1001 Albums Summary

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. Edit: Who am I kidding, this is actually great.

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. Edit: Updating my rating to a 4, because it's actually so close to a perfect record. Alex Chilton's songwriting is incredible and I can't believe I ever thought otherwise.

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. Iommi, 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.

Leonard Cohen is a Poet. Some of the songs are deeply affecting, though others seem to drag under their own weight. Highlights: "Bunch of Lonesome Heroes" and "The Partisan"

I know nothing about the artist, but everything about this record screams "industry plant". Nothing sounds sincere, everything sounds "partial". The presence of this album on this list calls the integrity of the list into question. In what conceivable world is this an essential album?

While it hosts a few of Black Sabbath's biggest hits, Paranoid feels like a sidestep from their debut than a true step forward. There is most definitely experimentation happening, but there are growing pains. Yes, "War Pigs", "Paranoid", and "Iron Man" are all here and are evidence of better songwriting, though, for me, their anthemic status lessens my enjoyment. Don't get me wrong, "War Pigs" and "Paranoid" are objectively amazing songs, but they are so engrained in culture that I hear them frequently whether I want to or not (commercials, sporting events, movies, etc.). As for "Iron Man", it fatigues me and always has. It and "Electric Funeral" both share the common flaw of being redundant to a fault. I don't mind a bit of repetition in my music. but neither song feels particularly inspired, and I am baffled at how it has achieved such longevity. The real treasure of Side A, is the haunting "Planet Caravan", which is so unlike anything Sabbath had done at this point. For me, the back half of the record shines. "Hand of Doom" is just as strong as "War Pigs", "Rat Salad" get almost jazzy at times and we get pretty awesome drum solo from Bill Ward, not to mention one of my all-time favorite Sabbath tracks "Jack the Stripper / Faeries Wear Boots" closes the record. Not Sabbath's strongest record, but a rock solid release.

"Listen to Vol. 4" - Sleep If Master of Reality was their "weed album", Vol. 4 was their "coke album"; you can literally hear someone whisper "cocaine" on the album's thesis-song, "Snowblind". Apparently, cocaine made Black Sabbath very ambitious, as they are able to further deliver on the promises of their prior albums by churning out riffy rockers like "Tomorrow's Dream", "Supernaut", and "Cornucopia". Their very first ballad, "Changes", appears on this record and blows any preconception about the band out of the water, entirely. Likewise "Laguna Sunrise" further shows an a more romantic side to Black Sabbath, though through the guitar of Tommy Iommi. While the drugs appear to have done wonders for Sabbath's creativity and enthusiasm, the band is also beginning to unravel. The "joke song", "FX" is a curiosity. Also, album closer "Under the Sun / Every Day Comes and Goes", feels lackluster and meandering compared to the rest of the album, and is the weakest Sabbath album closer so far. Still easily a top 3 Sabbath album.

It was good! Not amazing, not bad. I'd listen to it again.

If there was going to be a Hip-hop opera/concept record included on this list, why on Earth would anyone choose this over Deltron 3030? Ambitious record, but ultimately uninteresting. Production goes nowhere and I couldn't muster a fuck about the narrative. It's bad.

Blur's defining album, as far as I'm concerned. It does strike me as music that should be listened to while enjoying a public park's facilities. There are moments of fun ("Tracy Jacks", "Parklife"), fancy ("The Debt Collector", "Far Out"), and plenty of variety to sate the listener. That said, while the album is undeniably an enjoyable listen, the highs are never particularly high. The lows aren't particularly low, but "Clover Over Dover" and "Magic America" is a feel phoned in by comparison.

I came around to Thin Lizzy in my 30's (of course, right?) after a lifetime of hearing a "The Boys are Back in Town". Now, I have a considerable soft spot for them. "Live and Dangerous" captures Thin Lizzy at the peak of their career, compiling the best performances of their best songs between '76-'77, effectively bookending their "classic" period, as guitarist, Brian Robertson would leave shortly after release, and substance abuse would begin to ravage the band from this point forward. This album is home to some of Thin Lizzy's best recorded versions of some of their songs. The slowed live version of "Still In Love With You" is downright heart-wrenching, with an incredible solo. Likewise, this is the most affecting version of "Southbound" recorded. Otherwise, every Thin Lizzy song you would want to hear is here, and played with gusto.

Charming and endlessly infectious. Combining elements of shoegaze, jangle-pop, and 60's psych rock and folk ("Fool's Gold" features honest-to-god dance beats), it's not a far-fetched notion that this is the album that informed 90's alternative rock (particularly slow-/sad-core), pop music, and to some extent, foretold the coming of Jungle/DnB as well. Despite being fairly laid-back, the songs are imbued with a palpable optimism that brings a smile to my face.

"Gimme Shelter" and "You Cant Always Get What You Want", arguably some of the Stones' most recognizable songs, bookend this album. Sadly, these songs feel totally out of place here, as the rest of the album heavily features more country and blues oriented songs that are significantly less memorable.

Wow, where to begin? Janelle Monáe has crafted an experience in doing so, has elevated the pop album. Her influences are vast: jazz, swing, hip-hop, soul, gospel, psychedelic rock, rockabilly.... it goes on. And it's downright impressive how effortlessly she seems to move between them. It really speaks to the sequencing of the album as well. Monáe has a demanding presence whether singing or rapping... and what a voice. Wow! This is one instance where the music is so good, that the concept actually holds it back a little bit. My prime example is "Cold War": musically great, but lyrically clunky. That said, I love the Afro-futurist inspiration and wouldn't change that at all. To simply label The ArchAndroid as any particular genre or style would be reductive, and to refer to Janelle Monáe anything other than an artist is to severely underrate her. The only reason I'm not giving it 5 stars is because I doubt I would come back to it all that often (not my personal style of music) but to deny her artistry and vision would be ignorant; plain and simple.

Interesting compositions. Anyone familiar with Warp Records at least has an idea what they're in for. Dance music meant to give you pause, rather than make you move. The front half tends to be a little too repetitive at times, especially considering how long the album is, however if you give each song time to flesh out, things to enjoy about these downtempo grooves will be revealed, especially on the back half where it becomes less beat-centric. Actually reminds me of an atmospheric video game soundtrack. I prefer Weatherall's Two Lone Swordsman project more. Wouldn't call this essential. Highlights: "Planet D", "Theme 4", "Ballad of Nicky McGuire"

420 Blaze it

Aretha is a powerhouse on album opener "Respect". She's a fantastic vocal talent on the rest of the album too, but the songs themselves are lower energy and much less memorable.

I hate Neil Young.

Nothing against Bob Marley and the Wailers, but I've heard more interesting reggae. It kinda seems like you had to be there to appreciate Marley's larger-than-life presence and political efforts, because 52 years later, all I hear is a pretty standard reggae album. Not bad by any stretch, just not as outstanding as most seem to believe it is. Additionally. the chill energy can be a little much at times, and leaves me craving some diversity. in songwriting. I was going to compare this album to Peter Tosh's work, only to find that Peter Tosh was involved!

The combined efforts of this all-star team of Stan Getz, Joao Gilberto, Antonio Carlos Jobim, and Astrud Gilberto made a gorgeous, peaceful, sensual, playful, nostalgic, and most importantly, GOOD, like, very, very good, album.

Honestly, I can't believe I wasn't impressed by Miles Davis. I've listened to quite a few of his albums, so when this popped up I was quite excited. This is fairly pedestrian fare for Davis. Nothing particularly memorable, but also not bad. Just good listenable Jazz.

It's incredible to me that this record was released in 1989 and it still sounds fresh and powerful. Thanks in part to vaporwave and other nostalgic electronic sub-genres, 90 sounds like it could have come out last year. It's a fun, danceable record, with a lot of great ideas swirling within. Probably one of my favorite new-to-me albums from this list.

Kind of baroque-poppy, like Scott Walker with shades of Leonard Cohen, but nowhere near as engaging as either.

Historically, I have found Creedence Clearwater Revival annoying and a chore to listen to. This album however is slowly changing my opinion. The first listen went by in a flash. Part of the beauty of this album is its brevity. Kicks out 9 songs in 29 minutes and it's over. The sequencing of tracks is notable as well. I generally dislike "Bad Moon Rising" as a radio hit, but in the context of the album I honestly don't mind it. I was surprised by some of the driving rhythms and hard edges of some of their songs. For once, John Fogerty's voice didn't bother me. All in all, enjoyable album. Maybe there's hope for CCR in my future.

Thoroughly unimpressive. This album has been on so many "essentials" lists and I don't understand why. I would not choose to listen to it again.

Like most, I already knew "Tainted Love", but haven't spent any proper time with this Soft Cell. I had kinda written them off as "one-hit wonder", and I was kind of right (in the commercial sense). At times they are playful and purposefully campy ("Seedy Films"), at others there are shades of Depeche Mode, Fad Gadget, and the Cure ("Youth"), and sometimes they blend the two into something danceable yet so delightfully stupid as "Sex Dwarf". There is depth here, but not a whole lot. Soft Cell does tend toward the goofy side of things, adding unnecessary effects and vocals, seemingly, wherever they can ("Entertain Me" is a prime example of a good song made worse by excessive noise). There are instances in which these tendencies can elevate the song; "Chips on My Shoulder" features whistles, shouts in the background, group cheers, giving the frantic party vibe I think they were aiming for. In short, it's a weird little work by some unlikely pop-stars. I wanted to like it, but the quality just isn't there.

Rock solid collection of songs. Al Green's soul, jazz, and funk combo is perfect for Sunday afternoons

My favorite Bowie album. Subsisting on a diet of red peppers, milk, and cocaine, Bowie was strung out to the point of requiring rescue (Iggy Pop would later come to the rescue, whisking David away to Berlin to sober up) and somehow recorded one of defining moments of his catalog.

I love Willie Colón's funky sounds.

This record is delightful from top to bottom, however ABBA's sugary sweet brand of pop/disco is, at times, too sweet. Despite two massive hits ("Dancing Queen" and "Fernando") the rest of the album fails to hold up to the same quality, but it's still enjoyable.

Jethro Tull's reputation as the "prog band with the flute" precedes them. When the flute appears, it elevates the moment tenfold. That said, I am not crazy about the vocals (reminds me of Shinedown) and have never truly understood the appeal of prog rock. It's not bad by any means, but just not for me. All told, this was an enjoyable listen, but not something I feel inspired to revisit with any frequency.

Dire Straits s/t album is fine. I understand why dads like them. They seem like they should get more play on classic rock radio. Hardly essential, but listenable.

Psychedelic garage rock with more interesting guitar work than the vocals deserve. Especially “Sunshine Of Your Love,” with its iconic guitar riff. Nothing else on the record comes close to that particular high, and it isn’t even that great of a song to begin with. I guess the bar for mediocrity was lower in the 60’s. I don't really enjoy this period or style of music .

This was great. Bombastic at times, quiet and delicate at others. I haven't experienced anything quite like Portishead.

Thelonious Monk is held in such high regard amongst jazz players, that its feels wrong to say anything less than praising him for his contributions. Sadly, I just wasn't impressed. Not that I disliked it, but there's nothing about it that truly stands out.

Bauhaus expands on their original vision and goes even darker and weirder. Their willingness to experiment is apparent, and Mask plays like walking through a house of horrors, each new room unveiling something lurid and ominous. There are no real lows to this album, just a silly song near the end ("FISHCAKES"), but even this song is sung with enough conviction to make it seem ominous and strange.

The first half is great, jammy rock that combines the best tendencies of R.E.M. and Dave Matthews Band with the already decent pub rock sounds of the Waterboys. Despite longer songs, I was entranced. At the halfway point, there is a shift; it's much more folk song inspired, and it just sucks the energy out of the record. Not only is it not essential, but it kinda feels like a betrayal. I would rate it a 3/5, but the string of feeling tricked costs a point.

Forget about "Girls Just Wanna Have Fun" and "Time After Time" and you're still left with a pretty alright album. I'm kind of amazed by Lauper's consistency to pair thoughtful lyrics with a great 80s' pop sounds (though, that could be due to a producer").Regardless, this is a fun album. I underrated Cyndi Lauper before, thinking she wasn't unusual ~enough~. I won't that make that mistake again

I don't get it. Sometimes she's pretty decent, other times Winehouse does this kind of boring blues thing.... I dunno. Not my table

I used to hate the Clash and it took me a long time to warm up to them. Due to classic rock radio, I heard "London Calling", "Should I Stay or Should I Go" and "Rock the Casbah" waaaay too many times and found it grating. I couldn't understand why they were categorized as punk, and I didn't get why other punks enjoyed them so much. While my opinion has changed as I've become more informed, I still don't get why people love this album so much. Yes, it's cool to see what Strummer and Co. can do when they decide to stretch out and try other genres, but the results are mostly just fine. "Lost in the Suupermarket", "Death or Glory", "Guns of Brixton", "I'm Not Down", "Revolution Rock", and "Train in Vain (Stand by Me)", however, all make an excellent case why they were beloved throughout the 80's, and they seem to have informed a lot of ska, new-wave, and pop tendencies for the decade and beyond, as it is clear that Green Day and Rancid are disciples of the Clash. Beyond their immediate influence, their songs have also been sampled in other songs (M.I.A. "Paper Planes" and more I'm forgettiing) to great effect. Despite their importance, I still find London Calling too long and in need of trimming. The highs are high, but the lows are very "meh". Maybe I'll love this album someday.

Given my opinions on Yankee Hotel Foxtrot, I was not looking forward to this record. For the most part, I was pleasantly surprised. This is a Wilco that is more stripped down, more willing to experiment, and feels more genuine. This is the Wilco that I imagine music critics bow to. That said, the double album is a tough trick to pull off. As usual, there's a full album's worth of very good to excellent songs; "Sunken Treasure", "Someone Else's Song", and "Kingpin" are among my favorites, and often remind me of the band, Sparklehorse, who Wilco likely inspired. Other songs are just bland as can be, regardless of genre. Given the album's runtime, there are too many boring songs to make this worthy of that much praise.

I was not expecting to like Crosby, Stills & Nash because I assumed they would sound similar to The Band (who I despise) and because of their affiliation with Neil Young (who I also despise). Wow was this a pleasant surprise!

A Tribe Called Quest hits the ground running on their debut LP. Jazzy samples and playful rhymes keep the mood lighter than some of their gangta-rap contemporaries. Q-Tip, Phife, and Jarobi keep the fun flowing for over an hour including Tribe's magnum opus, "Can I Kick It". I can understand the praise for this album in particular, but I do find Low End Theory to be a bit more consistent.

I don't know what I was expecting. I had never heard the Scissor Sisters before, so everything here is new to me. Upon first listen, it kinda reminds me of Midnight Vultures-era Beck. There's a nu-disco reimagining of Pink Floyd's "Comfortably Numb" which as interesting. Overall their vision is consistent, and while I didn't love it, I didn't dislike it either.

My only points of reference for Santana is 1999' "Smooth (ft Rob Thomas)", "Black Magic Woman", and "Oye Como Va", both of the latter two are on this album. Much, much better than I expected. Santana's blend of Latin and psychedelic styles are a breath of fresh air compares to a lot of his contemporaries. Especially when he incorporates jazzy styles, which he often does!

I love Sen-dog and B-real's voices, their flow, basically everything they bring to the table. I enjoy most of what DJ Muggs does, but sometimes the samples don't seem to fit, or they're just too abrasive for what the song is doing (the guitar in "Real Estate" is one example). It works in some places but not as liberally as Muggs actually uses them. I have similar qualms about Public Enemy's production style. Cypress Hill's s/t album has a sense of playfulness I see in The Pharcyde and A Tribe Called Quest, but with the malice and posturing found in gangsta rap. Here it comes off as mischievous.

There were times when the music was nice, but overall I am simultaneously exhausted and endlessly bored by Jack White

Fuck Ryan Adams

Superfly is so goddamn fun. I remember hearing "Pusherman" used in the movie, The Hebrew Hammer, and it stuck with me ever since. Curtis Mayfield's voice is silk smooth and super cool.

Honestly, not bad. At times, it plays like Ween with how many styles they take on and the degrees of silliness they perform with. Highlights: "I'm Partial to Your Abracadabra", "Blockheads"

Siouxsie and the Banshees are essential, just not this album. Yes, this is the record that cemented their place in post-punk history, and it is a very consistent, yet distinct collection of songs, but their songwriting hasn't yet progressed where they're writing the ear-worms that would elevate them beyond just another post-punk band. Solid debut, but they can and do get better.

Joan Armatrading came entirely out off left field for me. I so totally underestimated what she was about and spent the entirety of the record dumbfounded by her.

