I think this is what the kids call "shoegaze" or "bedroom pop." Nice to work to. "Infinity" recalled to mind Chris Isaak's "Wicked Game" and "Smalltown Boy" by Bronski Beat. I listened to this album 2x, and then their latest release from 2022; I preferred this self-titled album over their new album.

I listened to this album when it came out several times, but didn't revisit it. I really want to like Kendrick Lamar more than I do; I appreciate so much about the production, the samples, the instrumentals, the references, and the message/concept (it's interesting to read people's comments--I get the sense that they're not really getting the lyrics or listening to them; there's a lot going on here). For whatever reason, none of his albums really stick with me--I love certain tracks and admire what he's doing with this dense album, even if I don't feel like it moves me as I feel like it should. "King Kunta" and "Alright" are still my favorite tracks off this album. I'd give this a 5 for all of the good points I listed (objectively 5 stars?) but I can't see myself revisiting it in the way I do (so not 5 stars for me, personally?). I'll give it a 3, I guess.

1969 Let it Bleed - has two iconic songs ("Gimme Shelter" track 1 -- the classic "I am watching a movie about Vietnam" sound -- and "You Can't Always Get What you Want," last track), which still stand up. As I have gotten older, the misogyny and white-boy British blues sound of the Rolling Stones has become less and less tolerable to me. The songs in the middle feel mostly like filler. It prompted me to listen to <i> Sticky Fingers </i> which holds up better, as well as revisiting Andrew Hickey's podcast (ep. 129 "(I Can't Get No) Satisfaction") which reinforced the misogyny and white-boy blues sound opinions I have. (I paraphrase a quote here about how white boys in Britain took the sound of the blues and stripped it of its context. What was "I'm a Man" with a subtext of "so you better not call me boy, cracker" transformed into "I'm a man" with a subtext of "so mummy you can't tell me to tidy my room anymore." He doesn't recall where this quote came from, but I loved it-it encapsulates the growing irritation I have with the Stones in particular - the twisting of the feeling of the blues towards a sort of ugly cocky misogyny.)

Doolittle is my favorite Pixies album; this was the first time I listened to Bossa Nova multiple times in its entirety. I would definitely revisit this one; I'm not sure if it's a 5 for me (and to be fair, Doolittle is likely a 4?), but I could see this growing on me to be a 3-4. More on the grunge side of Pixies, which I like; the first track (2 tracks) are leaning heavily into that harsher sound, and the rest feels very much like a good Pixies album.

A perfect Sunday morning album; one of my favorite John Coltrane albums. Worshipful and beautiful.

I am already positively biased toward the Talking Heads, as they are one of my babyhood bands. Listening to this album, though, I find that I prefer the live versions of "Life During Wartime," "Heaven," and "Cities" off of Stop Making Sense. This is a solid Talking Heads album, but definitely not my favorite.

I liked this album when it came out-fairly upbeat, nice to drive to--though the title track ("Sound of Silver") is actually pretty boring (even if its one lyric is pretty funny). I'm still listening to many of the songs on this album to this day--though I don't think it's by any means a mind-blowing album. It feels like a good spring-to-summer transition album.

