Fuck Jerry Lee Lewis.

Snotty, brash, and unapologetic songs. I tend to enjoy the bands the Pistols inspired more, but this collection of songs was a great starting point. Good Punk primer, but comforting to know it gets better from here.

The first half was great. There were some neat experimentations in the second half, but ultimately it all left me indifferent. It's a good 70's pop rock record.

Snotty, brash, and unapologetic songs. I tend to enjoy the bands the Pistols inspired more, but this collection of songs was a great starting point. Good Punk primer, but comforting to know it gets better from here.

Good clean American Rock music; but that's the problem. Don't get me wrong: there's a pop sensibility here that can't be overstated, but the music's dull. The songs are simple, the songs are mostly sweet love songs or break up songs, so... not a lot of depth. Thank goodness the album's 12 songs pass in 25 minutes, though it feels longer. I am also forced to admit that I'm just not that interested in this era of music. It seems to exist entirely to sell records to pre-teens rather than out of any kind of artistic merit, but I know this is but one dull period in an otherwise enthralling history of music in the United States. To be clear: Not bad, just not for me.

Lively, funky, and cool. Not many negative things to say about this record. I would definitely play it again, though I find myself doubting how often I would play it. It's a mood, for sure, but it's a mood I'm seldom in. In review: I really like the record, but I don't love it.

This album hits one of my sonic sweet spots as far as mixing mastering. It really transports you back to the late 80's/early 90's. I love Tracy's voice and how it shapes the depths of her songs. That said, not all the songs are great, but thankfully there's only a few outliers. The reggae keyboards on "She's Got Her Ticket" rob this lyrically powerful song of its punch in a really awkward way. The next track, "Why" suffers a similar problem of strong lyrics paired with instrumentation that doesn't carry their weight. Despite this little inconsistency, It's still a good album. "Fast Car" still rules.

Boring. I get it. It's English and sexual and alluring...The Smiths did it better. At one point I actually asked myself, out loud, "people enjoy this?" I can see where there would be appeal, but It's truly. not for me. "F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E." was the best track because it sounds the least like the rest of the album. That was actually interesting. The rest is trash.

I've never been a Creedence fan and this did nothing to change it. It isn't offensive to me, but bland, boring, and a little obnoxious.

I've never been a Neil Young fan. I hate his voice. I think his music is generally bad. That said, I think collaborating, or at least harmonizing, wiith Crazy Horse really helped polish. out the qualities I dislike. "Cinnamon Girl" was enjoyable. Same with the title track. "Running Dry (Requiem for the Rockets)" was the dud here. Everything I hate about Neil in one song. "Cowgirl in the Sand" was close to meeting that same criteria, but it was a. little jammier and that momentum kept me from skipping the song entirely. By the album's end, I found myself a little surprised. Finally, a Neil Young album that isn't awful. That said, I don't think I'll ever come around to Neil Young.

It's fine. A nice gentle morning listen.

The high of "Someone Great" followed by "All My Friends" is incredibly high. I appreciate James and his dance punk aesthetic, these more chill momements with brilliant lyricism, and just a killer vocal performance speak to me and make the biggest impression. While most of the album was dancier, I found myself losing interest at times. The second half of "The Sound of Silver" definitely reinvigorated the album. The long groove is moody, driving, and and compels you to move. "New York, I Love You but You're Bringing Me Down" took me out entirely. Not a bad song, and seemingly a deeply personal one, but this is not what I wanted from LCD Soundsystem.

The arrangements are beautiful, and so are the vocals, but it's not really for me. A bit to "heavy" for casual listening.

Nice lil rocker from Elvis Costello. "Allsion" and Welcome to the Working Week" are the highlights here. This albums has been one of the most consistent records I've heard so far.

The combined strengths of Ella Fitzgerald’s incomparable performance and the Gershwins’ pop sensibilities make for one enjoyable listen. At almost 4 hours in length (the deluxe version) there’s plenty to sink your teeth into. That said, yet another album that requires a specific mood that I’m rarely in.

This album kicks open the door with "Movin' Out (Anthony's Song)" and Billy Joel doesn't stop letting you know how smooth he is for the duration off the album. Beautiful storytelling, great instrumentation, great voice, with minimal lulls. Not quite my style, but a very good listen

Enjoyable. Idiosyncratic. The fist LP from the Talking Heads has glimmers of what would would come, but this is a valiant first effort. "Psycho Killer" is a jam.

I saw "Back to Africa" and "Master Race Rock" and was ready to give it a zero 'cause racism sucks. After listening to the album, I realized it was more of a piss-take than anything. The tunes are decent power pop songs that hint at the future of punk rock. Most of the songs were decent, including a cover of "I Got You Babe", but ultimately I probably won't listen to it again.