R.E.M. may have released better albums, but what Green means to me can't be measured. It reached me at precisely the right time in my life, with enough off-kilter energy, and earnestness for me to identify with. Stoned into paralysis, lying on my friend's floor, I found myself in awe of R.E.M.. the strangeness of Michael Stype's lyrics, especially his delivery on "World Leader Pretend", the frankness of "Stand", the bravado of "Orange Crush" and "Turn You Inside Out", the beauty in"You Are the Everything" and "Hairshirt"; I let it all wash over me (these last two moved me to tears). That night, as I drifted off to sleep, all I could think about was Green.

The front half is stacked: "Brown Sugar", "Sway", "Wild Horses", "Can You Hear Me Knocking" are all great songs, and very consistent in vibe. Overall, Sticky Fingers is a very consistent album, (save the skronky blues song, "You Gotta Move"). There's a sense of nostalgia or longing that weaves itself through the songs. Probably my favorite Stones record.

My only point of contact for Julian Cope was as the vocalist on SunnO)))'s "My Wall". Imagine my surprise when we get slightly left-of-center 80's pop/rock, along with drones, psychedelic rock, Madchester stylings, Mod-era rock if it were played by Beck; Cope routinely demonstrates that he has his finger on the pulse of contemporary trends and the ability to anticipate styles and trends that would become typical in the 90's. You have to appreciate Cope's willingness to experiment, and that his experiments all turn out well! Psycheldeliic tto varying deegres

Jun fine.

I love the energy and the fuzzy, driving guitars! I don't love the organ. I'm relatively new to Deep Purple and really only know Machine Head, which checks all of my boxes. Deep Purple In Rock seem to trend more toward some of the tendencies of the 60's, while also attempting to move forward with their sound. As one might expect, there are growing pains, and the album suffers from a lack of truly great songs, but they're putting the pieces together and it's exciting how close they get on tracks like "Speed King".

Obnoxious and rowdy. The Beastie's debut is full of frat boy anthems bridges the gap between rock and hip-hop. While the rapping is decent, the lyricism is vapid and the humor is juvenile, which was a huge part of their appeal at the time. It took me a long time to come around to the Beastie Boys, and once I did, this is still the only album of theirs I can't stand. Does it deserve to be here for its cultural and historical significance? Absolutely Does I think it deserves to be here because it's "good"? No. No I do not. Paul's Boutique if anything.

I don't l know how to say what want to say about this album with any eloquence, so I'll just write and let other judge. Joni Mitchell's voice is great. I don't know that I could ever confuse anyone for Mitchell or vice versa. I understand that she may have started as a folk artist, and while her lyrics are quite poetic in that folk vein, musically, by this point she is beyond folk. Mitchell is all chamber pop and breezy jazz, and balances the tension between these disciplines (and other experiments with rock, funk, and twangy country sounds) exceptionally well. I enjoy Mitchell's voice and vocal style enough that I would listen to her sing the ingredients from a soup can if set to nice enough music.

A product of it's time: pretty decent folk rock. I don't think it's essential, but its a good listen.

I try to listen to this record every couple years to see how it's aged. I'll admit, I didn't love it at first, but I've come to appreciate the G-funk production style Dre pioneered. The production only elevates. There is not a weak musical moment on this record Likewise, the rapping is tight. It's gangsta rap, so it's mostly crass posturing, weed, and talking about how much/how often they murder, but everyone on this record is at height of their rhyming powers. Like most hip-hop albums, the unnecessary shout outs, threats, and braggadocio take away from the tracks. Unlike most hip-hop albums, the skits on this were actually kind of clever/funny ("$20 Sack Pyramid", "Doctor's Office", "The Roach (The Chronic Outro)"). Of all the times I've heard this album, something about this particular morning made it "click" for me in a way it never has before. Absolutely essential.

There's a lot to like here, but Jeru doesn't really stand out. Nothing about Jeru separates him from other good rappers. I understand how he was outshined by Nas, Wu-Tang, Biggie and other East Coast Mac's. Good, but not essential

Dave Brubeck's jazz sounds like spring: light, breezy, playful; It sounds like jazz for a Ghibli film. I bet Joe Hisaishi loves this.

I had heard this album sometime during the *COVID PANDEMIC* and remember liking it. Take Me Apart is such an interesting album. fantastic vocals by Kelela, but the tracks get very atmospheric, sometimes glitchy, and often have LUSH production. This is R&B by way of vapor/trap wave and video game music. The downtempo energy of the album is refreshing and makes it replay-able in most scenarios; It's that perfect balance of off-kilter and strange enough to sound fresh and interesting, but familiar enough to not be too challenging. I'll be spinning this all summer.

I still hate Neil Young, but this is better than most of his other solo work. Highlights: "When You Dance I Can Really Love", the horn solo in "After the Gold Rush" Lows: His voice is the worst part. Especially on "Southern Man". Fucking awful.

If Pink Moon is the perfect night album, Bryter Layter is the perfect morning album. Nick Drake's gentle voice is now backed by a full band, some of them playing piano, trumpets, and violins (oh, my!) which inject a surprising energy to the songs. The combination is the soundtrack to early bike rides along the lake on a cool morning, sipping coffee while doing house chores, or cozily laying in bed watching the room get brighter as the sun climbs. This album brings me peace, all in a brisk 39 minutes. I agonized over whether to rate this a 4 or a 5, but the lack of variety lead me to 4.

I've listened to this album a lot since it was generated for me last month, and I still don't care about it. There's a lot of genre blending and a concept involving Pink Robots, but throughout it all I was left unimpressed. Wayne Coyne's voice annoys me, the production sometimes feels sterile, and most of the melodies sound very "stock"; the whole record seems aimed pleasing mainstream rock and indie journalists. "Do You Realize??" once inspired me call my parents. Other times, it sounds trite and pandering. I can also barely remember what most of the album sounds like after each listen. Nothing sticks.

Paul Simon's Graceland is light-hearted and breezy, thanks to Simon's folk background with South African mbaqanga influence. The rambling vocal style combined with lively mbaqanga instrumentation, along with flamboyant 80's production, give the album motion and makes it feel like a great road-trip record. Despite the wealth of musical styles and instrumentation at play here, there is so little variety from Simon's vocal performances that "You Can Call Me Al" stand head and shoulders above the other songs on the record.

Krautrock, twee-pop, and 90's alternative sounds collide on Emperor Tomato Ketchup. I'm not very familiar with Stereolab, but this was a fantastic (re?)introduction. "Olv 26" sounds like if Nico became the vocalist for Kraftwerk. "The Noise of Carpet" was a burst of energy I wasn't expecting! So many cool electronic additions elevate songs without being distracting. It feels so far ahead of its time, and the variety of styles Stereolab does well is impressive!

Fela Kuti’s jazz is woozy and hypnotic. 53 minutes disappears in a flash, and you, the listener, are suddenly in a great mood. The inclusion of the live track at the end was a great choice, because the crowd absolutely enhances the experience. Absolutely belongs here

Breezy Jazz fusion. Sometimes funky, always cool.

Fishbone is an ambitious band. Their willingness to experiment with different sounds pays off in some big ways ("One Day"), but also leads to some confusing choices (the Ska-core cover of Curtis Mayfield's "Freddie's Dead"). That said, their more straight ahead ska songs are still very enjoyable.

Once upon a time, Kanye was the fresh, new face in hip-hop. I actually enjoyed "All Falls Down" and "Slow Jams". I would've rated this album a 3. Now, Kanye is a Nazi. Fuck Kanye West.

I was looking forward to this: The low production value, the satanic worship, the shreddy guitars; all the hallmarks of what would become black metal are here, but, on this release, Venom has more in common with Motorhead and Metallica than the genre this album would inspire. If you can get past their cartoonish obsession with evil, there's some good music here. I come back to this album every so often, and it's a fun listen, but the music isn't so good that it demands a place in every metalhead's top 5. Highlights: "Buried Alive", "Countess Bathory", "Don't Burn the Witch" Questionable, but still good: "Teacher's Pet"

Adult contemporary that takes occasional view from electronic music. It's not that the album is bad, it's just a little lackluster. I don't think it needs to be on this list, but it is an enjoyable listen.

After a decade of disliking/being ambivalent toward the White Stripes, I was not excited when this record came up. One Jack White album is generally too many in my eyes. I was not expecting to enjoy this album, but for whatever reason, most of the things I find offensively annoying about Jack/the White Stripes, are mostly absent here. Of course there's the anthemic "Seven Nation Army" which has taken on a life of its own since its release. This is absolutely deserved; it is a jam. Likewise, the second single from this record "The Hardest Button to Button", transcends the rest of the album and is a great rock song. The rest of the album features Jack's quiety/loud/quiet garage rock songs ("Little Acorns"), a few sparsely accompanied vocal tracks ("In the Cold, Cold Night" and "You've Got Her in Your Pocket"). "Ball and Biscuit", while not a bad song on its own, sounds like patient zero for the Black Keys/big truck commercial songs that would pollute the 2010's music landscape. All in all, a triumph. Since it was generated, I've made the conscious choice to throw it on 6 times. I'll have to give the White Stripes another chance.

I am generally ambivalent towards this era of rock music and its sacred cows. I've held this view since I was a teen. Now, some 20 years later, with some humility, I occasionally have to make concessions for some of the shit-talking I've done over the years. "...And the Gods Made Love" such a great opener, and acts as a powerful mission statement when paired with "Have You Ever Been (To Electric Ladyland)" "All Along the Watchtower" is unfuckwithable. However, while Jimi Hendrix may be a the best guitar-player that ever lived, but he was not an excellent songwriter. Too often, Hendrix sheds most of what makes him special and opts for boring blues songs, ("Rainy Day, Dream Away") or totally loses the plot on whatever "1983...(A Merman I Should Turn to Be)" and "Still Running, Still Dreaming" are supposed to be. Thought the highs are very high, Hendrix can't make up for the doldrums between great tracks, especially when dealing with a double-album.

I approached this album ready to lambast John Lennon. Of course, I already know the title track, while it's a very altruistic sentiment that I agree with, it sounds very hypocritical coming from John Lennon. Truth be told, from this point forward the production choices at every turn were so disarming that I enjoyed the songs more than i thought I would. The strings in "It's So Hard" absolutely save the song from being a boring electric blues rock song. They almost sound digital "I Don't Wanna Be a Soldier Mama" is like something Scott Walker would begin to do in the late 70's and mid 80's. It's so far ahead of it's time! I was so enamored that I didn't mind the slight lull of "Gimme Some Truth". From this point forward the songs hit closer to what I feared it would be: just post-Beatles Beatles songs. Stylistically, the trite balladeering "Oh My Love" and "How?" falls flat, and "How Do You Sleep" no matter how well-intentioned it is, sounds like a White Album reject. "Oh, Yoko!" is sweet, because who hasn't thought about writing their cush/partner a personalized song, but it is a bit corny. But that Harmonica at the end absolutely shredded. All in all, better than I was expecting. I've attempted to listen to John Lennon's discography before, but somehow never made it to Imagine before, and I have to say, I'm delightfully surprised that I like anything Beatles adjacent. Here's to personal growth! That said, only the A-side had any real standouts. If any John Lennon album should be here, it should probably be this one, but does this one deserve to be here?

Very of-the period sounds; informed by the psychedelia of "baggy" and Madchester acts like Primal Scream, with the same admiration for the Beatles as Oasis. Most of the album plays boring, mid-tempo pop-rock songs in that vein. When they do stray from this formula, there are mixed results. From least to greats: there's a hilarious attempts at a Bob Dylan-esque song ("Get On It") that devolves into a jam and then cacophonous noise, the mostly acoustic and surprisingly affecting "You're a Big Girl Now", "One To Another" which finds the band adding more distortion and maybe doing a U2 homage, and finally, my favorite the slinky, funky instrumental track "Rob's Theme". The album is not without merit, but there are problems when most of the songs are bland and the best track is the only one without vocals

The Stooges final outing from their original run is powerful, but ultimately nothing new. Raw Power is the Stooges as we know them, but slightly more straight-ahead rock. If you're already a fan, you'll enjoy this. I like their other albums more. Highs: "Search and Destroy", "Gimme Danger", and "Your Pretty Face is Going to Hell" Lows: "I Need Somebody"

Such a pain to listen to. Not a single ear-worm, just the vocalists awful voice and uninspired music that I grow to dislike more with every additional listen. I do not understand the interest in the Kinks. The bar for "good rock band" must've been ankle high in the 60's.

Such a boring attempt at Michael Jackson-style pop album. Couldn't finish. There's just nothing to grab onto. "Rain" is laughably bad.

Digital Underground can be downright charming and funny on tracks like "Humpty Dance" and "Underwater Rimes", but the misguided attempt at a concept album about Sex Packets" leads them to some uncomfortably horny lyricism. The beat, jazzy. production and rap flow are generally pretty good, but it's the sexual content of the lyrics that typically hold me back ("Gutfest '89" and "Freaks of the Industry" come to mind). There are also tracks like "The Way We Swing" and "Rhymin' on the Funk" that just seem uninspired. "Doowutchyalike" would be a highlight, if not for the 7-minute runtime. This is a problem for the whole album as, of the 14 tracks, almost half of them are 6+ minutes long, causing the album to drag. I'm sure Digital Underground is capable of making an album better than this one.

Frank Ocean's neo-soul is refreshing and features a who's who of producers and special guests including Pharrell Williams, Earl Sweatshirt, Tyler, the Creator, André 3000, and John Mayer. Ultimately Channel Orange deserves the praise it deserves, but I can't find myself coming back to it often.

My initial impression is that this album would most often be found in a record store's CD bargain bin. While I'm positive that this could be a hidden treasure to some, it feels like off-brand Echo & the Bunnymen to me. There are hints of something greater, but overall unimpressive. Not sure this one needs to be here.

I bought this album at 14 during a family vacation in Florida. As a young person getting into earlier rock music, I was not prepared for AC/DC. As an adult, AC/DC's particular brand of rock and roll isn't as potent. Their fascination with "rock-'n'-roll life" and getting laid feels quaint and juvenile. That said, some of the jams are undeniable ("Hell's Bells", "Shoot to Thrill", "Back In Black") and some level of nostalgia prevents me from tuly disliking any of it.

Kraftwerk is essential for anyone exploring electronic or video game music. The only song I don't absolutely adore is "The Model", but the rest of the album is just fantastic.

I can't say I've ever been an active Ramones fan, but they've always been around (specifically on the Tony Hawk Pro Skater 3 soundtrack), and I love the punk and pop-punk styles they inspired. I've listened to this album before, but it's been a while. I typically describe the Ramones as Buddy Holly and the Crickets if they were degenerates, sped up, with more distortion, and that continues to be an apt description (especially on tracks like "I Wanna Be Your Boyfriend"). There isn't tons of variety (even by punk standards), which causes the 14 songs in 29 minutes to drag a little.

Can't say I was really impressed. Hollywood at large must want us to remember Simon & Garfunkle, because their songs show up endlessly in movies (particularly one's about the 60's/70's, of course). However, despite their best efforts, "Mrs. Robinson" is the only songs worth remembering. Simon and Garfunkle's brand of sober, wistful folk is draining. Not to say they aren't good songwriters, musicians, or singers, but I imagine you would have to have a certain personality type in order to enjoy it with any frequency. Sadly, I am not that type, so while listening to it again was nice, I imagine it will be a few years before I do it again.

Probably one of the most ambitious album on this list. What may have started as a joke at a pub, turned into a real conversation, leading to one of the greatest experimentations on this list. Is it pretentious? Possibly, but the fact that it works on a musical level *at all* is impressive. The fact that enough people enjoyed it that they created a genre from this is mystifying. Honestly, I shouldn't be so surprised; there are flashes of Swans, Throbbing Gristle (of course), and Merzbow, all of whom started started performing in the late 70's. Whether they inspired or informed each other or not (I imagine TG inspired all of them), isn't as interesting as the timing. Extreme music wanted to be born in the 80's. EN's industrial sounds almost electronic at times through rhythm and beats; the second half of the album sounds like it could have been a Warp Records release (prior to the literal power tools). The sounds are blunt force, the rawness of the sounds are not always welcome, but most of the compositions here did something interesting. It is without a doubt a challenging album, perhaps the most challenging album on this list, but I assure interested listeners that they will find something to sink their teeth into here.

After a string of hit albums, Springsteen switched it up in dramatic fashion. Gone are the electric guitars and saxophones; in their pace a lone acoustic guitar and Springsteen's voice. This stripped-down approach lends Springsteen's songs a gravitas that they don't typically carry. Murder ballads, tales of down-on-their-luck working class folks faced with moral complexities, and one hopeful attempt at escaping it all ("Atlantic City") The dour mood is powerful and the songwriting is poignant, but the vibe is one that I'm not always ready for. I do find it hilarious that Suicide inspired this album, and I get a little giddy with each mention of "Frankie". Highlight: "Atlantic City"

No love for rapists

I was first introduced to Manu Chao through a Bassnectar remix of "Bongo Bong" when I was in college. Lots off variety and in Spanish, French, and English. The album is supremely pleasant which allows for re-listens in most settings and situations, though at times it gets a little too chill.