I had this album on vinyl in college and remember listening to it inconsistently; I remember wanting to like it more than I did, since it's a classic. I'm excited to revisit it. "You are the Sunshine of My Life" - I want to like this song, but I find it hard to listen to ("easy listening" is not for me). I know it's a classic, but man...it feels pretty cheesy. The second song redeems it ("Maybe Your Baby")--a good slow funky groove that I can sink my teeth into. "You And I" is--to me--cheesier than the first track. I appreciate the change in dynamics and tempos between the three tracks, but I can't really deal with the slow/easy listening vibe of this song. "Tuesday Heartbreak" also feels cheesy to me--the horns are very easy-listening that distracts me (like some late-night TV talk show; not into this horn sound.) "You've Got it Bad Girl" also feels cheesy and slow; the higher-pitched synth lines (flute-adjacent?) are also distracting to me. "Superstition" is what we're all waiting for, right? The funky bass line, the horns that aren't weirdly cheesy... "Big Brother" I suppose is a protest song? It feels a bit milquetoast and cheesy. I am divided on the harmonica use. "Blame it on the Sun" is also painfully cheesy, like a torchlight (I think that's the phrase) song? It feels like something a middle aged man would sing self-indulgently at karaoke (I'd kind of like to see that). The ending with the woman singing "your heart blames it on you this time" is especially cheesy. "Looking for Another Pure Love" is another slow/easy listening jam. It makes me feel like I'm in a dental waiting room in the 1970s. "I Believe (When I fall in Love it will be forever)" opens like a song I'd expect to hear in a musical (and I don't really like musicals); also cheesy--and then moves into gospel and funk (so I kind of like the end). This album has two songs I really like, and the rest feels like cheesy filler. "You are the Sunshine of My Life" - I want to like this song, but I find it hard to listen to ("easy listening" is not for me). I know it's a classic, but man...it feels pretty cheesy. The second song redeems it ("Maybe Your Baby")--a good slow funky groove that I can sink my teeth into. "You And I" is--to me--cheesier than the first track. I appreciate the change in dynamics and tempos between the three tracks, but I can't really deal with the slow/easy listening vibe of this song. "Tuesday Heartbreak" also feels cheesy to me--the horns are very easy-listening that distracts me (like some late-night TV talk show; not into this horn sound.) "You've Got it Bad Girl" also feels cheesy and slow; the higher-pitched synth lines (flute-adjacent?) are also distracting to me. "Superstition" is what we're all waiting for, right? The funky bass line, the horns that aren't weirdly cheesy... "Big Brother" I suppose is a protest song? It feels a bit milquetoast and cheesy. I am divided on the harmonica use. "Blame it on the Sun" is also painfully cheesy, like a torchlight (I think that's the phrase) song? It feels like something a middle aged man would sing self-indulgently at karaoke (I'd kind of like to see that). The ending with the woman singing "your heart blames it on you this time" is especially cheesy. "Looking for Another Pure Love" is another slow/easy listening jam. It makes me feel like I'm in a dental waiting room in the 1970s. "I Believe (When I fall in Love it will be forever)" opens like a song I'd expect to hear in a musical (and I don't really like musicals); also cheesy--and then moves into gospel and funk (so I kind of like the end). This album has two songs I really like, and the rest feels like cheesy filler.

I was initially not excited about this album, as all I can think of with ZZ Top is "Sharp Dressed Man," which was sadly used as the theme song for the show Duck Dynasty. I was thinking maybe this was some music for my boyfriend's dad (of the long beard, aesthetically appropriate), but ready to be open minded about it. BF predicted this album would come in at a 2 or 3 for me after I told him that I was "pleasantly surprised" that I didn't hate it, lol. My favorite tracks are "Waiting for the Bus" (with a nice transition into "Jesus Just Left Chicago"--I am a sucker for a good transition), "Move Me On Down the Line," which is what I imagine the Rolling Stones wished they sounded like when they play white-man blues, and obviously the classic "La Grange." The rest of the songs are pretty good-a driving, blues-inflected album that is a decent listen all around. I also learned that Billy Gibbons has a 5-octave + 5 note vocal range, which is bigger than that of Freddie Mercury, Axl Rose and Mariah Carey.

Couldn't make it through this one--a pity, since I really like A Wizard/A True Star. This was unbearably cheesy yacht rock, for the 1970s dental waiting room. I got most of the way through and listened to the first 5-10 seconds of the last 5 songs.

I didn't like this album when it came out, despite being a Radiohead fan; I found it pretentious and self-indulgent (given my age at the time, this seems like it should have appealed to me, lol, but clearly it did not). Everyone, it seemed like, was listening to it. All my friends loved it. They might still love it-I should ask them. I still found this album to be pretentious and self-indulgent; it feels like listening to the inside of some college student's head as they smoke Gaulouise cigarettes and contemplate existential philosophy for the first time while staring at their poster of Van Gogh's Starry Night. The two songs I thought were all right were the same ones that are the most popular: "Everything in its Right Place" and "How to Disappear Completely." Many of the other tracks sound like they're trying too hard to be intellectual ambient music (which I guess could also be said of the two most popular tracks as well). I seem to recall liking the follow up to this album ("Amnesiac," aka "Kid B"), but haven't listened to that since it came out, either--so it will be interesting to revisit it, assuming it is on this list.