Radiohead was too weird for commercial rock radio in the mid-2000's so they called up Muse to do a shameless impression of what Radiohead would sound like if they just kept making albums like The Bends. From the get go, I found them irritating and insincere. Not much has changed, I was very bored by it. Though, "Knights of Cydonia" gave me Guitar Hero 3 nostalgia, so there's that. The album felt entirely too long at ~50 minutes long. Not sure what Muse doing on this list.

Somehow, I love Captain Beefheart, but I can't seem to wrap my head around Tom Waits. On "Underground" the drums go thwomp, the guitars are angular, and Waits' gravelly voice paves over the whole thing. This is what I have been taught to expect of Tom Waits beyond the 70's. "Shore Leave" was an easier proposition. The oddball instrumentation is subdued, but very slinky and present as Waits weaves words like he's narrating a noir film. It's to such great effect! This gave way to he spooky, yet jolly, organ of "Dave the Butcher" which helped carries the mood. "Johnsburg, Illinois" was caught me by surprise. I was not expecting a heart-felt ballad. On "16 Shells" the driving beat and jaunty guitars are almost psychedelic and Waits displays control over his voice. "Town with No Cheer" opens with bagpipes(?) which give way to another plaintive ballad. Waaaaaaay better than I was expecting. Tom Waits has great range. I don't know how often I'll return to this album, but it definitely requires another listen.

I had listened to Kate Bush before, but I didn't really connect with her until, like many others, I heard "Running Up That Hill (A Deal with God) as a recurring feature in Stranger Things Season 4. The strength of the A-side is incredible. Bush is a tour de force. The B-side is still great, but the sudden shift into a musical theater involving an Ice Witch can cause a bit of whiplash. Not to say those songs aren't interesting or good in their own right, but I'd personally like to hear them in a work of their own, rather than tacked on to the end of this album. "Watching You Without Me" and "The Morning Fog" do help stylistically ground this second half in the world of the first, but it's this inconsistency that keeps me from giving it a higher rating.

Released in 2020, Sault's mediation on Black Identity is timely to say the least. The message is palpable and positive. The mood is a focused, heavy one. Make no mistake, this is a protest album, but it's also a black empowerment album. Though, I suppose one could make the argument that these are one and the same. "Don't Shoot Guns Down", and "Wildfires" are the highlights.

I'm relatively familiar with the Who, or at least their golden era. I generally find rock music of the 60's boring and this is no exception. The title track and "The Ox" are the only standout tracks. The others very much feel like a band trying to sound like other bands. A fair to middling first effort. It's comforting to know that the Who would eventually become a fantastic band.

Maybe I'm saying something that Neil Young fans already know, but Crazy Horse brings out the best of Neil Young. Normally, I can't stand Young's voice, I hate his particular tenor, and the way he plays his guitar, but goddamn. This was good. This is the first Neil Young album that I've legitimately enjoyed. If anyone wants an entry point to Neil Young, start here.

I hate Neil Young. I won't rule out that I may come to enjoy his work later in life, but for now, this shit suuuuucks.

A perfectly middling record. Sadly, also very forgettable. I found myself unable to remember the band name several times while listening. On the other hand. It's certainly not bad. The production is good throughout, but it can't save the record.

Perfectly run-of-the-mill early-2000's hip hop. Not bad, just not that interesting either

Fuck Jerry Lee Lewis.

They're not bad, I just find them incredibly corny. Not my table.

I've gone through the stages of hating MGMT because they're new and everywhere, being ambivalent towards them because of their continued success, and finally, accepting them as a good alt pop band. "Time to Pretend", has somehow gotten better as years go by. I'm starting to notice touches of Bowie and Burne, disco and country, oh so many influences, all packaged into a 2000's hipster duo's debut. I'm glad I came around to them eventually. While I wouldn't say it's one of my favorites, this album absolutely deserves to be on this list.

My least favorite of the first four VU records. That said, Lou Reed's choice to have additional singers was a nice choice. This is a more straightforward Velvet Underground.

The album mostly features the kind of boring blues rock I've associated with Eric Clapton for most of my life. The title track, "Layla" suffers from having a better, and more memorable, guitar line than any other part of the song. It was disproportionate how jazzed I got about the guitar and how much I didn't care when the vocals came it. "Why Does Love Got To Be So Sad" is a highlight. Having an Allman brother really helps a little, but not a enough.

My perception of Sheryl Crow has changed. I already knew "All I Want to Do". I wrongfully assumed it would be straight-ahead country with pop tendencies and wow, I sold Sheryl short. One way to get my attention right away is to name drop Aldous Huxley like in "Run, Baby, Run". From that moment I listened a little closer. the moody "Leaving Las Vegas" and the weird groove of "Solidify" completely shook my preconceived notions. Tuesday Night Music Club is a portrait of an artist fearlessly experimenting with her sound. It's not

The organ just does it for me. This might be my first band from this list that I didn't know previously, but enjoy.

Fine I guess. It's not really for me, but there's an undeniable talent here?