David Bowie's Low is a great record, no questions about it, but I like the front half, but *love* everything from "A New Career in a New Town" and beyond. I enjoy a good experiment and will generally laud praise on musicians who experiment *well*. The krautrock/ambient half of the album is definitely a successful experiment. I especially love that Bowie gets in touch this aspect of his "spaceman" persona; and the variety of sounds and rhythms prove Bowie's capability with electronic interfaces. On the first half, however, doesn't quite connect with me. This album does subtly feel like Bowie getting sober, and to some degree, it feels uncomfortable, as if you, the listener, are going through the same uncomfortable withdrawal symptoms. If the nervous, jittery plastic funk of Station to Station was Bowie at his most cold and disassociated, the first half of Low feels like he's uncomfortably, perhaps self-consciously, trying to find his voice again. There's a tension in these songs, that while interesting, causes me to want to spend less time with them. That said, I'd be lying if I said I've never caught myself humming "Sound and Vision". Highlights: The whole second half, from "A New Career in a New Town" onward.

Not at all what I expected when Bee Gees popped up. A concept album about a fictional ship is such a weirdly specific idea that I can't help but be intrigued. I do not like this style at all for them, but the Bee Gees persist. They aren't quite sea shanties, but orchestral soft rock. I was surprised to hear "Never Say Never Again", as I didn't know it was a Bee Gees song. There are a handful of other enjoyable tracks ("I Laugh In Your Face" comes to mind), and plenty of decent-to-good vocal performances, but just nothing that really kept interest. I don't understand why this is on the list

As serious as a lot of thrash metal bands can be, Anthrax just feels more fun. Yes, the lyrical subject matter is still pretty doom and gloom, but the vocal style brings a bit of levity. Constantly underrated. Among the Living is Anthrax firing on all cylinders. Absolutely deserves to be here.

I'm a sucker for sophisti-pop: the romantic, heart-on-sleeve lyricism, the often moody and sometimes groovy instrumentals, and the crystal clear production. This is the weirdest, most interesting take on that style that I've ever heard. The experiments with electronic give the album a subdued, dreamy energy. It plays perfectly for lonely or rainy nights. Not to say everything is all rainclouds; this is also The Blue Nile at their most fun and fanciful ("Stay"). A Walk Across The Rooftops gets better with every consecutive listen. I love the soaring vocals (Tinseltown in the Rain") and the great electronic experiments, clearly riffing on Steve Reich and Peter Gabriel (two artists I absolutely adore). Highlights: honestly, most of the album "Tinseltown in the Rain", "Rags to Riches", "Stay", "Heatwave", and "Automobile Noise" stayed with me long after the album ended.

The Fugees are a force to be reckoned with. Easily one of the most unique and important hip hop acts of the 90's, the chemistry between the three members and the product of their shared vision is incredible. Lauryn Hill's ability to rap and sing (very, very well) is the Fugees secret weapon. "Killing Me Softly with His Song" is probably the one everyone knows, but there are a wealth of great songs that, I would argue, outshine this one. There's such a great mix of emotions, topics, and production: all of it *rich* and *lush*. Absolutely deserves to be here!

Trippy German psych rock in the first half, experimental psychedelic freakout and exploration on spirituality in the second half. The whole thing is a ride I'd recommend you go on, just buckle up for that second half. Don't think about whether you should. Just know that you CAN.

The one that made The Replacements into alt-rock royalty. Thanks in part to their growing disinterest in writing another punk album, as well as their rivalry with fellow Minneapolis band, Hüsker Dü, pushes the band to do something more melodic and lyrically mature. And they mostly succeeded! Songs like "We're Coming Out" and "Gary's Got a Boner" proved they still had an edge, but "Unsatisfied" and "Answering Machine" showed that The 'Mats had some emotional depth, and "Androgynous" is a landmark song in that no one was talking about gender identity or queerness as the time, especially in a song so accepting. While this album does a lot of good, you can tell this is the first step towards something bigger (their next album, Tim, is my favorite by far) and some choices ("Black Diamond" in particular) seem misguided or emblematic of the band's tendency toward audience antagonism and self-sabotage. Regardless, an excellent record that absolutely deserves to be here.

It's kind of insane to me how many songs from this one album got radio play/used in tv and movies: "All I Really Want", "You Oughta Know" (which featured Dave Navarro on guitar and Flea on bass), "Hand In My Pocket", "You Learn", and "Ironic" are all iconic 90's tracks. Even the non-singles are pretty great ("Right Through You" was a favorite). "Mary Jane" felt like a low point on an album that is otherwise stacked with great songs. Absolutely deserves to be here

It's a cool trip-hop/electronic album with slick production, and endemic of the 2000's rap/rock production style. Sadly, not super memorable, but not bad by any stretch.

I honestly thought I’d enjoy this, given other Allman Brothers tracks with a sunny southern twang. This is just boring electric barroom blues. Fine in its own right, but nothing I would choose to listen to.

Very pretty sounds! While not every track impresses, the majority of the album does. That said, I don’t think I would come back to Call of the Valley very often.

My absolute favorite band from ages 12-19 and the first band that I truly became obsessed with. In typical Nirvana fashion, they railed against MTV's play-the-hits-but-acoustic formula and avoid playing almost any of the canonized hits, with exception of “Come As You Are", and instead, including covers of their influences. This was my introduction to the Meat Puppets, the Vaselines, David Bowie, and Lead Belly. Cobain's willingness to share his favorites really struck me, and now it's fair to say that his music taste has greatly influenced my own. This is a snapshot of the band at the peak of their powers. Released months after Kurt Cobain's untimely passing, the stripped down format and elegant staging makes this performance feel like a wake, giving fans an opportunity to mourn. Easiest 5-star I've given so far.

I typically cringe at this style of 60's rock, but I found myself pleasantly disarmed by the Zombies. There are dynamics, both in their playing and singing, as well as production, that most other groups playing this style don't seem to possess. Dare I say, it's almost Beach Boys-esque. That said, there are still the trappings of 60's baroque-ish pop/rock that they can't escape.

Absolutely immaculate soundscapes and textures. I tended to enjoy the sounds more than the actual songwriting, but don't let me give you the impression that this album was anything other than pleasant.

Marvin Gaye's Let's Get It On is the sexiest thing I've ever heard. The album is consistent in it's vision/concept, but also in it's execution; Gaye gives it to you in a breezy 32 minutes. I'm shocked that even the stuff that seems like filler is actually excellent. The production is impeccable, Gaye's voice is soulful and powerful, and the instrumentation is precise. For an album about fucking, it's hilarious that it's as meticulously constructed and presented as it is. A whole, realixed vision on wax... .... Goddamn.

Incredibly bleak, and, yet, somehow dance-y. I tend not to listen to this record that often because of how oppressively dour it is, but to be honest, that's just the first few songs. The mood doesn't necessarily get lighter, but the songs get groovier, and Ian Curtis starts to warm up and get a little more lively. Upon revisiting, there's a lot to like here. I had forgotten the intensity of "Twenty Four Hours", the killer music (and cold vocals) on "Heart and Soul", and the ethereal "The Eternal". Highlights: "Passover", "Colony", "A Means to an End", "Twenty Four Hours"

Shane McGowan's voice is phenomenal for his band or rogues and rovers. The musicianship was surprisingly adept, and the whole album was a fun listen. "Fairytale of New York" is a beautiful song, despite the unfortunate F-slur. I put off rating this because I couldn't quite put my thoughts together about what I enjoyed, but I keep coming back this record, so clearly, that must mean something positive. It's probably a high 3, but it's re-listeniblity bumps it up to a 4

At times jazzy, evoking Danny Elfman at others. I don’t know if The New Tango is for me, but I found it enjoyable. Definitely enough variety to capture attention for the duration

The final album of Metallica's golden era succeeds in spite of itself. The band moves away from the verse-chorus-verse song structure of previous albums in favor of longer songs with less singing and more intricate time signatures and playing styles. It's not my favorite Metallica, but it's a solid release, and I'd be lying if I didn't catch myself humming "...And Justice For All" at work, but the lack of Cliff Burton (and any audible bass in general) leads to a diminished sound. Edit: I've been listening to this more and I don't know why I didn't just give it a 4. 80's Metallica rules

Though from the U.K., The La's s/t album sounds like they were taking notes from R.E.M. in crafting radio-friendly, jangley, pop-tinged, alt-rock. Being from the UK, they also include nods to The Beatles ("Liberty Ship") and The Rolling Stones ("Doledrum"). The La's aren't necessarily doing anything new, but they're predating Oasis, and doing it well. The album also suffers from being a bit front loaded. Highlights: "Son of a Gun", "Timeless Melody", "There She Goes". Lowlights: "Freedom Song"

Desperate Youth, Blood Thirsty Babes is bluesy and derivative in ways that frustrate me, but weird enough to stand out. At the end of the day, it’s middling alt-rock that doesn’t inspire

No two ways about it, Mellon Collie and the Infinite Sadness is looooong. However, to list the good songs on this incredibly ambitious double LP would be...well, I'd list most of them. Mellon Collie is stacked with hits and none of the songs truly feel like filler; an impressive feat for a double album. Billy Corgan was definitely firing on all cylinders, creatively speaking. Not to mention, songs like "1979" and "Thirty-Three" give a glimpse of the ground the Pumpkins would tread for Adore, years later. Still, this is a LONG album, and listening to the whole thing in one sitting can be a daunting time commitment. Especially when considering most of the songs trend toward heavier angsty rockers in the vein of "Jellybelly", "Zero", "Bullet With Butterfly Wings", "Bodies", and "Muzzle"; all songs I enjoy, and not to say there isn't variety, but too much of a good thing can feel like an endurance test. Also, more of a personal gripe, but this isn't that sad or depressing of an album. More like Angus Tee and the Never-ending Tantrum.

Who's Next is peak The Who for me. "Baba O'Riley" and "Won't Get Fooled Again" stand as some of the greatest anthems ever written, and "Behind Blue Eyes" and "The Song is Over" offer a softer side to these rockers. The choice to abandon concept albums was a wise one, as a shorter album of good songs proves more potent. There is, however a slight lull in the record appears in Entwhistle-led "My Wife". Overall, absolutely necessary. A best for The Who.

Not quite a fan of the California folk rock sound, but this album is full of undeniable gems. "We've Only Just Begun" and "(They Long to Be) Close to You" are the hits I already knew, and they absolutely deserve that status. Not something I'd come back to, but it did elevate my morning.

While I'll admit to loving the "Money for Nothing" riff and the “Walk of Life instrumentation, but the vocals absolutely ruin it for me. At the height of their popularity, Dire Straits sounds tired and played out. I’ll be clear, I didn’t hate it, but it certainly isn’t for me, and it’s definitely not essential in any way.

I find it so hard not to enjoy Supertramp. I didn't start this project a fan, but I may very well become one by the time I'm through. While this isn't Supertramp's best record, it still has great vocal harmonies and fun songs. "Dreamer" is the clear high point here.

Groovy, pummeling, and all nü metal. I actually liked Roots a lot, but I feel like the album's too narrow in it's vision, which causes the album to drag a bit towards the end. If I had heard it as a younger person, maybe I'd be more forgiving or more patient. That said, still great

R.E.M.'s most stripped-back and plaintive album. Make no mistake, there's still some fun tracks here, but the lyrical content seems more introspective. "Nightswimming" is an incredibly arresting ballad, "Man on the Moon" sounds like it could've come from the Green sessions. Lots to like here!

Very mid. Not good, not bad, just adequate. I can't say I've purposefully tried to listen to The Pretenders before, and I honestly don't think I will again. Though, I did not realize they were behind "Tattooed Love Boys" (one of my least favorite songs from Guitar Hero II) and "Brass in Pocket" (grocery stores and pharmacies). Seems like it doesn't need to be here.

I can't say I've cared about Cheap Trick outside of "Dream Police" and, to a lesser extent, "Surrender"; not for lack of trying, either. Somehow, At Budokan flew under my radar and I'm only just getting to it as part of this list. It's an unfortunately short set (clocking in at just under 42 minutes), but I'm left wanting more. Despite a few questionable choices ("Big Eyes"; "Need Your Love"), Cheap Trick delivers a memorable performance. Highs: "Hello There", "Come On, Come On", "Surrender", "Goodnight"

After a lifetime making snide comments about The Beatles, I am utterly stunned by George Harrison. I similarly paused for John Lennon's Imagine, but All Things Must Pass is something else entirely. There are ear-worms throughout. The entire first half are songs I swear I've heard before. Whether or not that the case in fact, there is a tonal familiarity in these songs that make me feel like I'm revisiting an old friend (and I don't even gravitate towards this style of music!). The range of styles was also impressive ("Out of the Blue"!!!) Granted, the album is long and there are bound to be low points ("I Dig Love" was fine; "It's Johnny's Birthday" is delightfully odd). Such a great record!

The Beach Boy's ultimate statement and Brian Wilson's exploration into sound. These surf rock and chamber pop songs are brilliantly performed, recorded, and mixed. The album sounds phenomenal. When you're done surfing, sit on the beach and listen to this. RIP Brian Wilson June 11, 2025

Honestly not bad. I was expecting it to be a lot worse. It's honestly a step up from most folk-ish music that gets popular, so good for FF for crafting something with substance. That said, I don't know how often I'd come back to this.

The Byrds might be my favorite 60's psychedelic rock band. There's a little bit of everything here: Rock 'n' Roll bravado ("So You Wanna Be a Rock 'n' Roll Star"), a bit of folky pop "Have You Seen Her Face", "Girl With No Name") psychedelia ("Renaissance Faire", "Everyone's Been Burned", "Thoughts and Words"), the country twang of "Time Between" and some experimental edges ("C.T.A. -102").

Definitely inspired by Siouxsie and the Banshees, Throwing Muses offers a more complex link in the evolution of post-punk by marrying the dark ethereal hallmarks of the genre with more punk edge, as well as softer folky guitar work. Alas, this complexity doesn't translate to an album full of super memorable or catchy songs. "Hate My Way" is a notable exception.

While The Slim Shady LP benefits greatly from beats by Dr. Dre, the album plays with the same cartoony humor and hyper-violence found in "My Name Is" but returns diminish with every song. Unfortunately the songs trend towards very repetitive ("My Name Is", "Just Don't Give a Fuck"), too goofy ("Mushrooms"), and raps that read like a bullied teen's diary ("Brain Damage", "Just Don't Give a Fuck", "As the World Turns"). "Rock Bottom" is a song no one talks about, but has the most emotional depth. Even as a kid, I found Eminem lacking real substance. Eminem's attempts to make his name by being offensive as possible, but it definitely has that high-school-student-says-wild-shit-to-shock-people energy.

Fun dance music! At times, cheesy as hell; at others supremely interesting. Mark E. Smith and Queen Latifa make appearances! The impression I get from What's That Noise, is that this is the closest to an honest live DJ set that has been recorded (experiments and all). Not everything works, but it feels sincere and off-the-cuff, and lots of the samples are super fun and of-the-era. Highlights: "(I'm) In Deep"; "Which Doctor"; "No Connection" A sample from "Fat (Party and Bullshit)" sums the album up succinctly: "Party, and Party, and Party, and bullshit"

Sounds like Elvis Costello to me. I find it very comforting that Elvis Costello is generally pretty consistent with his quality of output. Even if the musical style changes a little, Costello's vocal delivery is the north star. That said, this the weirdest Costello record I've heard so far. Perfectly enjoyable, though, probably the least essential Elvis Costello album so far.

I was excited to hear a Ray Charles album, as my only frame of reference was his appearance in The Blues Brothers. Imagine my surprise when I prefer the more quiet back half of the album over the more lively front half. Charles voice is powerful, and all the moreso when he's playing a heartfelt ballad or a bluesy number. After decades of hearing how important Ray Charles is to R&B, blues, and popular music in general, this album is kind of a letdown. It feels very lukewarm and not a great example of why Charles is so highly regarded. Highlight: "Don't Let the Sun Catch You Cryin'"; "Come Rain or Come Shine"

Layne Staley and Jerry Cantrell’s vocal harmonies range from beautiful to haunting. Given the pervasive and all-encompassing theme of addiction this record sounds ugly and gloomy, but it mostly works out really well. Alice In Chains played darker and heaver melodic songs when few others were doing the same. Not to mention the variety of softer, harder, faster, and slower songs. Truly a high water mark for 90's rock. Highlights: most of the album, especially "Would?", "Them Bones", "Rooster", and "Down in a Hole" Lowlight: "Sickman" Absolutely essential

I love Echo and the Bunnymen, but so much of Ocean Rain feels like a misstep. I appreciate their willingness to experiment, and yes, I can understand how leaning into string instrumentation seems like a logical next step, but it robs the album of so much energy. "Silver" is an excellent opening track that is absolutely representative of the band, only to be followed by the waltz-ish "Nocturnal Me" which sucks the life and momentum out of the album. The next few tracks do very little to rectify this and range in quality from "meh" to "decent". The sequencing of the album could use some work, as well, because they definitely backloaded this album. At just over 37 minutes, there is no reason this album should drag at all, and yet it does. Ocean Rain may be Ian Mculloch's favorite, as well as the fan favorite, but I feel pretty confident telling them they're wrong. Highlights: "Silver" and everything from "The Killing Moon" to the end. Low Points: "Nocturnal Me" just sucks, "Crystal Days" and "The Yo Yo Man" are very middling. If it's an Echo album, Crocodiles, Heaven Up Here, and Porcupine are all much more essential.