I loved this album when it came out-it inspired my interest in jazz guitar that wasn't hopelessly cheesy. All of the songs on this album are solid--nothing really stands out, though. I would give this 5 stars, but think I'm saving my "5 star" albums for things that I absolutely cannot live without (desert island discs).

I got this album on vinyl, but didn't listen to it very much. I find the songs to be a bit too long/boring for my tastes. The funk is there, but it feels like this album drags. The first two tracks are my favorite, but overall I think the album is in need of an editor.

I loved this album in 9th grade, when I was an angsty teenager; I associate this album with the dark days of my teenage-dom (not a time I really want to revisit, though some of the music I listened to then I still listen to now). Returning to this album feels like returning to a time I don't want to revisit: full of seeming edginess, depression, anger, and darkness. (This, I believe, is the path to the Dark Side). The lyrics have not aged well at all, and make me cringe with their edgelord vibes. The music itself holds up well, albeit as a relic of this 1990s industrial sound; the sound itself is impressive, even if I can't really bring myself to revisit this album again after this re-listen for this project.

I love Sam Cooke and have never listened to any of his live albums. This was a fun listen--the gritty soulfulness of his voice comes through in a way that studio albums don't capture. The medley with "For Sentimental Reasons" and "Bring it On Home" were special delights. I listened to this album twice and would definitely revisit it; it's not my favorite of Sam Cooke's (and not in my top live soul albums), but a great album nonetheless. I dock it one star because it makes me jealous that I wasn't there.

I really liked their first (?) album, Fever to Tell; I didn't really listen to the rest of their stuff after that, so it was nice to revisit this band. This album was all right; it definitely sounds like the group has "matured," if that makes sense; it sounds like an album made by older people. To that end, it lacks the rock-grittiness that I found appealing in the first place, which is a pity. However, this album is pretty solid, and worth a revisit.

I couldn't even with this album. It put me to mind of this toy I got for my partner a few years ago--the Orba 2, which you could play with to make little electronic songs/loops/beats and use as a MIDI controller. My partner made more coherent and interesting songs in the 10-15 minutes playing with it than I found on this album. I don't even know how they got Portishead involved--I had high hopes for that, but they were cruelly dashed upon the shores of this \"album.\" It's the sonic equivalent of a page of a middle schooler's notebook filled with doodles.

I wasn't sure what to expect with this album--I was familiar with "8 Miles High" and "Mr. Tambourine Man." I found this album of western-swing influenced country folk pleasantly surprising. I'm not sure if I'd revisit it or put it in heavy rotation (and I was also confused by some songs--are they Christian? Making fun of Christianity? Doesn't really matter, in the end), but it was a pleasant album to listen to.

This album is the perfect soundtrack to your 1960s cocktail party. Not a terrible album, but nothing that’s really gripping or singing to me either. a solid three stars.

Some heavy nostalgia- it’s difficult to be objective here, because this was a formative album for me that introduced me to a lot of other music and down deep music rabbit holes. I guess there’s one song that could be cut (“oh me”), but it’s still a great song. 4.5.

This was a pretty straightforward thrash metal album-about what I was expecting. I prefer this over the Metallica I am familiar with. Like many metal bands, I wish the singer was different-not quite sure how, but I always feel like (most) metal singers really don’t do it for me. I didn’t finish listening to it, but it wasn’t because I couldn’t (like that Todd Rundgren album or the Sabre Projectors). I have sense of where it’s going and can’t imagine any song really changing my opinion of it. A pretty decent album overall; I’ll probably revisit it but doubt it’ll be a favorite. (2.5 stars)

It was fun to revisit this album, which was a revelation to me when it came out; this was the first time that I heard a woman singing in a style that was raw and aggressive. (The only other women I knew in music at this time in my life were like Enya. No slight to Enya, but my love of grunge was deep.) It kicked me off in other directions that I am thankful for. I didn't realize that I knew almost all the lyrics to every song. It's got great dynamic range and tempo changes, and I think Courtney Love got a lot of undeserved flak and drama for making this album. Not every song is amazing (I'd say that the best one is the first track, "Violet," and the album could end on "Softer, Softest"--the other songs I don't really care about), but it has a great consistent sound. It's hard to separate from my nostalgia, lol.