I've never been a Megadeth fan. I've given them plenty of chances, listened to their best albums (this one at least 4 times prior to this),and played "Hanger 18" on Guitar Hero II more times than I can remember, but Dave Mustaine and Co. still haven't won me over. With this listen, I have to hand it to Megadeth as musicians, there are serious skills on display. It makes sense that most people I know who play guitar tend to have positive opinions of Megadeth. They have serious chops. I like to think that while all the other thrash bands may influenced by punk, Megadeth took lessons from Iron Maiden. While the album is undeniably a Thrash Metal album, Megadeth pushed their sound to expand on what could be defined as thrash. Simultaneously, they were doing things that, unbeknownst to them, would influence the next waves of bands for decades. Dave Mustaine's voice takes a little getting used to. All told, when the album ended, I was surprised. It felt short, or at least it didn't go on too long, which may be the genius of Rust In Peace; keeping it at tight 40 minutes. I walk away from this listen of Rust In Peace, not as a Megadeth fan, but as someone who will likely throw on a different Megadeth record soon, because they deserve another chance.

One of the weirder Beach Boys records I've heard. As usual, the vocals harmonies are impeccable. There just aren't any earworms here. I generally enjoy the Beach Boys, but this one left me feeling a little disappointed. "Feel Flows" is a high. "Student Demonstration Time" is a low

An incredible voice; an incredible talent. Aretha Franklin's Lady Soul is a statement: "Chain of Fools", "(You Make Me Feel Like) A Natural Woman" are the major hits, but honestly the whole album will have you groovin'.

Not yet the indie/college rock superpower they would become by the 80's end, Murmur is very strong start. Presumably named after Michael Stipe's tendency to murmur or mumble the lyrics. There's a certain innocence and charm to Stipe's timidity, plus it lends a certain amount of mystery to the songs already cryptic lyrics. Post-punk moodiness is there, but there's an overwhelming optimism bubbling beneath the surface, ready to burst free. The front half is stacked: "Radio Free Europe", "Pilgrimage", "Laughing", "Talk About the Passion", and the plaintive "Perfect Circle" closing out the front half. The back half is very much the same. Strong , driving, southern dreams interpreted by a warbling Stipe. On "Shaking Through", it just occurred to me that R.E.M. may have been strongly influenced by Fleetwood Mac, and that's ok!

I constantly reference "So Fresh, So Clean" in my daily life. "Ms. Jackson" and "B.O.B. - Bombs Over Baghdad" are instantaneously recognizable hits. The features list is insane. Erykah Badu, B-Real (Cypress Hill), pre-RTJ Killer Mike, and Sleepy Brown, to name the big names. One downside is the numerous skits that don't do much to elevate the other tracks. If you count "Intro", they make up 7 of the 24 tracks. "Kim & Cookie" is a little funny, but generally these snippets seem unnecessary and kinda dumb. The only real low points are the funky "Call B4 I Cum" and grimy "Xplosion". Outkast has proven themselves better than this in the past, and it's not even that these songs are bad, they just aren't interesting. "Call B4 I Cum" is meant to be sexy and fun, but to me it just seems immature and kind of dumb. "Xplosion" on the other hand seems like an unnecessary attempt at saving Outkast's street cred by making a "hard" song. All told, the good far outweighs the bad. Outkast is essential to hip-hop listening, and this may be a good entry point for newcomers, I prefer both Aquemini and ATLiens to this album.

There were a few songs toward the back half of the album that stood out, but you had to listen to 7 tracks to get there. Too dry and low energy for my taste. I think I would've liked it better as an instrumental album I'll probably never listen to this again. Super forgettable. Not sure what this album is doing on this list

It took me a long time to warm up to Bob Dylan. This is a hit-heavy album, but that's part of the problem. I find "Blowing in the wind" and "Hard Rain is Gonna Fall" kind of annoying mostly due to just hearing them waaay too much. These songs are part of the reason I disliked Dylan in the first place. "Girl From North Country", "Bob Dylan Blues", "Don't Think Twice, Its Alright", Oxford Town", " I Shall Be Free, and "Talkin Word War III Blues" are all fantastic, memorable songs. Absolutely deserves to be on this list, but there are other Dylan albums I enjoy more.

Rush! While there are other rush albums I enjoy more, this record is a tour de force. 7 songs in 40 minutes and some of the bands biggest hits: "Tom Sawyer","Limelight", and "YYZ" are all here. It's a little poppier than their previous efforts, which helps in ways and hurts in others. Overall, fantastic outing from a great band. Definitely belongs in the list.

Just fine. I had never listened to Jeff Beck intentionally prior to this, and now that I have, I may not do it again. Almost the entire album was forgettable. Jeff Beck isn't really anything special as a singer, or at least, I've heard others do it better. I struggled to care.