Despite being a concept album, I don't really care about the story. Why bother when you already have an album of deeply affecting and great songs? That that said, Berlin definitely skews towards darker subjects matter. I really do like Lou Reed's talking/singing style. Especially when paired with these dour lyrics. It just makes sense to me. The entire back half of the album is a gut punch., but It's so good. Highlights: "Caroline Says II", "The Kids", "The Kids" "Sad Song"

I don't get the hype. In the context of musical history, even Dylan's history, I understand the impact, what going electric did for Dylan, and how it inspired many others and pushed music forward.... but it's fine. I've never liked Dylan, and then a Dylan-obsessed friend made me hate him. I've attempted discography listens in the past, but the albums selected for this 1001 albums list have given me something to appreciate in Bob Dylan. He doesn't seem so offensive to me, rather, he's just Bob; like a neighbor who lives in my building. I like him just fine, but we don't hang out or anything. Bringing It All Back Home is Bob succeeding at something he's passionate about. I can't say I would choose to put it on, but it's good that it exists for others to enjoy.

Dark, dynamic, and swirling. Siouxsie and The Banshee's Juju is a goth/post-punk high-water mark. Filled front to back with great songs, Siouxsie's voice is haunting, and every aspect of musicianship and production is great! Highlights: most of the record!

I do not like this. I get that it's important for starting a musical style, but what if it's a musical style I'm ambivalent towards? It's hard to get excited about this and even harder to continue listening to it.

MAGA dog-whistle. A phony. Fuck Kid Rock. No reason for this to be here. Period.

Despite his legacy in music and the fact that many still enjoy his music, I just can't support a pedophile.

Talvin Singh's combination of traditional Indian instrumentation and drum & bass is delightful. "Butterflies" and "Sutrix" were a few of the standouts! Slower songs like "Soni", weren't as entertaining, but still souunded interesting. "Vikram the Vampire" is so great!

I was already a Green Day fan, prior to American Idiot's release, but this was my first *new* Green Day album. As such, I ate it up and listened to it religiously. Two decades later, this album isn't as powerful. It marks a turn for Green Day's career toward more pop and arena focused tunes that alienated a lot of their older fanbase. Likewise, the success of this album caused a lot fatigue toward songs like "Holiday" "Boulevard of Broken Dreams", and "Wake Me Up When September Ends" that all received egregious airplay. As a concept album, it's a little clumsy and pretentious, which makes re-listens difficult. Tracks like "St. Jimmy", "Homecoming" and "Jesus of Suburbia" come off as a bit cheesy and are difficult to listen to. However, American Idiot isn't without some charm. The title track ("American Idiot") is still fun, even if it's a little misguided in its message. "Are We The Waitiing" proved Green Day could write a power ballad, but a consistent problem is that everything on this record sounds bigger, even when it's not necessary. A perfectly fine record. There's a pretty decent case to be made about it be essential (it probably is), but it's an album I could take or leave.

Rush's epic concept record about freedom of though, government control, etc, and the first one with Neil Pert on drums and lyrical duties. The fact that 2112 is dedicated "to the genius of Ayn Rand" and lyrically inspired by her writings gives me a bit of pause, but otherwise this is a solid 70's rocker. Geddy Lee's voice sounds great, and the band is excellent form. This is Rush's first big, big album, and it shows in the scope of it's ambitions. At the end of the day, it's very much a product of its time and there are other Rush albums I like more.

I think we are collectively more kind to Korn Follow the Leader than we need to be, and it's entirely because of "Freak on a Leash" and maybe "Got the Life". The rest ranges from pretty ok ("It's On!", "Justin") to downright terrible ("All in the Family"). No amount of detuned bass or hip-hop features can save the album from it's edgy tendencies and truly bad songwriting. Follow the Leader barely scrapes by with a 3. I finally understand why our parents worried about us.

Rather than record a live performance at a night club, Waits created his own night club in a studio space and acts as leader of the house lounge band. Waits is a charming and deliciously clever and he weaves tales with beat eccentricity and a devilish grin. There's spoken word, crooning, and a bit of cool jazz, all of which are delightful. The whole album is an experience, and may be among my favorite live albums, whether is strictly adheres to that definition or not. I have never been a big fan of Tom Waits, and I've been very vocal about that fact. Swordfishtrombone opened my eyes (and ears) to Waits' potential as more than just a weirdo with a carnival barker's gravelly howl. Nighthawks At The Diner cemented the idea that Tom Waits could be cool. Here, he's still the tramp, the drifter, and poet with stories and songs aplenty. This is an earned 5

One of Bowie's final releases, and yet you would never guess he was slowing down. For the most part, The Next Day is a straighforward art-rock record that one would expect from Bowie, but, ever the chameleon, there's plenty of experimentation. Notable for being Bowie's big comeback album after a heart-attack, The Next Day probably isn't as essential as this list would have one believe, but it's a great snapshot of a prolific artist's late-career work. Highlights: "Where Are We Now?", "I'd Rather Be High"

I am intensely and infinitely bored by the Beatles. I've heard all the albums, I've heard all the reasons I should like them, but I don't. However, over the years my hatred towards the Fab 4 has softened to ambivalence. This time around, "Octopus's Garden" and "Here Comes the Sun" stand out as being alright, but this is otherwise a bloated slog of an album. Generally bored and annoyed to, wishing I was listening to almost anything else. Because I didn't loathe it and there were two songs i kind of enjoyed, I will give Abbey Road a 2, which is one more star than I anticipated giving it.

Funky and more entertaining than I thought a bongo focused album would be. I immediately recognized parts MF Doom sampled for a few of his songs, and it makes sense. Overall just a good time.

I was not expecting the ska influence or horns on Dexys Midnight Runners' debut. I did enjoy the vocals, but the songwriting left a lot to be desired. Kind of middle-of-the-road, soul influenced ska with no desire to push envelopes, though, there are a handful of memorable songs here. Highlights: "Geno", "Seven Days Too Long", "There There My Dear"

I have a complicated relationship with Led Zeppelin. I've spent a lifetime being ambivalent towards them. I've learned that I like Led Zeppelin III, thanks to this project, and Houses of the Holy outside of the project. I've also learned that I absolutely despise Led Zeppelin II. Which brings us to Led Zeppelin's S/T debut: The Bad. There are songs on the albums that were exactly as I expected them to be: kind of shitty. I *hate* "Good Times, Bad Times" so fucking much. Incredibly irritating. "You Shook Me" is equally annoying in how it robs the album of its momentum (the killer keyboard solo couldn't save it). These are some of LZ's worst tendencies. Then, there were things that defied my expectations: "Babe, I'm Gonna Leave You" features an empassioned vocal performance from Rober Plant, likewise with "Dazed and Confused", a song I previously thought I hated (I actually really enjoyed the psychelic detour before the drumps kick back in). "Your Time Is Gonna Come", despite being a bit repetitive, was delightful, and the transition to "Black Mountain Side" was perfect; the track itself is light and breezy. These were all gifts when I expected to enjoy nothing. Fairly middling album with pretty high peaks, but tremendously low valleys. My inner critic says 2, but I'm still shocked I like Led Zeppelin at all, so a 3 it is.

Hints of At The Drive-In's chaotic post-hardcore are swathed in psychedelia. Less about being loud and fast as being dense and playing with textures. On one hand, I do enjoy this, but something about The Mars Volta keeps me at arms' length. Perhaps its the combination of Santana-esque psychedelia, maybe it's frontman Cedric Bixler-Zavala's delivery over this music; whatever the case it just doesn't do much for me. It's alright.

Another Johnny Cash live album, and once again from a prison, though this time, the infamous Folsom Prison. There's more songs in this performance, but less playful banter. In terms of a live album, it's alright, but Johnny Cash's live show is better with banter, stories, and his charming personality.

Very much a singer/songwriter of the 90's, but where other singers Suzanne Vega or Tracy Chapman are steeped in the coffee house tradition, Tori Amos sets her sights higher. Her vocals soar, the production makes Little Earthquakes sound huge, and here style sounds more akin to Celine Dion than to her aformentioned contemporaries. It's not something I'd come back to often, but I'm glad I heard it so I can appreciate Amos a little more.

I completely understand why he was beloved in the indie scene and continues to attract new fans, I can't help but feel like I missed the bus on Elliot Smith. His brand of sad and confessional chamber pop falls flat. However, the production on this record is great, especially when the drums and spaciousness of "Everything Means Nothing to Me". Overall, unimpressive, and I do not like his voice.

I didn't want anything to do with it then, and I want less to do with it now. I have no time for an abuser cosplaying as the evil incarnate.

It's fine. It sounds like pre-industrial stuff, which I dig, but Laibach is missing that "wow factor" that makes it really stand out to me. No complaints, just not for me.

Dusty records with R&B musicians and sounds closer to Scott Walker. Her powerhouse vocals, accompanied by seasoned session musicians, make for a breezy soul/R&B record. Powerful performances galore.

Not the British psychedelia we're used to. This is a poppier offering, but that tends to work in The Young Rascals' favor. The music is digestible, while still throwing enough eccentricities or flair to remain interesting throughout. I love the jazz flute

Captain Beefheart's first LP finds him and His Magic Band channeling rhythm & blues, psych rock, and folk, as Beefheart rasps surreal poetry over all of it. I typically don't enjoy these musical styles, but the good Captain and Co. bring their eclectic energy and weirdo edge to each and every track. Highlights: "I'm Glad", "Electricity", "Abba Zabba"

I'm not familiar with Tom Petty outside of the radio hits, but for my life I've found him irritating at best. Tom Petty's debut with the Heartbreakers is, well, a debut. There are, what I would consider, filler songs, that just go absolute nowhere like "Rockin' Around (With You)", "Hometown Blues", "Strangers In The Night", and to some extent "Fooled Again (I Don't Like It)", which lyrically, sounds dumb, but I'd be lying if I said the guitars didn't rule and Tom's energy is admirable. And then, there are flashes of brilliance in songs like "Breakdown", "The Wild One (Forever)" that feel downright poetic and establish exactly why Tom Petty is held in high regard. To his credit, no two songs sound the same. Petty proves his range between screaming on "Fooled Again" and doing a Kermit the frog impression on "Mystery Man", though the latter is still a jam. It's decent. I was so tempted to give this a 4 based on the strength of the songs I did like, but it's impossible to ignore that the rest of the album is C- work at absolute best. 3 "BREAKDOWN!!"'s out of 5. Oh, and "American Girl" rules. Highlights: "Breakdown", "The Wild One, Forever", "American Girl.

This is the one with "Tiny Dancer". Madman Across the Water also features the song "Levon" which I only recognized by the chorus. Yes, you know it, and would agree it's a jam. Aside from the hits, I'm mostly unfamiliar with this album, but Elton John continues to sound like Elton John (good 👍). The performances are great, the lyricism varies ("Indian Sunset") I cannot deny the Elton John is good, but this album hasn't made me a fan.

Entertaining and chill, with just enough pep to keep interest. It's better psyche/soul than I thought it was going to be!

I'm finding I enjoy the individual parts of the Beatles more than the band itself. John Lennon/Plastic Ono Band packs some delightful surprises, but also, alot of the popand rock and roll songwriting tendencies that lead me to dismiss the Beatles in the first place. I don't hate it, which is a nice surprise, but I won't be putting this on again any time soon.

If you've heard Rage Against The Machine, well... You've heard 'em. To their credit, RATM is explosive as a unit. Zach De La Rocha's dedication to the lyricism is apparent in his intense vocal delivery. Tom Morell, Tim Commorford, Brad Wilk hold things down between heavy riffing and grooves for De La Rocha to scream or rap over. This is easily Rage's most raw album, and you have to appreciate how rough around the edges they are. Although the need for rap/rock isn't as dire now as is may have been in the 90's, RATM built on the blueprint laid by Public Enemy to make arguably one of the more successful attempts at rap-rock. There's a cool Maynard James Keenan feature I had forgotten about!

It’s a sweet story of three women held as giants of their genre, joined by shared admiration for each other, who finally get to record an album together. Unfortunately the story is more intriguing than the music. Don’t get me wrong, the vocal performances are all fantastic and I understand this is a covers-heavy album, but this is some of the most boring twangy garbage I've ever heard. I want so badly to give the album a one, but out of respect for Parton, Ronstadt, and Harris, I'll give it a two. "Telling me Lies" wasn't bad either

I'm not super into prog, but I'd be lying if I said I didn't enjoy this. There's a lot happening!

Often mellow and sunny electronica and bass heavy dance tracks. Very much of the Moroder, Daft Punk school of disco-esque school. As a cyclist, I loved the sample on "Sunworshipper" While Mylo doesn't really do anything new, Destroy Rock & Roll is exceptionally fun and enjoyable.

Leonard Cohen is a poet, and Songs Of Leonard Cohen is evidence of that.

Extremely dance-y synth-pop! I had never heard of the Pet Shop Boys before, and now that I've heard them, I don't need to do it again. It's not bad music, but the aggressive single-mindedness of the dance beats causes irritation over a listen.

Queen Latifah's All Hail the Queen is a snapshot of Hip-hop right before the 90's. Female empowerment anthems, great rhymes reminiscent of Eric B. & Rakim, and a couple different styles Latifah switches between. Enjoyable rap album with great features.

Endtroducing... is kind of incredible. It's difficult to say it's just a hip-hop beats album, or that it's electronic, or any one thing in particular. Endtroducing... contains multitudes. Most of it hits hard and is pretty interesting. Occasionally there are pedestrian beats, but most of this album is ambitious.

The thing about I Against I is that is only nears the vicinity of essential once one comes to Bad Brains S/T debut. Regardless of which you hear first, S/T was like catching lightning in a bottle. I Against I was meditated. Even still, while the genre exploration is refreshing, the album is far too uneven in terms of quality to qualify as essential. Still an enjoyable listen, though.

On Snivilisation, Orbital channel to past as well as the future. There's clearly Kraftwork influence in the driving repetitive rhythms that simulates the feeling of steady movement and the charming melodies, but Orbital also predicts Vaporwave by means of the commercial samples and liminal drones that linger behind the beats. I was ready to rate this a 3 because one of my criteria is how the album makes me feel while listening to it, however, I caught myself dancing with my cat for more than a few songs, so I think it gets a 4 by default. There's some inspired stuff here. It's not as ambitious as other albums on the list, but what Orbital does, they do well. Not to mention: 1994? Orbital were making future music.

Bill Evans has the touch. Peaceful and precocious piano tunes that, in this live, outdoor setting, can make any room feel a little warmer. Evans and co. make each song feel breezy and effortless.

Pretty standard late 2000's indie fare. I've never understood the appeal behind indie darlings like The National, The Strokes, Wilco, or Arcade Fire, or why music magazines like Pitchfork bow to them for making, for all intents and purposes, mild mid-tempo rock for aging hipsters. While Neon Bible probably doesn't deserve my initial jab (I do have to admit "Keep The Car Running" and "Intervention" caused me to thaw a little bit), the rest of the album kind of matches my original description. I'll admit to enjoying the variety of instrumentation and some of the songwriting, but this to me, Arcade Fire just screams "Please take me seriously. I am an adult with complex thoughts and feelings. I am mature. I am an adult. Please take me seriously"

I remember listening to Fetch The Bolt Cutters upon release and being swept away with it just like everyone else. Years later, I'm still impressed by the the risks and experiments that Apple entertains, but not as stunned by the songwriting as I once was.

Behavior finds the Pet Shop Boys in synth pop territory, experimenting with beat-heavy sounds that would become more prominent on Very. I personally enjoy this style more.

Rubber Soul benefits from my unfamiliarity, so at least the songs are new-ish, or I've forgotten my original impression. There's some neat sounds on this record, but I still don't care for the Beatles. As usual, I found the songs ranging from middling to awful. Just boring, derivative nothing. I hate that I still have 5 more Beatles albums coming.

Don't get me wrong, Portishead is good, and Dummy is great, but it is not an album I feel like I can put on at any time. The downtempo/trip-hop grooves are moody things; perfect for nighttime or rainy day listening, but it's 9:30am, I've had coffee, I'm doing chores around the house, and I'm aching for something *more*. I really thought I could rate it higher, but the downer mood is pretty specific to certain listening environments and scenarios.

