This is a fantastic album, and possibly my favorite rap album ever. The Bomb Squad evolves everything they've done over the last couple albums here, starting from their JB sample focus of It Takes A Nation Of Millions and widening it based on all kinds of sources to create a dense wall of sound rarely matched in this era. Chuck D pairs this with a wider range of social commentary that pulls no punches. This album may show it's age a little bit around the edges, but it remains massively impressive. I will never tire of this album.

I'm Betty torn on this album, as I feel there's some very strong material here, but I also feel that a good portion of the album is just tedious generic EDM of its era doing nothing new or interesting and just taking up space. If this album were tightened up a bit it would score much higher for me. Ultimately it does show how talented they are and paves the way for their later more interesting work.

Better than CSN, not as good as Y.

I've never listened to this entire album before, though I've heard a couple songs from it, but I have also rarely listened to Coldplay on purpose, so here we go. On the plus side, it's clear this band can can construct a song, can layer parts, and sustain a build. On the down side this album feels like it's trying to say a lot and emote a lot, but it ultimately feels hollow, repetitive, and cheesey to me. I get the impression they were going for some kind of Radiohead vibe with the emotional manipulation knob pinned at 11, but they push the feels too far and rarely let up, so they are unable to have much emotional range within most songs, leaving them feeling obnoxious yet flat. "The Scientist" and "Clocks" are particularly egregious examples. "Green Eyes" feels like a bit of a respite from the overwrought, overproduced feel of the rest of the album, but it just feels bland and generic. "Daylight" was interesting for a second, until I noticed they were just ripping off "Tomorrow Never Knows" by the Beatles. Maybe I'll listen to that as a palate cleanser. This was the first album I got to review on this site. Ouch.

This album was new to me, and an absolute delight compared to the last one, some Coldplay slog. She's a great singer, I enjoy the instrumentation, and the songs are pleasant in a moody loungy sort of way. None of that really speaks to me, so I can't really see myself seeking out more Norah, but it was certainly inoffensive.

This is really a great album, and it's clear how massive it's influence is. I'd like to give it 5 stars, but this just isn't the type of thing I come back to much, despite it's mastery. I think I will catch up on the test of Nick Drake's work, though.

I enjoyed this album. Vocals are pretty cutesy, and some songs get a bit dark and meandering for my taste, but it's a really good sound overall. I think it's most effective when they aren't leaning to hard into the cutesy or the moody and find a really nice poppy middle.

I already love the first seven Zeppelin albums, and at least a couple are real masterpieces to me. II has shifted up and down over time for me, and where I stand now it's just not quite in the top tier. Don't get me wrong, it's got some great songs, and there are moments in "The Lemon Song" and "Bring it on Home" that still give me goosebumps every time, but as a complete album there's enough missing from some songs to bump it just a bit in my view.

There are two or three good songs on here, and a couple more listenable ones, but I still feel like the Smiths are the budget Cure, and Morrissey's whiny snark really doesn't help. The band is good though, which saves it from one star territory. Morrissey has a distinct voice that works on occasion, but mostly just grates. He thinks he's very clever, but really just needs to lighten up.

This album was great frenetic fun, and I really enjoyed it. It's all over the place and manages not too really do anything wrong, reminding me of genre benders like Ween or Electric 6. I had so much fun I almost gave it 5 stars, but while I liked most of the songs and didn't hate any, I wasn't in love with any either. Still, lots of fun, and I'm sure I'll come back to it.

I really like Björk, and I think that this is a very innovative, fun, carried album with a lot going for it. It also feels very much of its time and perhaps a bit dated. This is not my favorite Björk album, and maybe this gets 5 stars from me 20 years ago, but it is still quite strong.

There were a couple songs I liked alright but this album didn't do much for me.

I kinda casually listened to this and didn't think much of it, but then gave it closer listen and was pretty impressed. I don't love any of the songs, but it all works really well together and they're doing a lot of interesting things sonically and compositionally. I get the feeling this could really grow on me over time and would be more of a 4 star after a few listens.