Always a good time with the Temptations. Breezy and cool soul tunes that keep you grooving. Good cover of "I Heard It Through the Grapevine". All around feel good music.

Dreamy, romantic, and nostalgic. I had never heard Everything But The Girl prior to this, but wow! I have a soft spot for sophisti-pop.

Great listen! I love the coffee-shop vibe of early 90's singer/songwriters and the fact that k.d. Lang has such variety in instrumentation and style. Very enjoyable album, I'll be looking into more of her stuff. "Constant Craving" transported me to a CVS Pharmacy.

Dylan in 1997 is nothing I've experienced before, but I know that Dylan in 2012 sounds vaguely like Tom Waits, so this will be great for context. Surprisingly, this just seems like an aged Dylan: a little slower in his delivery, a little more direct in his lyricism, and leaning more into blues. This is a mild-mannered Bob Dylan, but "Standing in the Doorway", "Tryin' to Get to Heaven" show that with age comes valuable experience and new questions about life. "Not Dark Yet" is the closest to Midwest Emo Dylan is likely to get. A decent late-career effort from Bob. Not as interesting as his hayday, but still offers songs worth listening to.

Essential listening for anyone interested int he rock genre. Chris Cornell may be one of the best singers ever. Kim Thayil is one of the most underrated guitar players. "Black Hole Sun" and "Spoonman" may have become the biggest hits, but the entire album is filled with excellent tracks from the driving "Let Me Drown", "Fell on Black Days", "The Day I Tried to Live", and the haunting "4th of July", which may actually be my favorite Soundgarden song ever R.I.P. Chris Cornell

There's a couple of songs that make a case for why Kiss is as revered as they seem to be ("Detroit Rock City" and "Shout It Out Loud" are Kiss at their best) but the rest of the album sounds quaint; relics of a different era. Even "God of Thunder" sounds cheesy. Kiss will be remembered for their face paint and iconography, not for their music. I don't think Kiss will ever be for me.

It's fine, a little boring musically, but Dusty has a powerful voice and has no problem showing it off. She really is a powerhouse singer and can pull off many styles, but ultimately the album as a whole wasn't something I find myself needing to come back to. I'd recommend her to others.

I am not a Led Zeppelin fan. I've attempted discography listens over the years and find Zeppelin generally lacking. This record, though. This is definitely Zeppelin's most restrained record, as most of the tracks are acoustic or on the more quiet or laid back side. The sequencing on this album is insanely good. Songs that don't seem like they should follow each other work inexplicably well. The transition from "Immigrant Song" to "Friends", followed by the zany rocker "Celebration Day", effectively. closing the first suite The slow build of "Since I've Been Loving You" reintroduces the album, though this is the kind of thing I don't like about . "Out on the Tiles" swaggers "Tangerine" just...feels good. Nostalgic and heartfelt. The only disappointment is the last two tracks, but they almost completely put me off.

Noisy, discordant, and a little dancey. This is what would happen if LCD Soundsystem was weirder. Perfectly enjoyable. There were some passages where I would have enjoyed a bit more energy, but still enjoyed the album. The noisier bits were still fun.

It's cute that I got this on Christmas. A perfectly fine collection of Christmas standards. I'm not particularly fond of Christmas music, but as far as holiday songs go, this was a nice representation.

My first introduction to Coldplay. I hated "Clocks" as a kid, but as an adult, I kind of looked forward to revisiting older Coldplay. I've always kind of brushed them off as a Starbucks band, and to some degree, I was right, but they've since long outgrown my original critique. Though they're primarily known as a pop group, I forget that they were just a soft alternative rock band at one point. "In My Place" is kind of what I expected from Coldplay. "The Scientist" is the song that originally brought me back to Coldplay. The simple arrangement and the wistful vocals truly ground this song in lived experience. and who could forget "Clocks", though I will admit I can enjoy this song for what it is. Something Coldplay excels at is building and holding tension. Songs like "Daylight", "God put a Smile upon Your Face" and "A Whisper" were welcome surprises. The instrumentation and general brooding mood feels like something from Radiohead. Especially the extended instrumental on "A Whisper". The song, "A Rush of Blood to the Head" was the only real low point. All said, this was a solid second effort and they deserved the attention they received, though I could've done without their "pop band arch". This album absolutely deserves to be here.

This is the one with "Give Up the Funk". If you've heard that song, expect more of that. George Clinton and his merry band of misfits indoctrinate you into their funky world for 38 minutes. You will want to listen to the album twice because it is very fun, but it almost feels short. The instrumentation is lush and there's so much experimentation that it makes me a little giddy. At times, however, the album can feel a little one-note, but it's easy to see how important this particular work is on the genre and would become to hip-hop decades later. I'm not super into funk, so I can't rate it higher, personally, but it absolutely deserves to be on this list.

More like "The BLand" Not for me.

A rock solid debut from the 70's most under-appreciated bands.