This sounds like something that was popular on college campuses for, like, a year in the early 2000's and was promptly lost to time. Party-ready beats that range a few genres. This is my first time hearing Basement Jaxx, which is surprising to me. Either way, I don't think I'll be coming back to this. There are some decent ideas here, but most everything feels partially baked. Kind of baffled by its inclusion on the list.

I may actually like the more rock'n'roll-y Beatles more than their later material. Being confined by the conventions of their early style hinders a lot of the more annoying things I dislike about the Beatles. However, it's still the Beatles and they can't help but push me away with both hands. Some decent tracks, but mostly boring ones. Better than Abbey Road at least.

I want so little to do with this pedophile

I can totally understand why this wouldn't be everyone's cup of tea, but it happens to be mind. There's definitely a range of quality in the record, but overall it's a brave experiment in sound; just enough textures, noise, ambience, and danceable rhythm to be pleasing, as well as impressive. I hear a lot of bands I love in Throbbing Gristle’s second LP Highlights: “Hit By a Rock”, “Dead On Arrival”, “AB/7A”, “Blood On The Floor”

In a few ways Guero feels like the spiritual sequel to Odelay. The style hopping and the choice to bring the Dust Brothers back for production duties come to mind. However, Guero, as one would expect, feels like a more mature work. It's not as freewheeling as Odelay; Beck is more measured in his approach and Guero feels much more focused as a result. "E-Pro" is anthemic, "Girl" is breezy, and "Black Tambourine" is apparently weird enough for David Lynch's Inland Empire. There's a lot to like here, and I appreciate the album's consistently high quality. "Hell Yes"

I’ve listened to a lot of Brian Eno over the years, but while I enjoy his ambient work, his band/vocal work has illuded me. Before and After Science changed that for me. I really dig what Eno is doing on this record. Before and After Science seems to hint at Eno's growing interest in ambient, as many songs are softer or evoke very peaceful, spacey, ambient textures. Eno marries his vocals to the music beautifully. I'm going to have to listen to more Eno from now on.

I can't believe I've never listened to Orchestral Manoeuvers In The Dark before. Drawing from Krautrock (especially Kraftwerk), New Wave, Post-Punk, and Pop while adding the occasional experimental flourish (noise on "Seaworld", "Architecture and Morality", the sampling on "Georgia", the organs that sound like choral singers sound very uncanny), OMitD manage to create the blueprint for the decade. Most of these songs could be radio singles, and yet most of them are weird enough, in some way, to remain interesting and engaging to those irked by 80's cheese. My one complaint, is that despite loving everything about Architecture And Morality, it does run a little long, but when the album is packed with bangers, I feel a little silly about complaining. The vocals are great, the songwriting is great, the musicianship is great; Brilliant album.

"Our Lips Are Sealed" and "We Got the Beat" made The Go-Go's a household name, but the rest of this album made them New-Wave stalwarts. The two aforementioned songs are their poppiest offerings and the rest set the stage for twee-pop, riot grrrl, and 90's alt-rock in general. I wouldn't say I'm a Go-Go's fan, but I definitely have a newfound appreciation for them!

My brother was visiting from out of town when this one came up. I remember being 14, really into music, and trying to get him, not just into music, but into a band I was lukewarm on. I wanted us to have distinct taste and not just have his taste be a copy of mine. I bought him One By One as a Christmas gift. Decades later, we're listening to the Foo Fighters s/t album, discussing our favorite albums and songs (I'm a casual fan now). Highlights: Most of the album actually. It's very impressive that Dave Grohl did this all on his own. Lowlights: occasionally, songs don't really go anywhere and feel like filler. "For All the Cows" "All Alone + Easy Target" are among these. I'm already fairly familiar with the Foo Fighters discography up to In Your Honor, but this listen has convinced me to revisit FF.

Teetering on the brink between post-punk darkness and new wave silliness. Adam & the Ants ability to play different styles with conviction ("Ants Invasion"; "Los Rancheros"; "Jolly Rodger") is impressive. Plus the B-movie references in the song titles/lyrics were not lost on me. This is so close to a 4-star, but I just don't see myself revisiting it often.

I'll be honest, I was not expecting to enjoy Madonna. The slinky Trip-Hop groove and restrained vocals on "Drowned World / Substitute for Love" were an immediate surprise that made me look forward to the rest of the album. I also didn't realize I already knew "Ray of Light". Great track! Overall, I adore the synthesis of various dance music styles, Madonna's powerful vocals, and the neat little experimental flourishes they manage to sneak in. Admittedly, the lyrics can be trite or dumb in the the way pop lyrics often are ("Candy Perfume Girl"), but Madonna commits with great vocals, and the production and musicianship more than make up for it. This is an absolute time capsule of what 1998 felt like, and I love it for that. WOW.

Satisfied to shrug off their metal fratboy personas, Beastie Boys utilize ambitious and inspired sampling to create a fun record with more depth, better rhymes, and endowed with a sense of adventure that no one could have predicted. This was the album that convinced me that MCA, Ad-Rock, and Mike D were artists worth giving a chance, and I haven't looked back since.

As a long-time Cure fan, I rarely listened to Pornography, choosing instead to spend my time with their lighter, less lurid offerings. Upon revisiting, however, Pornography is a powerhouse of dark and dense atmospheres, dark lyrics, and Robert Smith's delivery is haunting. It's clear that Smith and Co. were not in a good place while writing this, and the change in direction after this album seems more necessary than ever. Still, Pornography stands as an impressive bookend to what would be their darkest era and stands as a cornerstone of the goth sub-genre. There honestly isn't a bad song on this record.

I'm mostly familiar with Prince's hits; the maximalist pop of "Let's Go Crazy" and "When Doves Cry", as well as the majestic title track "Purple Rain". I have heard this album before, but it never really left an impression on me. This time around, "Beautiful Ones" as a sleeper hit (fantastic vocal performance, great arrangement, just wow), a newfound appreciation of "I Would Die 4 U", and an otherwise unchanged opinion. Purple Rain is a good album, but Prince's sonic excesses and horniness wear on me. I completely get why Purple Rain was revered, as nothing sounded remotely like this at the time. I will give it to Prince that he is intensely talented and creative, but Purple Rain feels very uneven to me.

I was excited to listen to Synchronicity, as it had been years since I gave a proper listen. I've had a high opinion of The Police, but revisiting this album is forcing me to reevaluate. This album is consistently touted as The Police's definitive best album, but I don't understand how anyone could think that. The quality is all over the place and there are so many questionable choices on display here: First off, "MOTHER"???!!! Secondly, I hate that the best song on this record (and the biggest The Police song) is the one about a possessive stalker. There are other weird lyrical choices or songs that are just guilty of sounding lame or both ("Wrapped Around Your Finger", "Murder by Numbers", "Walking In Your Footsteps") that just make listening a chore. That's not to say Synchronicity is completely devoid of charm. "King of Pain" and "O My God", while a little formulaic, stand as most representative of The Police's sound and are pretty good jams. And it's a little lame, but I do enjoy "Tea in the Sahara". But as whole, this album is such a miss.

U2 can absolutely write a ballad, but Joshua Tree suffers from too much of a good thing. The toothless, heart-on-sleeve, songwriting here doesn't impress for long, and all of these songs sound pretty similar. That said, it's less the album is bad, and more that I just don't jive with U2's radio-friendly post-punk as much as some of their contemporaries.

S&M= Symphony and Metallica, which is not a combo one would imagine working well. Ennio Morricone's "The Ecstasy of Gold" has been Metallica's walk-on music for decades. Now, a symphony orchestra plays it live and it sounds HUGE. Some songs are elevated by this collaboration: "Call of Ktulu", "Nothing Else Matters" Some aren't: "Master of Puppets", "Of Wolf and Man", most of them to be honest. All in all, I'm not impressed by this gimmick or Metallica's live performance. Very unneccessary and kind of annoying.

Electric Light Orchestra's definitive album. Almost every other song is a classic rock radio staple, and ELO's pop-infused rock makes no secret as to why. Fantastic vocal performances and harmonies galore, disco-esque danceable beats and strings, as well electronic experiments are the ingredients for a very listenable album. Highlights: "Mr. Blue Sky", "Sweet Talkin' Woman", "Turn to Stone"

I'm not even a fan of country music or Johnny Cash, but this was a very entertaining listen. I find that too many live albums feature live tracks, but feature cuts between songs. Maybe that happens on At San Quentin, but by capturing Cash's playful banter, it opens up a new dimension of the album. Cash is damn charming, and quite funny, in addition to playing a good show. As a live performer, Cash sounds just like he does on record. Disregarding the album as a country album, this is just a flat-out solid live album. Kudos, Mr. Cash.

Sleater-Kinney seems like a band I would be into. A 90's feminist, alt-rock/riotgrrrl trio? Yes, please. However, Brownstein's voice is a little tough to digest. By the way extension, the album suffers. Sadly, I'm just not into it.

This is fuckin' great. I had no idea of what to expect and was immediately blown away by the vocalist's range (at times channelling Thom Yorke) and the band's playful and dancey electro-alt-pop-rock. Hell, there's even some shoegaze and post-rock tendencies in here. What a delightful new discovery!

I love getting the chance to revisit David Bowie. I have no idea what he was thinking on those first two tracks, but the rest of the album is a tour-de-force. High Point: Most of the album Low point: "Beauty and the Beast", "Joe the Lion"

After listening to Kala, I completely understand why "Paper Planes" was the hit, but only knowing that song Being only familiar with "Paper Planes" caused me to have some misconceptions of what an M.I.A. album would sound like. It's a lot more percussive than I thought it would be, drawing from Indian musical tradition, as well as from other South Asian nations, while combining it with contemporary club sounds. In some cases, it works splendidly ("Bamboo Banga"), while others lack the same cohesion, or feel too repetitive ("BirdFlu"). In truth, the strength of "Paper Planes" causes the rest of the album to feel unfinished, or like a vehicle for the hit song, rather than a well-thought-out album of good songs. The whole thing feels half-baked.

R.E.M.'s big breakout album. I totally get how people latched onto this. There are big anthemic songs, hints at the poppier songs that would come later, and a political consciousness that R.E.M. carried with them always. The first half of the album is perfect college rock. The second half, gets a little more experimental, but not that much. Saxophone on "Fireplace", the funkier "Lightnin' Hopkins", the plaintive "King of Birds" (a hint of things to come on Green), and a throwback to their post-punk roots on "Oddfellows Local 151". Overall the quality is exceptionally high, but I find that, while this second half is still good, there's just not as many memorable songs. Still a banger.

Vulgar Display of Power may be held as Pantera's ultimate statement, but it's fine. Yes, the vocals are good, Dimebag's guitar-playing is stellar, but the overall hyper-agro feel of the album wears on the ear. When combined with the knowledge of who Anselmo has revealed himself to be in the last decade, the album becomes even harder to listen to. I used to like Pantera a lot as a teenager, and it was nice to revisit this record, but it just isn't as good as I remember.

I was completely unaware of Bebel Gilberto prior to today. Tanto Tempo is an attempt at injecting new life into Saba for the new millenium and it absolutely succeeds. Gilberto's sensual voice and the lively instrumentation married with the more modern electronic beats and production; sonically lush. I have to recommend the album as a whole because it's a vibe.

It's undeniable that Freddy Mercury was an amazing voice and talent, and that Queenare all skilled musicians. Queen's theatrical sensibilities begin to show here, but there's more variety than one would expect. There are the typical ballads, and rockin' rollers that Queen is known for, but "Stone Cold Crazy" is a side of Queen I didn't know existed. Fast, aggressive, and shreddy! Highlights: "Killer Queen", "Stone Cold Crazy", "Now I'm Here", "She Makes Me"

For as big and swirling as Nowhere feels, that's kind of where it goes. Ride's brand of shoegaze is potent, but the vocals often rob the music of it's momentum. I was hoping to like this more, but it's just fine.

The Byrds' debut is 7 covers and only 5 original songs, but I suppose this was the style of the time. To their credit, The Byrds take these songs and play them in their own jangly, electric folk style, and for the most part, it works. I would keep checking in after songs I enjoyed because I often couldn't tell whether they were covers or not (save "Mr. Tabourine Man", of course). Ultimately, despite being from an era of music I don't really connect with, The Byrds are slowly growing on me. The vocal harmonies and distinctive sound help set them apart from other bands of the same scene. Highlights: "It's No Use"

At what point did someone decide "white people playing blues for the indie crowd" was something that needed to exist? It's just boring and unimaginative.

I'll be honest, I don't really care about the story. At some point in my life, concept albums went from "ambitious work and test of creativity and endurance for a band" to "bloated exercise in masturbation". All of the songs were alright with some notable exceptions: - "Pinball Wizard" rules, of course. - "Cousin Kevin" is concerning and "Fiddle About" is FUCKED. I get they needed drama for the plot, but goddamn; Red flag for Pete Townsend. Otherwise, no real thoughts on the album. It's fine.

I became familiar with The Beta Band from hearing them in High Fidelity, but never this album. There's a lot to like about Hot Shots II. The combination of trip-hop and alt-rock is refreshing, but I wish there was a bit more energy across the album. Sometimes it works ("Quiet"), but a bit more variety would make Hot Shots II a higher priority listen for me. That aside, very enjoyable.

"Roundabout" is perfect in every way; It's dramatic, it's funky, it's fun, it's epic in scope, it's just a truly great song. While the album never reaches this high again, the longer form songs ("South Side of the Sky" and "Heart of the Sunrise") are still great, and there are pairs of songs ("Long Distance Rundaround" and "The Fish", "We Have Heaven" leading into "South Side of the Sky") that compliment each other well enough that they could be one song. and then you have the filler of "Cans and Brahms", "Five Per Cent for Nothing"'s angular jazz thing, and the actually. pleasant "Mood for a Day" which seem like unnecessary detours that didn't add anything.

About two years ago, I realized I actually liked Steely Dan and I launched into their discography. Countdown to Ecstasy has never been high in my personal ranking, but listening to as part of this list has been a chance to reevaluate it. Certain things I found annoying on previous listens ("Bodhisattva", "Show Biz Kids") aren't as irksome this time around, and in fact, I now have a real appreciation for the musicianship. Steely Dan aren't as willing to please on Countdown To Ecstasy; there's a bit more experimentation and some more challenging compositions, which is nice, but occasionally takes me out of the music. I do appreciate the extended jams, though.

Enjoyable, but a little too redundant at times. I've heard other Daft Punk albums and have enjoyed them more. I wonder if Daft Punk will ever really be for me. Highlights: "Da Funk"; "Around the World"

I'm not typically a Blues person, but my opinions are shifting with age. I'm also finding I enjoy live records more than I did previously, and At Newport 1960 is no exception. Muddy Waters plays the tunes. Nothing particularly special about this performance; just decent Blues tunes. I'm a little disappointed by this slower rendition of "Hoochie Coochie Man". It just doesn't feel as lively as it could be. Still not really Blues fan, but this was nice. Essential :)

The heaviest of thrash metal's 'Big 4", and Slayer's defining album. Fucking Slayer

Taking influence from Daft Punk, hip hop, R&B, Motown, electronic music and maximalizing on it. They pack a lot of samples from all sorts of sources into each song, which can range from an aural delight to an attack on the senses. The album can feel a little repetitive at times, but it's mostly fine. I am very exhausted by "Frontier Psychiatrist". I have heard it too much, so now I find it a little annoying. I see Since I Left You on many "essentials" lists and I agree that it belongs there, but it's not an album I particularly like. Highlights: "Tonight"

Green Day retains their punk edge of previous albums while writing catchy, anthemic sing-alongs that stand as incredibly relatable documents of what growing up feels like, and an impressive pop punk statement. Every track rules.

A delightful snapshot of 90's pop, mixed with Punjabi rhythms and instrumentation. I had never heard of Cornershop prior to this listen, and I was delightfully surprised. Great vocals, cool trip-hoppy production, and while it gets repetitive at times, When I Was Born For The 7th Time stands out as a gem.

Solange seems like she's reaching beyond just R&B and soul. Yes, her music contains essences of these styles, but with modern production, songs in various styles and interludes focusing on black power, A Seat at the Table feels more like a deeply personal artistic statement for Solange. Solange's voice is great and she absolutely captures a vibe I deeply appreciate.

Jane's Addiction was already in a league of their own by the time Ritual De Lo Habitual was released. Their second album continues their darkly sexual, kind of funky, weirdo art rock experiments, however the second half of the album features much longer songs, more progressive songs. The first half is a great continuation of their style Fromm Nothing Shocking. "Been Caught Stealing" is the standout hit, but I'd argue the entire album is just as strong. The second half is even more impressive in the band's restraint and ability. This is where they get to shine as songwriters and musicians, more the just a rock band. Jane's Addiction is an incredibly impressive band to me. Their style was their own, and no one has attempted to sound like them since. Sadly this was the last album of their original run, and they would never be as consistent as a touring entity or as musicians after this. Listening to the incredible documents that Ritual and Nothing Shocking are, I can't help but wonder what heights Jane's would've soared to if they hadn't imploded.

