find out) Engaging with the actual a Quality of the music, it's an interesting on the surface blend of hip-hop, blues and jazz-rock sensibilities. Like Everlast if his main audience was music critics and not suburban dads balding in their 30s. It's unfortunate that despite all attempts to sound sophisticated and volatile due to this genre combination, it still sounds sappy and predictable. It's ultimately another inclusion that dates this book tremendously, a product of the mid-90s destined to be forgotten except by those who do this challenge. Many such cases! 4/10