So stylish, so experimental, so....Bjork. From her soaring vocals to the brain-tickling instrumentation Bjork has crafted a statement. and the wild part is, it's not hard to see Björk's influence on vaporwave and current pop through tracks like the dreamy "One Day". I can see how this release may not be for everyone, but if you're willing, Björk will take you somewhere incredible.

The only Police I respect are Sting, Stewart Copeland, and Andy Summers. Reggatta De Blanc was always my favorite Police album, primarily due to "Message in a Bottle" and "Walking on the Moon", but also how the album feels like it's meant to be listened to at night. I don't know how else to describe it. The fusion of reggae, post-punk, and occasionally samba(?) make for an entertaining listen, but ultimately the mood can't carry the whole release. The entire second half of the record tends to drag

Aside from the ABBA hits, I'm not familiar, though it seems like The Visitors is a step away from the disco pop they were so well-known for. To be frank, this was boring. The vocal performances were great, but everything about this album seemed too clean, too polished... too manufactured. "Cassandra" and "Under Attack", on the other hand, brought me back in. These two songs singlehandedly brought this album up from a 1 star

I was already pretty familiar with Live Through This, but Celebrity Skin is definitely more slick sounding. It's the late 90's and alternative is now mainstream, so it seems the established trend is to just take those bands and polish enough of the edge off off them to be commercially successful. Despite the toothless production, the Hole songs are still good. This is a more mature band, but also a band that has been seduced by celebrity and its trappings. This is also the album with the most outside collaboration; Billy Corgan composed 5 songs. There are parts of the record that just feel so insincere and phoned in. It always appears as a red flag when a band requires new blood (outside help) in order to do what they've always done sucessfully. Couple that with a "California" concept and you have the makings of trite and vapid product. As I alluded to before, despite the warning signs, it seems like all the outside help actually worked. While not as inspired as some of their earlier works, Love and Co. managed to release a pretty enjoyable record.

Stevie Wonder presents a wonderland of funk, soul, and pop, though none of it is really for me. Stevie Wonder's funk is not George Clinton's funk. Stevie operates at a lower heart rate. That's not to say that it isn't objectively good (his vocals and the instrumentation are all on-point) but it comes off as a little corny and boring to me. I was pretty tuned out until "Golden Lady" brought me back in. "Higher Ground" is an objectively good song, but it has been ruined for me by the Red Hot Chili Peppers. "Jesus Children of America" was also enjoyable. "All in Love is Fair" onward was like chugging Nyquil. "He's Misstra Know-It-All" is the best track on the album. I get that Stevie's claim to fame is being really smooth, but it's 11:45am and I am ready to take a nap because of this album. Nothing negative to say about the performances, but it just couldn't keep my attention.

I knew I had listened to this album before, but couldn't remember anything about it for the life of me. Imagine my surprise when it's a reggae album (or reggae-tinged punk a la the Clash?). I tended to enjoy the dub-inspired songs more, but the songs tend to be simple to the point of being quaint. I generally enjoy the vibe, even if it is a little same-y, but I don't think this is all that essential of a listen.

This is the one with "Tutti Frutti". Little Richard's Rock 'n' Roll remains as virile as when it premiered; full of swagger and optimism. Because of it's 12 bar blues structure, the songs don't tend to be all that interesting, which means Richard's vocal performance has to carry most of the songs. For the most part he does. His energy is infectious. An innovator who is absolutely essential to understanding contemporary music. RIP - Little Richard.

Massive Attack's first album is just that: a first attempt. There are signs of greatness that would come later, but there are also still signs of trying to find an identity. Compared to what Mezzanine brought to the table, this feels like Massive Attack*Lite*

A perfectly middle of the road 60's rock album. There are twee moments ("I'll Spend My Life With You") goofy moments ("Band 6"), Chamber pop songs ("Shades of Grey"), and "Zilch" contains the "Bob Dobalina" sample that Del The Funky Homosapien would use decades later. It's perfectly fine, but for the life of me, I don't understand why it's on this list.

Maxwell's Urban Hang Suite stands as a testament to 90's R&B production superiority. The record just sounds *cool*.

The front half of the record is stacked. All the songs you already know ("Mr. Brightside", "Somebody Told Me", "All These Things That I Have Done") and a few others that you may not have heard, but are still quite good ("Jenny Was a Friend of Mine", "Smile Like You Mean It"). However, the whole thing grinds to a halt on "Andy, You're a Star". From then on becomes a lot less memorable. They dabble in new wave and post-punk to varying degrees. There is a kind of neat trip-hop experiment ("Everything Will Be Alright"), but it all seems misguided. A solid effort, a hallmark of the 2000's, sure, but essential listening? I dunno.