Sun-bleached, acid fried, country-tinged psychedelic punk. The Meat Puppets are in a league of their own on their second LP. Kurt Cobain pointed me this way and I am so thankful he was vocal about his music taste. Nothing I could possibly say can do this album justice. It captures a moment between immaturity and transcendence in the desert between life and death.

As much as I enjoy Odelay for "Devil's Haircut" and a handful of others, it's too much of a mixed bag to keep my attention all the way through. It's a bold new direction for Beck, hinted at on Mellow Gold. It mostly works out. "Ramshackle" and "Jack-ass" emotionally moving, "Hotwax" and "Lord Only Knows" are nice nods to his anti/freak folk beginnings, and Odelay as a whole is a feast of samples, a la Beastie Boys and Public Enemy. "Readymade" evokes alt-music contemporaries Soul Coughing. Beck's blending a genres and openness to new directions is admirable, and it mostly works, but some experiments just don't pan out.

The Cure's defining statement. They had explored the darkest depths with their goth trilogy and begun experimenting with pop on Head on the Door and Kiss Me, Kiss Me, Kiss Me. On Disintegration, The Cure find balance. Their pop sensibility makes their songs of loss and longing (and spiders), sound huge and brought their sound to its zenith. I've loved this album for years for it's dreamy and darkly romantic qualities and excellent production. Despite The Top being my favorite The Cure album, Disintigration is undeniably The Cure's ultimate statement. All killer, no filler.

Grant Lee Buffalo is the angstier version of coffee shop singer-songwriters. There's distortion on their guitars, they are clearly fans of Pixies and Americana, and sound very "sensitive tough guys in the 90's"-core. Enjoyable enough, especially given my soft spot for the decade, but I don't think I'll be coming back to this anytime soon. Very forgettable.

N.W.A.'s Straight Outta Compton marks the point in hip-hop where the clean Run D.M.C blueprint changes to favor tales of gang violence, police brutality, and gritty street tales of living in California. I appreciate the more complex beats, provided by Dr. Dre, and the various rap styles and personalties of DJ Yella, MC Ren, Ice Cube, Easy-E, and Dre. Unfortunately, there's a fair amount of misogyny and an excessive focus on violence, but that was the reality in late 80's Compton. There's a lot to like here, but I don't know how likely I am to return to this album. I tend to enjoy hip-hop from the 90's onward, and less of the gangsta style.

Wow. Maybe it's because I've been drinking, but this is actually great. For coming so late in Zeppelin's career, Physical Graffiti, made up of songs from various periods of their career, turns out to be their most listenable. Most of my complaints about LZ go out the window here. Most of their negative tendencies are gone, the songwriting is focused, the variety of songwriting is good, and even songs I though I disliked ("Kashmir") are brought to life in the context of Physical Graffiti.

The musicianship is good, but there's just not enough to really sink my teeth into. This brand of country rock tends to drag over time. I probably won't return to this.

I'm surprised I like anything about this album, but Rod Stewart knew what he was doing with "Every Picture Tells a Story" as lead track. Over the course of the album Steward explores folk, blues, funk and rock tunes, but it all kind of sounds bland, and I could've done without "Amazing Grace". Not essential.

The lads from Texas found some synthesizers and started making rock tunes to a dance beat. I'm already very familiar with "Gimme All Your Lovin'" and "Sharp Dressed Man", but the rest of the album follows a similar formula. There's not tons of variety and it feels a bit bland at times, but when ZZ Top does switch it up a little, it's at least interesting. I don't know how I had never heard "Legs" before, but I was not prepared for it. I'll admit, for as corny as some of these songs are, it was difficult not to bob my head along, and, now that I'm noticing it, the synths are a great addition and give the songs a bit more depth. I didn't expect to like this as much as I did, but I doubt I will listen to it again. It's more of an appreciation than a fondness. Not essential by any stretch, but it is indeed different, and there's not much else that sounds like it (which is a blessing).

Dolly's got a great voice, no disagreements here. However, the songwriting/lyricism ranges something fierce. Some songs are actually pretty good, but others are kind of bad. Country's never been my thing, and Dolly's not helping.

I'm absolutely a sucker for 90's production, and Garbage's s/t debut is steeped in 90's sounds. Butch Vig's production, the slightly poppy/dancey vibe to each song, and Shirley Manson's vocal stylings all contribute to a very enjoyable record. Highlights: "Supervixen", "Only HapPy When It Rains"

I don't think country is for me; at least not much of the country on this list. This is probably one of the less boring country albums I've heard so far: the songwriting is better and Dwight Yoakam's voice is more than just country twang, but it is still a country record, which typically means not much variety.

Endemic of the 90's Alt-rock explosion, The Lemonheads were a softer, poppier offering. It wasn't particularly inspired or original when it came out, but the very 90's sounds are very comforting to me. I love the attitude, I love the conventions that were new here, that just aren't done anymore ("I WANT A BIT PART IN YOUUR LIFE"). It's a Shame About Ray is middling in many ways, but great in enough ways for me to enjoy it.

I'm not typically a fan of blues, but this list is slightly changing my opinion. There's not a ton of variety, but Muddy Waters' electric blues is a cut above the rest, and makes for an entertaining listen.

I was not expecting Scott Walker-esque 60's pop with country tendencies. Honestly not bad. The vocalist has a great voice and the music isn't twwngy to the point of annoyance. Everything is balanced and good. Enjoyable chamber, ahem, barn pop album

60's England, clearly, did not put out a lot of quality rock bands. I haven't forgotten about the Rolling Stones or the Who, but with competition like The Kinks, I completely understand why people latched onto The Beatles. Boring as shit. There are some decent vocal performances, but I can't stand The Kinks. "House in the Country" sounds like a Stones ripoff

"Tears of Rage" is far and away the best The Band song. The rest of this album, including "The Weight" is everything I hate about the band. I honestly thought, based on the strength of that first track that this would be the album that made me reconsider The Band. NOPE. CONGRATS ON YOUR ONLY GOOD SONG.

I listened to the US Version with "Paint it Black" as the leadoff track. This is probably the least impressive Stones album I've heard so far, but that's not to say it's doesn't carry some merit. This is definitely a transitional album, as they are beginning to stray from the typical 60's British rock sound and incorporating elements of what would come on later albums. Highlights: "Under My Thumb"

I'm torn. I hate the Zeppelin-esque country blues, but I also love just how 90's sounding this album is. Ultimately, it's diet alt-rock; just off-center enough to draw attention, but lacking a lot of the qualities I enjoy about other similar-sounding bands of the era. The Black Crowes are not for me.

David Bowie was so entranced by American soul and R&B music that he was inspired to write and record Young American. Bowie's "plastic soul" is a delight. Young American is a fun and freewheeling ride. I could've done without the "Across the Universe" cover, but this album still ranks among Bowie's best work.

The Pixies first album came out of nowhere. It's not punk, new wave, or emocore/post hardcore. It's not No, the amalgamation of influence and sound is a weirder, artsier offering; able to be poppy as hell ("Gigantic"), strange ("Broken Face"), and anthemic ("Where is My Mind?"). Frank Black/Black Francis and Kim Deal are incredible together. You can hear the band's enthusiasm through their songs and it's incredibly endearing; just a bunch of goofballs simply stoked to be making music. Veteran engineer, Steve Albini (RIP) captures the Pixies' ineffable left field energy, propelling the album to incredible heights. The whole thing's a blast. An incredible debut.

I'm familiar with "Just A Gigolo" because of David Lee Roth's cover, and "Jump, Jiv, An Wail" being featured... well, everywhere, but otherwise this was all new. Prima has a great, classic voice, and the music is great classic jazz! While I can't say I'd come back to it with any frequency, I cannot deny that this was a fun and enjoyable listen.

It's difficult for me to be subjective about this record. Hearing this transports me to winter of 2004, sitting in my parents' car outside of a Taco Bell, because I chose listening to an album in the cold over going inside for a warm meal. This was absolutely a high school favorite, and carries tons of nostalgia for me.

This is not what I expected from David Crosby, former member of The Byrds. If I Could Only Remember My Name sounds like the morning after the party, when the sun is beginning to rise, hash clouds could be confused with morning mist, and the old familiar ache of a head becoming clear returns. It's a singular mood, but one Crosby nails. Additionally, despite being Crosby's solo debut, there are notable appearances from CSN&Y bandmates Graham Nash, Neil Young, friends from the Grateful Dead (Jerry Garcia and Phil Lesh), Jefferson Airplan, and Santana's band. Though initially dismissed, If I Could Only Remember My Name is a great record that gave me newfound respect for David Crosby as a lyricist and songwriter.

Another album where my opinion changed wildly upon additional listens. My first impression of Third that this is a portrait of band straining, or unravelling. Upon revisiting, I realized this strain is Alex Chilton pushing Big Star's sound to it's limits. Stylistically, Third is a very ambitious record. While the anthems that defined their previous records is suspiciously missing, that same pop sensibility can be found here, now played with a wild array of instruments. There are earworms galore for the open-minded, just don't expect another #1 Record.

Joni Mitchell is a poet. She weaves stories over plaintive acoustic guitar and the pictures she paints with her words are so vivid! This is what I'd consider a 'coffee' album: something you listen to in the morning or in the space between waking and truly being awake and ready to do stuff. There really aren't many lyricists like Joni.

Save for the hits, "Welcome to the Jungle", "Paradise City", "Sweet Child O' Mine", this album is kinda garbage.

Peter Gabriel is a treasure, but this album is a little less than that. I appreciate his desire to mix weirder sounds and textures with pop music, and he generally succeeds, but while like the album, I wouldn't say I like it that much. I'm torn, because hits aren't particularly potent, and there's a lack of earworms throughout, but it's a still consistently decent record.

I knew of T. Rex because of the iconic Electric Warrior album art, and I had heard "Bang a Gong (Get iIt On)" before, but I otherwise went into this blind. The band alters between folky, bluesy, and pop rock styles, occasionally adding in some psychedelic tendencies. Outside of "Bang a Gong", there wasn't much for me here. I found it all very underwhelming. I don't get the hype.

Would you believe that one half of Steely Dan still sounds like Steely Dan? Good time jazzy yacht rock. Fagen doesn't reinvent the wheel, but is consistently enjoyable on this solo outing.

I've heard so much about Fatboy Slim and how essential groundbreaking he was in his era in various documentaries, but I feel like no one really talks about him anymore. I've heard "Rockafeller Skank" and "Praise You" a lot, but I feel like it's always in the context of nostalgia. There's some cool sounds here, but so much of it is too redundant. Maybe that's the point? I dunno. I typically enjoy dance music and turntablism, but I can't grasp the appeal of Fatboy Slim. Just kinda boring and repetitive. J-j-j-ust kinda kinda kinda kinda boring and repetitive Just kinda boring and repetitive-tive-tive-tive just kinda boring and repetitive

Flamin' Groovies are all over the place in terms of quality on Teenage Head. It's a lot of bluesy rock 'n' roll, which at times, can be fun and often draws comparisons to the Rolling Stones, The Groovies play in a couple different styles under that blues umbrella; some that I found surprising and some I didn't care for. Plenty to like if you're into blues, but it's just not for me. Highlights: "Evil Hearted Ada", "Whiskey Woman"

It's kind of amazing how much of Bowie's sound emerges on this album. Furthermore, how much of his future work is hinted at here. Hunky Dory may be the first truly good Bowie album. Then again, there are songs like "Kooks" and "Fill Your Heart" that feel like a hangover from past album cycles. A great effort, I'm just not that into the 70's sounds the songwriting tends to fall into. Listened to while stoned and chilling in bed between the hours of 9:30-10:30 on a Sunday in May

I mean, Frampton is good; he has a great voice, plays the guitar well, and has an ear for melody and pop songwriting, but it's not really my thing. His brand of pop-rock just feels toothless and sanized.

Sorry I can't separate the art from the artist.

Upon first listen, Sugar's influence on the Foo Fighters is clear. Wall off noise production, very similar guitar tones and song structure/style, though Bob Mould does trend towards repetition a quite a bit. It's an alt-rock album from the 90's so it gets a 3/5 by default, but it's lacking that wow factor for me. It's good, but it's not in my rotation.

A fantastic followup to their debut in every way. The beats and jazzy samples are better, the rhymes are better, and Tribe continues to sound super chill. Great guest appearances from Busta Rhymes!

The Byrds released two albums in the same year they fired David Crosby and while Sweetheart Of The Rodeo isn't really my cup of tea, The Notorious Byrd Brothers sticks closer to, and expands on, their psychedelic folk sound. There's a lot more going on here, sonically and musically, and I'm here for it, though you can definitely hear the power struggle/transition to the next Byrds era. Thanks for making me listen to the Byrds!

This is a fantastic Radiohead album. I completely understand why it's considered their best, and why people like it so much, but I have strong biases that I'm slowly breaking down. In Rainbows features a balance of Ok Computer-era guitars and piano, mixed with Kid A and beyond electronics. The bleak and moody atmosphere of the record is palpable, but it also revels in something dreamy and forlorn. A beautiful record.

For being the final Smith's album, Strangeways, Here We Come is still a delight. I can't claim to love the more sleek production style, but when you have brilliant songs, they will often shine through anyway. I love the way The Smiths are a soundtrack for sunny spring days, despite Morrissey's often dour and self-pitying lyrical content, and the instrumentation from Marr and co. are still top notch.

Solid 70's punk leaning into the hard and fast. Highlights: "Love Song", "Melody Lee"

This is where New Order makes the transition from post-punk to dance music. By incorporating both, they create something truly new and exciting for 1985. rock bands and synths, what a concept. New Order were on a streak, continued from Power, Corruption, & Lies (my favorite New Order album), and showed no signs of letting up. There really aren't any misses on this album. "Love Vigilantes", "The Perfect Kiss" and "Elegia" are my favorites, but the whole album is truly good.

Beth Orton's Central Reservation makes me feel a number of ways. When listening to her, I imagine cozy afternoons lying on my spent watching the shadows climb the walls of my childhood home. I imagine nights cooking and drinking wine with a girl I liked in college. I imagine stepping outside for a cigarette at 2am on a brisk autumn night. Orton's singer-songwriter/folk-pop stylings reminds me of Joni Mitchell, Suzanne Vega, and Tracy Chapman, which is strong company to keep, and like them, I'm constantly blown away by Orton's lyricism. Her voice is smokey, full, and plaintive. The instrumentation is often beautiful, delicate, but veers Into slinkier territory reminiscent of her trip-hop past. Produced by one half of Everything But The Girl, you know the production on this will be fantastic, and it is; perfectly catching that late 90's cross section of sophisti-pop, trip-hop, and singer songwriter folk. I had never even heard of Beth Orton before this, but this was such a great surprise! Goddamn. Incredibly strong and consistent album.

I don't know what it is about Bossanova, but something about it charms endlessly. It's not the Pixies' best album, but it is so strong in spite of turmoil within the band. Kim Deal fades even further into the background than on Doolittle, but she would inject the surfy vibes from this album into the next The Breeders album. I think Deal would appreciate that the last truly 'good' Pixies album was the last one she was on. To their credit, while the songwriting isn't as inspired as previous records, there are some real earworms here, from beginning to end. Bossanova also gets the benefit of being newer and fresher to me, whereas I have played Doolittle to death. This is probably the Pixies album I reach for most often these days.

It cannot go unsaid how important Public Enemy is to hip hop, especially pertaining to their sonically dense and innovative production. These dudes were absolutely fearless in every way. Nothing but utmost respect to Chuck D, Flava Flav, and the Bomb Squad. That said, this is not a record I'd put on with any frequency, Fear Of A Black Planet is simultaneously timeless as it is dated, the aural barrage of sound is something I typically have to be in the mood for, and even still It Takes A Nation... is my preferred Public Enemy record.

Morrissey's first post-Smiths LP, Viva Hate, makes it very clear as to what Morrissey's actually contributions were. Without Johnny Marr's guidance, the songwriting is all over the place. Moz still manages some earworms, like the dreamy, "Everyday is Like Sunday", but it feels far to easy to imagine any of these songs on an 'adult contemporary music' station. Just kinda bland. As usual, Morrissey's voice is grea.

I didn’t like this when it came out and I sure as shit don’t like it now.

'So' incredibly close to perfect. Peter Gabriel's defining album, complete with commercial friendly earworms as well as off-beat experiments. The front half is full of bangers, but the back half is a little uneven. Very high highs and very middling lows. So is part of my semi-regular rotation, so I was very excited when it came up, but it does force me to admit that it is not a perfect album.

Miles Davis' first excursion into jazz fusion. It's a delightful listen, filled with a little tension and the effortlessly cool tone Davis was known for. Very easy listen and one I often point to for anyone looking to explore jazz as a genre.