I own this album on vinyl--the first track is obviously iconic, and the rest of the album continues in the same hyper-sexy vein. Very smooth. I never feel very comfortable hearing people moan sexually in songs; perhaps this is my prudishness coming through--so "You Sure Love to Ball" is definitely cringe-inducing for me (it's feels like the same sort of embarrassment I feel when I watch a movie with my parents in the room and there's a sex scene. Gross). Overall, a solid album with consistent sound, though it's not my favorite Marvin Gaye album (probably because of the above. Is it too sexy for me? Too smooth? Too smoothly sexy? Too sexily smooth? Probably.)

This album opens with the iconic “Good Times,” which is 5 minutes too long for my liking, despite its importance in musical history. “Can’t Stand to Love You” was probably my favorite track on this album-it’s the funkiest. Still, I couldn’t get through it-it’s too disco for me. Learning about this band and its influence and later works by various members was fascinating though!

A solid punk album. I find that I am either in the mood for this sound or it grates terribly. There is no in between. I like Minor Threat and could see myself revisiting this when I am in the mood. Much like Megadeth, I give this 2.5 stars.

I listened to this album three times today, after not having heard it for several years. This was the album that convinced me to vote Willie Nelson for president. I love the recurring themes and story telling and overall vibe of this record. It’s nearly perfect-I will round up to 5 stars, even though it’s probably a true 4.5 for me.

This is what I expected it to sound like. Great singer, strong production, and songs I couldn’t care less about. 1.5 stars.

This album was some super fun swamp rock with great jazz, blues, and funk influences. Definitely excited to revisit this-I could see this creeping into 5 star territory. Love the voodoo swamp vibes. 4.5 stars

Revisited this classic, which took me right back to when I first listened to it. I listened critically to it to see if there was anything that would make this less than a 5. I can happily report that this album has aged well for me, and it is still a five.

There’s a lot of good stuff on this record, though I kind of want to make a super cut of all the America recordings so I can have just the tracks I like off each of them (c.f. “rowboat”); many of Cash’s covers I like as much or more than the original (his version of “Hurt” has aged way better than the original). There is a deep sadness to his voice on these last recordings that is almost heartbreaking at times. That said, there are plenty of tracks on all of these America albums that I don’t particularly care about-they aren’t bad, but nor are they mind blowing. This is a solid album overall-probably the best of this series, but not my favorite Cash. I’d give this 3.75 stars if I could.

I tried to go into this album with an open mind, as I tended to think of McCartney’s solo career as unbearably cheesy, though I recognize his contributions to the Beatles. This album reminded me that the Beatles are better as the sum of their parts. I felt like the whole album had a sort of “Day in the Life” vibe, where all of the songs have a pretty disparate feel to them, jumping around through many different genres (I always forget that I like the beginning of the title track, but the chorus makes me want to punch it in the face). Mrs Vanderbilt is a fun track, ruined by cheesy sax. bluebird is cringe worthy. Let me Roll It, Mamunia, and 1984 are not bad, though nothing remarkable. I hated how the last track recapitulated bits from all the other songs-it felt needlessly self indulgent. I wouldn’t revisit this, but it’s not awful. I listened to it twice to make sure of my opinion.

Have you ever danced with the devil in the rave’s black light?

What a treat. I had really only listened to Kinks’ compilations, so it was fun to listen to a whole album. The theme and concept are well executed, there’s a nice range of materials, and the writing is catchy and funny. I could see this being a 5 star album; as is, I give it 4.5 stars.

A good, straightforward reggae album. Nothing mind blowing, but a nice chill album to listen to.