This was my first outing with Jeff Buckley, and by the record's end, I struggle to call Jeff Buckley a singer/songwriter, because it feels like he's doing more than that. Yes, there are the more calm songs that would make him a hit with the coffee house set, but Buckley also offers more raucous songs. They're not bad at all, but the more lively ones can feel a little out of place at times ("Eternal Life"). There's a haunting quality to his work the kept me listening and drew comparison to Thom York's vocals as well as various eras of Radiohead, particularly "Chorpus Christi Carol". Jeff Buckley has been one of my favorite "new to me" artists and has kept me coming back since this listen.

Those who only graze the surface of the record will be almost offended. The guitars are all over the place, the lyrics are nonsenical poetry and "in-jokes", it is clearly the product of LSD and too much free time. A mean joke played on the honest listener. Those who stick around, or listen deeply, will hear math rock, blues ("China Pig"), angular jazz, world building, and yes, those same silly in-jokes, but now you're in on the joke ("fast and bulbous" lol). There are reference to dark subjects (Dachau concentration camp), political commentary ("Veteran's Day Poppy"). There is so much to chew on over multiple listens. The good Captain presents his situation as a person seeking happiness/fulfillment/freedom ("MY SMILE IS STUCK I CANNOT GO BACK TO YOUR FROWNLAND"). Beefheart and his friends make up characters with personalities and identities (The Mascara Snake, Rocket Morton). Once you are able to see the record as an attempt at fun, as joy-seeking practice ("Pena"), then you're good. I will agree that it is a DARING album. The choices regarding the music were experimental then and are a blueprint for avant-guarde today. Admittedly, Beefheart's voice may be a bit more gruff than the typical pop starlet, so that's another proposition that might perturb the casual listener, but what everyone needs to remember is this is art, not a product. Trout Mask Replica is Captain Beefheart & His Magic Band's invitation to not take life too seriously (ironic given the making of the album): "Take my hand and come with me It's not too late for you It is not too late for me" An absolute masterpiece. A portrait of a (mad) artist at his most free and fanciful. A true Jester of the music world. One thing is certain: On the Mt. Rushmore of music, one of the faces wears a Trout Mask.

I put off rating this one for a while because I felt a need to keep coming back. a few listens, especially over the course of a day, didn't feel like a fair shake. I knew upon listening that this was a *good* jazz album; but how good? great, even? First off, there's nothing truly outstanding or experimental here. However, I can't seem to find a situation I wouldn't play it in. Hugh Masekela's jazz is infectious and you remember less of how the song went, and more how you felt listening to the song. Having poured over many an "essentials list", I have never seen Hugh Masekela mentioned, which seems wrong to me. This is an enjoyable listen for anyone already into jazz, as well as newcomers to the genre; complex enough to keep interest, but tame enough to not be intimidating. Cheers to you, Hugh Masekela.

This is not the Dexys Midnight Runners who wrote "Come On Eileen". This is a more mature, restrained Dexys. However, for all the maturity and interest in "high brow", it comes off a bit bland. This is painfully apparent on "One of Those Things" as they recycle the "Werewolves in London" riff. This feels like a band adrift. Don't get me wrong, I do appreciate that Dexys are willing to experiment with longer songs and different song styles, but their attempts fall kind of flat. Sadly, not essential by any measure.

In a list that tends to be very Anglo-/West-centric, Nusrat Fateh Ali Khan's Devotional Songs was a delight. Prior to listening (and doing some light research) I knew nothing of Kahn's work, but this is exactly what I was hoping for from this list; something different that I may not have heard before. His devotional songs and singing style are a delight. Though these are religious songs, they are quite catchy and listenable. The language barrier actually helps keep these songs from being too heavy-handed. The instrumentation is great, but the real highlights are the vocal performances. Sometimes chanted, sometimes sung, the vocals soar. Very enjoyable and from such a prolific artist. Very thankful for the variety this adds to an otherwise Less Neil Young, more stuff like this.

Nick Drake's soft and moody vocals, paired with the sparse instrumentation (Drake on guitar; also piano on the title track) create a dreamy atmosphere of thoughtful calm. For a short 28 minutes, you are transported from wherever you are, to sitting in a field beneath a wistful Pink Moon. Absolutely Essential.

All Mod Cons is a fine listen. The Jam inject an infectious energy into their songs. That said, it doesn't have any songs that are all that memorable. It does have good tracks throughout, just none that I'll be humming a few hours later. Good album, but probably not essential.

If you already like the Doors, there's plenty to like here - this is the one with "Love Her Madly" and "Riders on the Storm" Otherwise, prepare for a blues-heavy Doors album, as they seem to have left most of their psychedelic influence behind. Neverfear, Morrison still swoons and barks, and the songs are still punchy and memorable. Not their best work, but damn good.

I've never been a fan of country music. I tend to enjoy the older stuff more than the contemporary trash; that said, Merle Haggard, despite being hailed as a giant in the genre, failes to impress. He has a decent voice, but there's so little variety here. Haggard does one thing well, and if you're not totally sold on that one thing, well..... ¯\_(ツ)_/¯

I've tried to listen to this several times but it just falls into the background every time. Infected lacks the appeal and fun of earlier The The albums.