There's something that feels off about the Cardigans. Maybe it's the lounge band vocal delivery, maybe it's the overproduced twee/alt pop sound, or maybe it's the boring songwriting. Nothing seems like it's working, and yet the pieces were jammed together anyway. I can't say I understand the appeal of "Lovefool" and I question the wisdom of the Black Sabbath Cover. This an instance in which the record was more of a chore to listen to than a joy. The Cardigans don't deserve to be here. A fourth string band who got lucky once and has made that our problem ever since.

DJ's Guru and Premier are clearly students of Eric B & Rakim as the two rap intellectual and emotional lyrics over light, breezy, and jazzy beats and samples. Gang Starr are technically brilliant, but the album feels a little two one-note for me. If you're a fan of late 80's/early 90's hip hop for the culture, then you'll love this.

I first heard "A Day at the Races" on Tony Hawk's Underground. The fast rapping and fun music samples were unforgettable. On Power In Numbers: The samples and musical choices are phenomenal. The rap flow and the personalities of the MC's really stand out (especially Chali 2na), but, lyrically, this album ranges from excellent to kinda cheesy after school program rap. Jurassic 5's messages are positive, which is sorely missing in hip-hop, but it also leads to some of J5's cornier moments. Stylistically they bridge the gap between the 80's and 2000's. A very fun and technically proficient hip-hop crew and a good album. I loved the flute on "If You Only Knew". "A Day at the Races" still rules.

There's a brooding and eerie vibe that pervades the album. Roxy Music is endebted to Scott Walker, mo-town, rockabilly, German psych rock, and Jimi Hendrix. Predating most goth albums by a good 7 years, it's impressive what sounds and textures Roxy Music is able to eke out of their music. I love the weird songs and scary saxophone. Also the wicked harmonica solo on "Grey Lagoons" I did not expect to like this so much! I need to listen to more Roxy Music.

I'm torn. I am so ready to completely write off The Electric Prunes, but I can't bring myself to do it. First of all, there is nothing particularly special about The Electric Prunes (dumb name). They are, for all intents and purposes, a very middling garage rock act, but they threw in enough psychedelic flourishes throughout their self-titled debut to almost successfully mask their mediocrity. THowever, I was impressed both by the deliciously psychedelic, "I Had Too Much to Dream (Last Night)" and they continue to impress on the slower "Onie". Sadly, the rest of the album pales in comparison to these notable moments. Especially, "The Toonerville Trolly," which is dumb, and I hate it. This is not an era I have particular fondness for, nor a band I have ever, or, at this rate, will ever care about, but they made me care just enough, for just long enough to save themselves from the rubbish bin. Kudos, Prunes. Kudos for doing enough to just scrape by.

I love punk, and I love X, but this is probably not the X album I would choose in terms of importance or influence; that would be Los Angeles. Wild Gift is still good, but it doesn't stand out quite as much as the previous album. If you enjoy punk tinged with rock'n'roll and country, you'll love X!

I love the title track after hearing it on The Venture Bros., but I had never heard the eponymous album before. "Street Life" is the only song with vocals, and goddamn, what a vocal performance! The instrumentation, likewise, is stellar! The Crusaders' brand of jazz fusion is pristine. It is very much Weather Channel-core, but I'm into it.

The first of Kraftwerk's groundbreaking electronic albums. The freewheeling "Autobahn" emulates the feeling of driving a car via fun little electronic tune ("fun fun fun on the autobah"). The rest of the album is spacious textures, synthesizer orchestras, and swirling melodies. Your favorite electronic artist's favorite electronic artist. Incredibly strong material from one of the most important musical groups of the 20th century.

I had never heard of Fever Ray before, but this is enticing! Downtempo bleeps and bloops from 2009 with great vibe-y vocals. This is a style I will never tire of.

Lou Reed takes everything he did for the Velvet Underground and expands on it on Transformer. Reed sing-talks, and actually sings, over familiar themes of night life, danger, but also new ones like love. With David Bowie's encouragement, Reed shows what he's capable of by trying a few different styles, most of which work out. The lyricism ranges from inspired, to silly nonsense, but Reed can even mostly sell the stilly poetry, too. Unfortunately, the album suffers from being frontloaded. Most of the experiements that don't quite hit are on the back end. A revitalized Lou is good for You Highlights: "Viscious", "Perfect Day", "Walk On The Wild Side", Bowie's backing vocals on "Satellite of Love".

Ice Cube's first album after leaving N.W.A and moving to the East Coast. Sometimes, Cube is ON; his delivery can be smooth, venemous, his rhymes can be clever, but he trends toward gangsta rap cliches too often for me. I thought certain songs sounded like a less sonically dense Public Enemy, and then realized that the Bomb Squad handled the bulk of production duties. The record absolutely benefits from features by Chuck D and Flava Flav, as well as, Yo-Yo, who absolutely holds her own on the track "It's a Man's World". It's a mixed bag, but rest assured the good is really good. Highlights: "The N***a Ya Love to Hate", "Amerikkka's Most Wanted", "What They Hittin' Me Foe", "Who's the Mack", "The Bomb"

I love Jamie xx's production, but the vocals don't offer much in terms of improvement. It seems like a disservice to his music to add these middling vocals to it.

Echo and the Bunnymen have always stood out to me as the brightest post-punk group. Yes, their music features a lot of the gothy, moping, but the songwriting is much higher energy than a lot of their contemporaries. Porcupine is the culmination of The Bunnymen's sound. I tend to put this record on a lot in the spring, especially on rainy days, because of the energy it carries. There's more experimentation and addition of instruments (xylophone, various stringed instruments piano), some of which hints at the direction they would take for Ocean Rain. Quick shoutout to the guitar noise solo on "Higher Hell"!! It's been a while since I've listened to Echo; especially Porcupine. It holds up better than I thought, and while the band tends to get sorted in with the post-punk/goth rank and file, I do believe that they are a band with a unique skill set and sound that sets them apart from the pack. While not as successful as some of their peers, they did put out 4 great albums in a row for us to enjoy. Crocodiles is still my favorite, but Porcupine is a close second. Highlights: "The Cutter", "My White Devil", "Clay", "Heads Will Roll", "Ripeness", "Higher Hell", "Gods Will Be Gods" Really most of the album great.

This is the first I've heard of Django Django and, honestly, it's a refreshing addition to this list. While it's absolutely a 60's throwback in many ways, this has the 2010's written all over it. The contemporary sounds and vocal styles won me over, but most of the record sounds the same, so my enthusiasm does have a ceiling. Not a new fan by any means, but this was delightful.

David Crosby's exit and Graham Parsons' introduction cause a shift in sound within The Byrds' camp. Rather than the folk tinged rock they had been performing, the group decided to give country a go. To their credit, the country music on Sweetheart Of The Rodeo is more dynamic and varied than most of the country records on this list, but not that much more. It's still a collection of mostly covers (similar to The Byrds' debut), and while the performances all all decent, it's nothing I would come back for.

I have avoided the Grateful Dead for most of my adult life, mostly out of the assumption they were a lame hippy band that I wouldn't like anyway. Imagine my surprise when I kind of dig it. I'm no stranger to a long song, so that didn't bother me in the slightest. I actually don't mind the noodling as much as I thought it would, either. This listen actually helped clear up a lot of misconceptions I had about the Dead and the people who like them. I don't know that I would have followed them from town to town, or if I'd ever care enough about them to become familiar with the specific live shows throughout their career, but I'm leaning towards putting this album on again.

I've only really been familiar with the Yeah Yeah Yeah's due to the hit song "Maps," so I mostly know them as a typical alt-rock band. The band seems to have grown beyond this distinction on It's Blitz! I realized as it was playing that I also know "Heads Will Roll", but it speaks to the Yeah Yeah Yeah's metamorphosis that I didn't recognize them as the artist. There's a lot more electronic elements here than I would have suspected, and the band's willingness to try different styles is refreshing. They do slip into songs that are reminiscent of their past selves, and that's nice too. I will definitely be coming back to this. Not sure how essential it is, but I'm thankful to the author for including it.

I haven't understood the appeal of Sonic Youth. I've listened to a bunch of their records from different eras, but, to date, they still hadn't clicked for me. Sister might change that. I love the direction SY is taking. They're being influenced by post-punk, their no-wave background, and noise rock, combining these sounds while predating post-hardcore bands like Unwound and Slint by a few years. I also hear the beginnings of slowcore bands like Codiene here. The point being, this is a refreshing and bombastic album that I completely slept on. There's just so much to enjoy here!! What a delightful surprise! Highlights: "Schizophrenia" , "Tuff Gnarl", most of the album, honestly. Lowlights: fucking NONE. this album is gooood.

Oasis sounds BIG. Big hooks, big production; I can totally understand why people thought they would be the next Beatles. Unfortunately, I greatly dislike the Beatles. The lyrics can come off pretty trite, but the power of Liam Gallagher's delivery can make you forget that at times. The music itself can sound a little manufactured, too, but the combination of everything comes together in an unexpectedly charming package. Still, the trick kind of relies on the listener's lack of deep listening. This is the sound of a band succeeding despite themselves. They do have a good sound, the 90's production really does things for me, and overall, I found myself enjoying Definitely Maybe. I'm not a new Oasis fan or anything, and I probably won't put this on again anytime soon, but in the span of the record, they kinda won me over. Highlights: "Up in the Sky", "Columbia"

There is so much to love on Under Construction. Missy 'Misdemeanor' Elliot brings you some of the biggest hits of the early 2000's in "Gossip Folks" and "Work It", and a stacked cast of the biggest names in black music; Method Man, Ludacris, Jay-Z, and Beyonce all make appearances! With production by Timbaland, Under Construction makes it's ambitions clear. However the album is pretty front loaded. All the hits with the best production and best guests sit up front, and all of the strained efforts sit in the back. And try as one might to love Missy's offerings and takes, I just wasn't impressed. I wanted to like them more because I like *her*. 3 "misdemeanor exclusives"/5

Mingus is control and mastery. The Black Saint And The Sinner Lady is a tour de force!

Overblown and large-lunged power ballads galore. I completely understand why my parents enjoy this, very dramatic and very silly at times, while also being very sweet and heartfelt, but it's nigh impossible to take Meatloaf without a grain or two of salt (and pepper). I was not expecting this to be as fun as it was, but I don't think it's something I'll return to unless very drunk and jovial. I definitely see Meat Loaf's influence on South Park's Matt Stone and Trey Parker.

Enjoyable early 90's party/dance hip hop. I have a soft spot for this time period and the music of it. I enjoy that you can still hear some 80's conventions as the new style shines through. I don't think I'd come back to Stereo MC's, and I can't speak to how essential it is, but it's certainly enjoyable.

Not really a fan of the Arctic Monkeys, but The Last Shadow Puppets was an interesting experiement. Lifting from 60's baroque pop acts like Scott Walker sounds like it would be good, though, the 2000's scope makes it different enough to not hit in the way I would've hoped. An interesting experiment, for sure, but with very 'meh' results.

Solid production and Nas has great flow. While it's not amazing, Illmatic still manages sets the bar for quality.

I'm having a hard time understanding why people like Rod Stewart. The lyricism is fine, but I can't take his raspy voice and the songwriting is pretty boring. Nothing to see here

Machine Head is a combination of riffy rockers like "Highway Star" and "Space Truckin'" (the reasons I like Deep Purple in the first place), more forgettable blusey offerings, as well as slight tendencies towards prog and psychedelia. I'm not really a fan of the bluesier songs ("Maybe I'm a Leo") and the proggy stuff wears on me ("Pictures of Home"). I appreciate Deep Purple's contributions as a proto-metal band, but this album was more hit or miss than I would've liked.

Supergrass answers the question of what would the Rolling Stones sound like if Billy Corgan did a Mick Jagger impression. I've never listened to Supergrass before, and I'm not impressed. Very standard stuff for being 'alt-rock'.

Drive Like Jehu have been on my radar, but rarely in my headphones, for over a decade. Because of the proximity to other bands I like, they tend to be part of the conversation, and they are a band that, on paper, I should love, but for whatever reason, have never clicked for me. They sound very similar to Unwound and Refused, but with more occasional space and emo tinged experiments. On paper, I should love this, but I'm just not impressed. They're a good band, and this is a good album, but I've heard other bands do this better.

It's rockabilly. Elvis has a great voice and delivery, but doesn't necessarily improve on the many covers on this album. Sold effort, and it helps that it's less than 30 minutes.

Not as rockin' and rollin' as his first album, but Elvis Is Back, is very enjoyable. The King experiments with poppier tunes and love songs, which he excels at. Elvis' voice is just as strong as ever. Perfectly enjoyable record.

I do enjoy trip-hop, and the twee elements are also something I enjoy aesthetically, but Foxbase Alpha feels lacking. I generally enjoy what Saint Etienne is going for, but questionable songwriting/production choices, weak vocal performances (or going too soft) drag some songs down; there is stuff to like, but there's also stuff you have to suffer through.

The Sugarcubes brand of alt rock looks to 80's post-punk, as well as the brighter, poppier tendencies of alt rock that would come to definition the 90's. Every song Bjork is the lead vocalist on is elevated by her presence. I understand entirely why she went solo. Highlights: "Birthday"

I feel like I’m missing something. Not like I’m insulted, but, rather, I feel like I’m missing out. I really like the fuzzed out rock of The Jesus And Mary Chain, but it doesn’t hit me in any powerful way like I keep hoping it will. I appreciate their noisy tendencies, but the notes beneath the wall of distortion leave me wanting something ~more~, whatever that may be. As I think about it, TJAMC have more in common with Suicide than most other bands on this list, but this still sounds like B grade work. What am I missing?! What’s the secret to liking The Jesus And Mary Chain?!

I listened to Underwater Moonlight at work for the first time with no prior knowledge of The Soft Boys. I recognized “I Wanna Destroy You” because The Circle Jerks covered it, but otherwise didn't get a good read on but otherwise didn't get a great read on the album. Unrelated: Rachel Getting Married is leaving the Criterion Channel at the end of the month; I should watch it. I love Anne Hathaway. Who should appear, and play awesome tunes in this movie? Robyn Hitchcock, vocalist for The fucking Soft Boys. Incredible in this context and prompted another listen before bed. It's giving 60's mod-leaning punk rock with psychedelic tendencies. There are shades of Cheap Trick, Bauhaus, The Who, and Lou Reed, while also carving their own sound more akin to R.E.M. There are a lot of great tracks, and there are a few middling ones too. Giving this the absolute highest 3 star I possibly can.

As much as I see this as a step down from You're Living All Over Me, it's still a good record. Jay Mascis' vocals are no longer hidden by walls of sound, which can be a good thing and a bad thing, but for the most part, the quality is still high on Bug. I enjoy that the band is still noisy, and not too much has changed, but a certain charm is definitely missing. Regardless, a great record.

This is a grower. In my first listen, I didn't get it. I typically enjoy this style, this humor, aesthetic, etc; all that goes into making a record like Live At The Witch Trials, but not much grabbed me. I was interested. I wanted to like The Fall. A few more listens later, and I'm starting to get it.

I didn't realize I knew any Todd Rundgren songs, but then "I Saw the Light" started playing and I was transported back to when I worked in a CVS Pharmacy. I was kind of dreading another double album, as I find the practice to be a balancing act that surprisingly few artists can do well. For the most part, Rundgren succeeds by separating the album into four suites that are different enough to retain interest. While Something/Anthing was fine, it didn't really impress. Yes, I know Rundgren played all of the instruments himself for 3/4 of the album, but that would mean more if the album were better. Enjoyable enough for 70's pop/rock, but I won't likely return to it.

Curtis Mayfield's style is undeniable. His voice is rich and silky smooth. I had only listened to Superfly prior to this album, and I am at a loss as to how consistently good Mayfield is. I owe his discography a listen. Fantastic album!

Country music, especially this style, does very little for me. It's generally too slow and plodding, or lifeless to hook me.

I'm not a huge fan of grime, but this was a nice listen with a fair amount of song variety to keep things fresh. I thought I hadn't ever heard Skepta before, but then I recognized "Shutdown" from the remastered Tony Hawk Pro Skaters 1+2. The beats are HARD, and he flow, combined with the British accent allows for unexpected and interesting rhymes. I can't say I'm super into it, but I definitely bobbed my head for the majority and enjoyed listening to it.

I remember "...Baby One More Time" and "(You Drice Me) Crazy" from the radio, but there's a few more songs on this album that I forgot I knew. Somehow I know "Sometimes", and "Soda Pop" was on the Pokemon: The First Movie soundtrack. I was under the impression going I. That this would just be trite pop ("E-mail My Heart") and there is a little of that, but much more nuanced and catchy tunes than I would've expected. Overall a nice surprise. Not something I'd return to, but I learned something about Britney Spears,and myself, today.