I was unaware that there was a 20+ minute version of Autobahn. Unlike the first 20 minute track on Timeless by Goldie, however, I found this one to be varied enough to keep me entertained. The rest of the album is also pretty fun; a nice ambient electronic album that still sounds fresh after 50 years. I don’t think this is my favorite Kraftwerk album, but it’s a nice album to have on in the background, and I appreciate the innovation. I’d give it 3.5 if I could.

Well, I listened to the whole thing, so it would therefore rank higher than a 1. If I never hear “Jump” again, I’ll be happy. “Hot for Teacher” will always have a special place in my heart, and “Panama” is a silly classic. A lot of filler-“I’ll Wait” is a great contender for a Weird Al parody (it already sounds like one). This is what I thought Van Halen was, so wrote them off (until I learn their first album, which changed my mind). Thankfully this album is short, so I could listen to other stuff. Very 80s, very white, very silly.

I had never listened to this album, as I did not like the title track-easily 4 minutes too long with boring lyrics. However! The other tracks on this album were pretty good-very late 60s folk. Stripped down acoustic guitar and vocals. Some of the tracks were worth a revisit (The Grave and Babylon I liked) though overall this album isn’t really my jam-a bit too saccharine/sentimental for my liking. I’m torn between 2 and 3 stars. I don’t think I’d revisit this in full, so I give it a 2.

This album was all right. The songs that made it into the “Best of” album are good (Suite: Judy Blue Eyes, Wooden Ships, Teach Your Children Well-though I don’t like the version on this album), and their harmonies and playing are fine. CSN really benefits from having a Y though-Neil Young wrote this band’s best songs and brings a better energy to the group overall. Kind of snoozy, this one. 2.5 stars, probably wouldn’t revisit.

I tried to listen to this with an open mind, reasoning that this had some importance with regard to pioneering a genre. I was familiar with “Bawitdaba,” only tolerable for its inclusion as a joke in a Workaholics episode. While I suppose the blending of country, rap, and rock is supposedly noteworthy, this album just felt like a shitty imitation of groups who’d already done it better, performed by some wannabe rich white boy who wants to pretend he’s “hard.” The music is uninspired, the lyrics are juvenile at best and intolerable and offensive at worst. This is coming from someone who used to listen to Easy-E’s “fuck my baby’s mama” regularly (to be fair, E tags the end of that song with “wait, hold up, this is messed up”), along with any other number of degrading misogynistic shit. I don’t like Eminem, but at least the man is both genuine and can rap (and will regularly call out his predecessors in the genre). Also autotune country, wtf. I kept waiting for him to drop the N word. I was hoping maybe he wouldn’t, but given how this trash went, I was disappointed but not surprised by the last track-12 minutes of recycled stereotypical narrative BS complete with the N word. This album is some straight garbage, made by a man who has continued to prove himself garbage. The phony and the fake you can’t hang with, Mr Rock, is indeed yourself.

Straightforward singer-songwriter album; Carole King is clearly talented as both a singer and a songwriter, even if this music isn't really what moves me. This album feels like a good Sunday morning album (though maybe not for me). I'd give it 2.5 stars if I could; I don't imagine revisiting it, but I appreciate the skill involved. A nice break from the terribleness that was Kid Rock the previous day, lol.

Has this album when it came out; really only ever listened to a handful of tracks when I owned it. It’s not terrible, but I’ll likely not revisit it-I’d give it 1.5 stars if it was possible.

This album was pretty chill; I had low expectations given that I only knew “Red Red Wine,” but appreciated the social messaging and overall chill vibe. Probably wouldn’t revisit, but not bad-2.5 stars.

I didn’t care for the Offspring when they came out and were all over KROQ. I decided to come to this (after a slew of meh albums) with fresh ears, and felt like I have softened on this band and can appreciate what they’ve done here. So I was pleasantly surprised, though doubt I’d revisit this album. I’d give it 2.5 if I could; feels like it is more deserving of the rounding up than the last one I rounded up on (UB40).

There are so many bangers on this record. Overall, I think the Slider is a better album all around (no filler/fat), but this has some of my favorites on it.