This is kinda nice alt-country, songer/songwriter stuff. Something about Lucinda Williams voice sounds intensely familiar, like I've been listening to her all my life, despite this being my first listen. William's delivery is so perfect that I almost believe her on "2 Kool 2 Be 4-gotten". This is one I'll keep coming back to every once in a while.

The blueprint for the metal genre. Iomm, Butler, Ward, and Osborne This album is a statement and an incredibly strong debut.

First off, glad to have more variety in music. Very percussion and chant-heavy. At their best when accompanied by guitar. I can appreciate Sabu for their contributions to Afro-Cuban music and folk songs, but I can't see myself putting this on often. Possibly essential, but not really my thing.

I dismissed Franz Ferdinand after hearing "Take Me Out" when they debuted. I was not a fan of alt-rock's early 2000's period and deemed it too contrived to be of any interest. Now, as a more experienced listener, I can see Franz Ferdinand as a continuation of post-punk, though, seemingly, a post-punk meant for the dance floor? The songs are bouncy, and, if given the chance, would lend themselves well to a discotheque. Sadly, this does tend to leave the lyrics repetitive or lacking much depth. At times they sound extremely similar to alt-contemporaries, the Killers, sometimes the Hives (most of the album), and sometimes the Doors ("This Fire"). Franz Ferdinand come so close to touching brilliance a few times, but never quite get there, making for a disappointing listen, despite their willingness to experiment withe different sounds. Not for me, not essential, but a good snapshot of what was happening in alt-rock in 2004.

I've despised country for most of my life. I have since come around to the genre, and this era of country, western, and folk songs is typically where I spend most of my time. Despite a lack of musical variety and overabundance of religious content, the Louvin Brothers manage to keep the record feeling fresh and interesting; the musicianship more than makes up for it. The vocal performances are fantastic and the harmonies are divine. The album rushes by on a Kentucky breeze and plays well upon additional listens.

Of all Sonic Youth albums, why this one? Having heard earlier records by the band, I can say there's something about Dirty that seems like Sonic Youth are trying really hard to fit the grunge/alternative mold of the period. It doesn't feel natural or authentic. True to it's name, Dirty, sounds grimy and sludgy, but it seems like a polished, manufactured filth. At times Sonic Youth sounds like Mudhoney and the Breeders; two bands I like, but Dirty sounds too slick for as "dirty" as the instrumentation is trying to be. Highlights: "Wish Fulfilment", "JC" There are better Sonic Youth albums.

It's electronic, it's twee, it's pop, at times post-punky, and it's wonderful. I'd never heard of Jane Weaver before, and this has been such a delight. I love Weaver's ability to find the ley line between different genres and style, and shift between them effortlessly. It's all very enjoyable, but it's missing that "wow" factor that keeps it from being a truly great album.

Following his Bookending of the '90's with The Boatman's Call, and the disappointing followup, Nocturama, Cave was looking for direction. Most fans will point here as the album that kick-started his later-career arc. I would disagree. Rather, I view Abattoir Blues / The Lyre of Orpheus a detour. Clearly, Cave and crew had a desire to up the energy, as evidenced by the follow-up record Dig, Lazarus, Dig and Cave's side project from this period, Grinderman. There's a a lot of ideas on this double album (of course) but this could have been pared down to one good album (each album has a handful of truly great songs). "Cannibal's Hymn" and "O Children" bear flashes of the 90's Cave and hints at the style he would adopt for Push The Sky Away, later down the road. The choir, while a nice though, generally holds back most songs. The repetition, especially when there's so much from it, seems wasteful when a wordsmith of Cave's calibur is the one doing it. I love Nick Cave and the Bad Seeds, but not this record. I revisit this every few years to see if it's aged any better, but he answer continues to be "eh". Not his worst record by any stretch, but rather middling.

In a parse 32 minutes, Suicide marries simple electronic rhythms and melodies with harsh tones, rock-and-roll affectations, and unnerving repetition. The lyricism is simple, often repeating, and deals mostly with rock & roll themes: motorcycles, love, girls, etc. As the record continues, the cold electronics continue to give a cool edge to these songs. The use of vocal affects is sparing, but used with extreme efficacy to haunting effect. Then there's "Frankie Teardrop" which goes down like a brick. Everything leading up to this track is extremely tame, and almost feels like they were sequenced with the intent of luring the listener into a false sense of security before the proverbial drop. The song follows the titular Frankie's downward spiral, in which he loses his job, gets evicted, goes hungry, and is driven to the point of murdering his wife and 6-month-old child, and then committing suicide. A guitar drones in the background and the drum machine keeps an mechanical beat as Alan Vega narrates Frankie's journey in a nervous whimper, before letting loose and screaming during the climax. It's not a fun song, but goddamn, Suicide gave it all on this song: the climax of the album. "Che" plays almost as a funeral dirge; the dour mood supported by electronic bass, the drum machine peppered in the mix like rain, repetitive guitar, and organ drones while Vega moans overtop like a spirit. Suicide's self-titled debut is an experience to say the least. Despite any negative thing I may have suggested, this is a great record. Suicide's approach to music is so different from their contemporaries in the NY "no-wave" scene, but just as powerful, inspiring what was possible with electronic instruments.