On Hearts and Bones, Paul Simon adds 80's rock and new wave sounds to his rambling folk style delivery, and the synthesis lends itself very well. As light and breezy as ever. No matter how cheesy a song sounds, Simon is typically able to save it with vocal delivery and lyricism alone.

I got excited when an album by the Screaming Trees popped up, because I do love the 90's, especially grunge era rock, and this is one I haven't heard before. Unfortunately, most of Dust is disappointingly bland. There are bands that can benefit from better quality production, but Screaming Trees is not one of them. It now appears Screaming Trees is actually to blame for the post-grunge trash that came out in the late 90's early 2000's, because Dust seems like patient zero. Uninspired songwriting and lyricism and passionless performance. Highlights: "Halo of Ashes" Having heard other Screaming Trees albums prior to this one, I can say this is their weakest so far. Incredibly lame and forgettable. Probably the most disappointing listen of this project. Feel free to leave it out of the next book.

More Stones, more blues rock, and surprisingly more ballads. While I understand Exile On Main Street's appeal (it sounds GREAT), it all just sounds like a less interesting Sticky Fingers. On Exile, The Stones do all the things they're expected to do really well. They take it a step further with a stadium ballad of "Shine A Light". Not a bad album, and not the least interesting Stones album I've heard so far, just standard fare.

I'm kind of stunned by how often I come back to this. I was wholly expecting for Sweet Dreams (Are Made Of This) to be a vehicle for the eponymous song, but much to my surprise, there's a like to like here. Imagine my further surprise when I've been listening to this for months since it generated for me. Annie Lennox has a great voice, and the sometimes dance-y, often synthy, and wonderful production by David A. Stewart is a match made in heaven. I get that people hear a hit or two often enough to dismiss an artist/group altogether, but this is one instance in which further exploration will yield much enjoyment. That's worth a 4, for sure. Highlights: "Love Is A Stranger", "Sweet Dreams (Are Made Of This)", "This Is The House"

I've heard "More Than A Feeling" more times than I can count, but this is probably not a unique experience. Boston is everywhere. However, despite even listening to this album numerous times in the past, I feel like I'm just now giving Boston a fair chance. Having found a fondness for Thin Lizzy, Boston is not as far flung a proposition as they may have been for me at another time in my life. They sound like the 70's; power rock guitars harmonizing and all. The organ playing on this is actually phenomenal, too! Yes, there's a lot about Boston that initially comes off as corny, but that may actually be part of their charm. Before Boston's music was car commerical/bar/classic rock radio fodder, it was the stuff off road-trips, bonfires, first kisses, beer-soaked summers, and freedom. There's a lot of optimism on this record, and that's refreshing. These are just good time jams. Fuck it, 4 stars! Highlights: pretty much the whole record. It's a vibe thing.

Kate Bush is incredible. The Sensual World is a more straightforward approach to music than Hounds Of Love; it's poppy, but still weird, and with plenty of experimentation (I hear a lot of Peter Gabriel influence here). The Sensual World sounds very 'new age' at times, which scratches a very particular nostalgic itch of mine. Already Kate Bush curious, but now a Kate Bush fan. Highlights: "Love and Anger", "Reaching Out", "Heads We're Dancing"

Pearl Jam's Ten rules and this is pretty great evidence of that. Their debut album sounds big and marks a transitional period in sound and production; there are so many instances that sound peak 80's while Pearl Jam's sound is clearly looking towards the coming decade. The whole album is great, but I wouldn't say I adore every track on it. They're all good songs and I find myself singing the whole album all the way through, but it's not quite perfect to me. Highest possible 4 star!

What an odd little album. At first, I was ready to write Sulk off as bargain bin fodder, but upon addition listens, I found a spacey (like to a Bowie degree at times), kinda poppy, groove-y, post-punk outfit in The Associates. They charmed me. I can't say that I would come back to this all that often, but I have to admit that Sulk grew on me.

Perfectly upbeat 80's album. It falls a little flat on me, but I could see how people might like this. It feels far too cheesey for me to take seriously. To Culture Club's credit, Boy George has a great voice, but Culture Club's pop/R&B stylings are definitely not my thing.

Joy Division's Unknown Pleasures is an incredible statement. Perfectly encapsulating the post-punk movement, Ian Curtis' tortured baritone perfectly matches the bleak lyrics and nervous energy of the music. From funeral dirges to punk songs, the haunting energy of Unknown Pleasure pervades. Special shout out to the rhythm section for keeping everything moving. Easily a 5.

Very Daft Punk-y, and by extension, something else that doesn't really excite me. I can appreciate the busy electronics and wall of noise and the guest rappers inject some much needed variety, but overall, just fine. Nothing I would put on by choice, but I wouldn't be offended if it someone else put it on.

Kinda lame. If you're a fan of slow, ramblin' country, Willie's your guy. Unfortunately not enough happens musically, or lyrically, that would bring me back to this. Just sounds lame.

My first thought upon listening to Dirty Projectors' Bitte Orca was that it was a 2010's hipster/alt-pop time capsule, and, lo and behold, it came out in 2009, so towards the beginning of that era. My second thought was that they "have to be from New York" (correct again; Brooklyn). There are so many sounds here are endemic of that specific time and place. Having never listened to them before, I didn't mind them. The Dirty Projectors' sound made me feel kind of nostalgic, and are pretty good, but I honestly don't know how often I'd return to this. Still enjoyable though!

Simply Red falls into the bargain bin of Walmarts or forgotten in the annals of second hand stores. It’s not bad, but it definitely Picture Book definitely places Simply Red in the B or C tier of 80’s pop acts. Not inspired enough to truly break though, their songs will be enshrined in soundtracks for various corporate pharmacies and ‘adult’-oriented radio stations around the world. The highest possible 2!

Perfect house-cleaning/ lazing around the house music. Super relaxing and lively enough to not fall into the background. Great vocals and instrumentation!

As far as I know Elton John has always been around, and I have always enjoyed him (Lion King & Road to El Dorado soundtracks), but have never been tempted to dive deeper. This is John's biggest album, so, naturally, the hits on Goodbye Yellow Brick Road are very pleasing ("Benny and the Jets", "Goodbye Yellow Brick Road", "Saturday Night's Alright for Fighting"), but then there were songs I wasn't expecting (the rousing "Funeral For a Friend/Love Lies Bleeding", "Grey Seal", the hilariously titled "Jamaica Jerk-off" to name a few). Unfortunately, not every song stands out positively. There are a few that feel like filler, or just fail to strike the mark ("Sweet Pained Lady", etc.). It's hard not to enjoy Elton John, but I have to admit that I didn't love Goodbye Yellow Brick Road enough to make me a new fan. Pretty solid release though!

I have so little patience for this era of indie rock. Boring, sounds flat, and just does nothing for me, personally. I found most of the album irritating. The Bravery did this sound better. Highlights: "Hard to Explain" This shit is exhausting.

I had never heard of Quicksilver Messenger Service prior to this listen. Half of the album is their cover of Bo Diddly's "Who Do You Love?" is stretched to allow for experimentations and improvisations. It's actually pretty great! The rest of the album is kind of groovy and surf-y in ways that I find very satisfying. Things do kind of peter out with the title track "Happy Trails", despite being wholly appropriate. So close to a 4, but for now, a 3 out of 5.

The Velvet Underground's dark humor is on full display. Simple, but effective, noisy jams and a an underlying tension dominate White Light/White Heat in an extremely satisfying way. VU lure the listener in with the seemingly banal rock 'n' roll title track, and yet, when a layer of noise and fuzz becomes a full 10 seconds of noise at the end it becomes clear this is not the record you thought. The cool fuzzed out guitars and driving bass that soundtrack "The Gift" likewose repeat to the point of transcendence or madness to propel "Sister Ray" into the stratosphere. At it's heart Velvet Underground's noise album, it's their punk album, it's their experimental album. Unexpectedly, it also their narrative album, as each song tells a story. It's the last album to feature John Cale. It's everything to love about the Velvet Underground. They would never be this unhinged again.

I listened to the album, then read the wiki. "a devastating debut" they said. [Crossing the Red Sea With The Adverts] is the equal of the first Sex Pistols or The Clash." Then why the fuck is the first I'm hearing of them? I can understand buried treasure, but The Adverts aren't it. They play the right chords and sing punk, but they're a second rate. Nary a decent lyric or memorable song amongst the album. I'm constantly disappointed by what this list tries to pass off as "essential" punk, and this is no exception.

Sonically, LL Cool J is where the past meets the future. There's plenty of shout-out's and allusions to the rap-styles of the past, while, sonically, the songs on Mama Said Knock You Out sound like they could be Wu-Tang tracks. Lyrically, LL Cool J sounds like an 'older brother'. He's the older guy at the YMCA, getting ripped, showing off for the ladies, and mentoring the younger kids. He's wholesome in ways that N.W.A. and gangsta rappers are not, but don't mistake him for a squeaky clean Will Smith or a goofy Sir Mix-a-Lot. Cool J is also into rapping about being sexy and picking up women ("Mr. Goodbar" is hilarious) For whatever levels of cringe exist on this album (and there are a few "Milky Cereal") there are just as many cases for how cool and technically proficient LL Cool J is as an MC. He's probably not going to end up on any 'Best Of-' lists, but this is a snapshot of a transitionary period in hip-hop.

Honestly great. I’m typically not a country or blues fan, but Fred Neil is such a great songwriter that he gets away with both. His unique voice also has the ability to grab the attention and keep it for the duration. Yeah! I’m into it!

The Dead Kennedys are undeniably a great and iconic punk band, but it took me a while to come around to the point where I would throw their records on from time to time. This listen of Fresh Fruit for Rotting Vegetables hasn't really changed anything for me. Jello Biafra's voice and the vocal decisions he makes range from fantastic ("California Über Alles")to "eh". Lyrically, the songs also range for me, but I do enjoy how fearlessly the band takes on political topics. The music itself is punk music, and I'm already a fan. Good album. I enjoy it and I do think people should hear it, but I probably won't me throwing it on again soon. Highlights: "California Über Alles", "Holiday in Cambodia"

Eh... Not really for me. I was hoping to like it more, but they sucked a lot of the fun of the backyard party era, kept its beats, shortened the songs, and added synths. Another case of enjoying the music that Run-D.M.C inspired more than the music Run-D.M.C made. Highlights: "Jay's Game" 2-star

An unfortunate miss from The Boss. Springsteen proved he could transition to pop stardom while continuing to sing about blue-collar folks, their concerns, and political consciousness, but the songwriting suffers from the synths and and sterile stadium production of the 80’s. I’ve gone through stages of hating, then appreciating, then disliking this album again, and I think this round of listenings has cemented my opinions. “Dancing in the Dark” still rules though.

Seeing that Richard Hawley had ties to Pulp, I was not initially excited for this album. There is a lot more Frank Sinatra and Roy Orbison influence here than I was expecting. That kind of late night, dreamy crooning with string accompaniment, mixed with country tinged rock 'n' roll is a welcome surprise! On some songs Hawley draws comparisons to Murder By Death, both with vocal quality and music stylings. All that to say, I really dig this.

I know nothing about Van Morrison aside from "Brown Eyed Girl", but didn't go into this live album with much optimism. It's honestly not bad. Morrison is an entertaining and capable vocalist, the band is spectacular, and the album itself is fine. I don't think this needed to be a double album, but I'm also not a Van Morrison fan. It's Too Late to Stop Now also has the unfortunate fate of featuring no banter between songs, causing it to not feel all that 'live' at all. As powerful a performer Van Morrison may have been in his day, it speaks to how tastes and legacies change that this albums feels out of place on this list. Good live album? Sure. Essential album? Ehhhhh... Highlights: "Wild Children"

Depech Mode gets moody and dark on Music for the Masses. I've been a Depeche Mode fan for a few years because my ex was a fan. I do have a few favorite Depeche Mode albums, but this one has never been among them. This particular listen is changing that. Think New Order, but sadder and sexier. Music for the Masses still isn't a top 3 Mode album for me, but the songwriting is noticeably better than some of their previous efforts, and the change in tone towards darker sounds absolutely works for them. This absolutely influenced Nine Inch Nails.

The 'shock rocker' Alice Cooper fails to impress. Aside from the title track, School's out fails to deliver anything more than middle of the road rock tunes, attempts at doowop and musical theatre, and generally a boring album.

Pink Floyd's excesses in stage performance and a Rodger Waters breakdown culminated in this seminal work from the English psychedelic rockers. For my money, The Wall may be the best example of a concept album with a plot that makes sense and isn't dumb or gross. What's more, the album doesn't feature much useless filler (though there is some), or overstay its welcome. Engaging and very listenable throughout, though I did find I enjoyed the musical theatre of the last suite of songs more as a kind than I do as adult. Highlights: "Comfortably Numb", but honestly most of the album rules. lowlights: "Bring the Boys Back Home"

What can I say about Nevermind that hasn't been said already? The opening riff to Nirvana's "Smells Like Teen Spirit" is the sound of my musical awakening. I know I'm not unique. Nirvana inspired a generation of people thanks to Kurt Cobain's cryptic lyrics and unique vocals, and the band's ability to blend punk, with heavier rock, while including enough pop sensibility to allow them to cross over into the mainstream and become one of the biggest bands on the planet. Nirvana described their sound as "The Knack and the Bay City Rollers being molested by Black Flag and Black Sabbath," and I think that's pretty apt. Look no further than "On A Plain", "In Bloom", and "Come As You Are" for evidence of Cobain's pop sensibilities. Likewise, fast-paced rockers like "Breed", "Territorial Pissings", and "Stay Away" offered a tasted of their punk leanings, while "Polly" and "Something In The Way" highlighted the band's versatility beyond being a rock band. The evolution from Bleach to this is incredible. While I do prefer other Nirvana albums to this one (Incesticide, In Utero, Bleach), it's less because I think this one is lacking in any way, and more because I'm often in the mood for Nirvana's noisier fare (check out "Endless, Nameless). Also, I've easily gotten my mileage out of Nevermind. I don't usually get bogged down on 'influence,' but with Nirvana, it's an honor I warmly accept. I'm sure I'm not alone in scouring photos of the band to see what band shirts Kurt, Krist, and Dave were repping (Flipper, Daniel Johnston), what albums Kurt would include on his 'favorite albums of all time' list, or listening intently to interviews when the question of their influences come up. My music taste, or at least a firm portion of it, was inspired by Kurt Cobain's personal taste. I love Melvins, Big Black, Flipper, The Jesus Lizard, and the Butthole Surfers (among others), while other Cobain favorites I still can't quite grasp (The Beatles (I know, I know), among others). Additionally, Nirvana's sudden ascension and breakthrough opened the gates for a broader range of alternative/underground bands to acquire major label record contracts. In the industry's scramble to find the next big thing, underground groups for whom a record deal was never an option were now being courted by those same labels. Many bands were given second lives with newfound interest in their projects. And that is Nirvana's legacy; opening the door for those behind them, and building stairs from the underground to the surface. Oh jeeze, I'm rambling... Oh well, whatever, Nevermind. 5 stars

Honestly liked it more than I thought I would. I'm not really into funk, and kind of ambivalent towards the songs I already know by Sly & The Family Stone, but not only does the band transcend funk, blending with R&B, soul (AND COUNTRY), as well as 'classic rock', culminating in something a bit more fun and fancy free than I was expecting. There's A Riot Goin' On is definitely a relaxed sunny day album. Good vibes all round, however I don't know how often I would return to it. Highlights: "Spaced Cowboy"

The final album of Johnny Cash's career feels that way. It's a similar quality I noticed in David Bowie's Black Star; an artists, knowing the end is near, writing their own elegy. Thematically, American IV is about 'the end', paying debts, death, etc. Some songs are happy, some are foreboding. Most of the songs are covers, which I found a little disappointing. Cash's voice shows age. It's hard not to be at least a little moved by this final artifact left by an elder-statesman and artist who had always been around, that is, until they couldn't be around any longer.

I had listened to The Fall before, but that was years ago, and I wasn't ready then. Revisiting their work for the 1001albumsgenerator, has made me realized I kinda dig The Fall. This Nation's Saving Grace is an easier proposition for me than Live At The Witch Trials. Mark E. Smith's spoken or shouted vocals and sometimes jarring or angular instrumentation are still present, but this is the most balanced version of their sound I've heard so far. It's still off-putting and weird in the ways The Fall intend, but the songwriting is more focused than previous efforts and the production is better as well. I love the the variety of songs and the lo-fi sound. There aren't really any songs that sound like filler. This was a pretty solid listen from front to back.

Doves veers between inspired English indie rock band and slightly more interesting Coldplay. Songs like "Satellites" and "Last Broadcast" actually remind me of what Coldplay was doing in 2016, so in ways, this album was way head of its time. These are big, anthemic songs written for stadium tours, which on some level receives a big eye-roll from me, but listening closely reveals some decent songwriting with interesting instrumental and production choices that keep the record feeling ambitious. Highlights: "L.A.", "The Sulphur Man"