Scott 2 can only be described as a transitional album. Fresh off the success of his first solo effort, Scott 2 features more original songs (along with a few covers). In addition, Walker's own songwriting features mature or risqué topics, hinting at Scott 3's more serious approach as an artist. Constant throughout his career is the power of Walker's voice: Amazing!

Elvis Costello is an artist who reminds me I am aging. As a younger person, I decided Costello was "for adults", and left it at that. Now in my 30's I listen to and appreciate Costello, as is appropriate for my original perception of this age group. Haha For real, he's a good musician and singer. I don't know that I'm quite ready to call myself a fan, but I can definitely see myself returning to Costello's works.

I have a very hard time believing anything Morrissey does post-Smiths comes anywhere near the vicinity of the word "essential". The prominent use of distorted guitar comes off like a desperate grasp at machismo. The final lines of "We'll Let You Know" ("We're the last British people you will ever know") are kinda xenophobic. There were one or two songs towards the end of the album the harkened back to The Smiths' sound, but not enough to impress. Fuck Morrissey.

Buck Owens has a lot of variety here: energetic songs, sad songs, cowboy songs, etc. It's honestly not bad, but I doubt I would choose to listen to it all that much. I'm not sure how it sits in the overall country canon, so I can't speak to how essential it is or isn't. It's just Buck Owens, and I'm assuming that has always been the case.

Can't say I understood the hype for Aerosmith; a perfectly average rock band. I remember hearing "Last Child" on Guitar Hero II, but didn't really care for it then either. There are glimmers of greatness, but nothing truly stands out.

It's very telling when the best song on the album is a cover ("Whole Lotta Love"). All this album has to its name is the reputation built on making existing blues songs heavier and being obnoxiously horny, both lyrically ("gonna give you every inch of my love", "squeeze my lemons and the juice rolls down my leg") and via Robert Plants vocalizations; most of which just sound like sex sounds (which, given their heavily publicized relationships with too-young, or flat-out underage girls, feels even more gross). The best part of Led Zeppelin is the musicianship, but even then, Page is too often busy attempting to pass off some of the most pedestrian guitar wanking I've ever heard as an inspired solo. The real best part is the rhythm section. The more I listen about Led Zeppelin, the more I'm convinced they do not deserve their legacy. Highlight: "Thank You", and the album fucking ending.

Frank Sinatra crafted the perfect lonely late night album. Lyrically, this is a concept album about loneliness, sadness, & "feelin' blue". At it's best, In The We Small Hours, is incredibly relatable and, on its face, a very human record. The gentle string compositions and Sinatra's voice are incredible and play to great emotional effect; "I Get Along Without You Very Well" and "When Your Lover Has Gone" had me tearing up. Such charming and moving album. I was not expecting to like it as much as I do! Absolutely essential!

When the downtempo drums kicked in, I let out an involuntary "Oooohhhh" because my expectations had completely flipped, only then did I truly understand what I was listening to, and suddenly became very excited about this release. This is such a delightfully unexpected transition for Everything But The Girl. Their willingness to experiment with newer technologies and sounds is apparent and the fact that they made the transition from 80's sophist-pop to the trip-hop of the 90's seem so effortless is impressive. This a moody and mysterious sounding album, while having tempos and song variety that keep the record engaging. EBTG's vocals have always been a highlight throughout their career, and this is no exception. Tracey Thorn sounds ethereal, confident, and alluring. I love this era of electronic music, and the fact that there's an Omni Trio mix of "Walking Wounded" has me giddy. This is the first time I have ever heard this record and I. LOVE. IT.

I love a good sound experiment, and I'm glad they were open to trying new things, but Blur's self-titled LP falls short. As a kid I would always wonder "what if (band) made a (genre) album?" and it always provided hours of fun to speculate. However, this album is an example of it not working out. In an attempt to sound like contemporary indie and alt-rock bands in the US, Blur undergoes a stylistic change that doesn't really suit them. Some of the songs are decent, but they just don't do enough to really put them over. It may have to do with Blur's documented distaste for grunge. If they heard unlistenable garbage, then "I'm Just A Killer For Your Love" seems like a piss-take that reflects their view. Highlights: "Essex Dogs", "Song 2", "Strange News from Another Star" Blur is best when they're British. Damon's best when he's in Gorillaz.