I remember walking to The Warehouse after school the day the album came out to buy it, and I remember recording an interview with a couple members before that so I could listen to some songs before the album dropped. 14 year old me loved RHCP more than any other band. When it dropped I loved this album, and continued to loved for many years. As time went on, though, I became increasingly dissatisfied with RHCP, their sound, direction, energy, etc. I longed for rawer heavier feel of Uplift Mofo, Mother's Milk, and BSSM. One Hot Minute and Californication had moments I truly loved, but overall they felt weak and limp by comparison. I found some of their later stuff hardly listenable. I began to blame BSSM in my mind as the tuning point, the moment when they found their full artistic voice, pointing the way to the pandering softness to come, reaching to recreate the magic of Under the Bridge and Give it Away forever more. They'd sold out as far as I was concerned. None of that was fair or real, but that's what was in my head all the way up to this listen. I probably haven't listened closely to this album in at least a decade, maybe longer. It's brilliant. I'm right back to where I was in the beginning with it. There are maybe a couple throw away songs for me, but it's a fantastic album with a nearly perfect flow and cadence Even the weakest songs, The Power of Equality and Naked in the Rain serve their purpose. I love the feel, the production, the musicianship, the variety, the creativity, and the guts. This might be one of my very favorite albums of the 90s. I came into this album distant and jaded, expecting I might give this 3 stars. I listened with open ears and heart, and it has to be 5.

I think most of the songs I liked on here evoked other artists for me. There's some good stuff here, but most of it feels a bit monotonous just doesn't do much for me. This is a case of solid musicianship paired with forgettable vacuous songs.

This has never been my favorite Hendrix album, but it's a strong showing with at least a few of his best songs in "Spanish Castle Magic," "Little Wing," and "Castles Made of Sand." I always liked the sketch-like intro of "Exp" setting the tone even if it's not really a song and is entirely skipable, with its bookend of "Bold as Love" driving a gradual build to an almost epic finish. And I love listening for all the big and little engineering tricks being pioneered throughout. There are weaknesses, though. In particular I find "Up From the Skies"to be a wishy washy opening tune, though it might feel more at home in a different sequence. "If 6 was 9" seems a bit disjointed in the flow as well, or maybe the song just feels flat to me. The rest of the album is fairly solid, most of them with moments that do get their hooks in me, but not as consistently exceptional as the tracks on Are You Experienced.

This album has a couple ok songs, including "Promised You a Miracle," their greatest attempt at a Cure-esc new wavey Brit-poppy hit. Otherwise it's mostly forgettable despite their admonishment.

This album was never my favorite Clapton nor my favorite Allman, but I always kinda liked it. I've grown less tolerant of Clapton's wankery over the years, so my rating has fallen a bit. Still, if you're in the mood for some post invasion Brit blues spiced up with some Duane Allman, there's some good stuff here. "Anyday" and "Key to the Highway" were standouts on this last listen. I really just can't stand "Layla" anymore, speaking of extreme wankery. It took me four tries to get through that song this time.

Not really my thing, but this was a fun listen. Inventive and varied, it has a few songs I really liked and some I really didn't. I'm not a fan of the tremulous vocals that dominate much of the album so this knocks the overall rating down a bit.

I think I've been turned off by Kanye's crazy for so long I sometimes forget he's actually a really good producer and occasionally a good lyricist. This album has its faults and dips into a bunch of played out tropes, but it also shows seemingly effortless understated production on tracks like "Hold My Liquor," "I'm In It," and "Blood on the Leaves." It's been a long time since I listened to much Kanye, and I'm surprised how much I enjoyed this. Most days this probably gets a 3 from me, but today it's a 4.

Good stuff if you're into this brand of formative rock and roll. I had a much easier time getting past the person behind the music yesterday when it was Kanye.

I like this album more every time I listen to it. This time I got stuck on it and other T Rex all day. I think this is among the best glam albums I've ever heard, up there with Ziggy Stardust, Transformer, and Kimono My House. I can't get enough.

I have it a shot but this album has not aged we'll at all for me. The production is decent enough, but very dated. The songs are ok musically, the lyrics are juvenile dreck, and the vocals are atrocious. I didn't realize until today just how bad a singer Alanis is, but it's a bit jarring on a close listen.

I love this album. As a coherent album, it's among their best. Every song is where it should be and flow seems nearly perfect. "Hats Off to Roy Harper" is the only track the album could really lose, but it's still a fun closer. The transition from "Friends" into "Celebration Day" might be my one of my favorite transitions ever, and still gives me goose bumps every time I hear it. I also always loved the spinning inner cover sleeve too!

This was a great album. I liked it even more than Pink Moon. Really fun instrumentation and discordance.

Songs are at best poppy bubblegum, but are at least a bit varied. Production is pretty good. She can sing, but the lyrics are almost complete trash.

She's a very good singer, but most of her best songs were done better by her American counterparts.

This isn't my favorite Bowie, but it's close, and has a few of his best songs in "Changes," "Oh You Pretty Things," "Life on Mars?," and "Queen Bitch." For me the rest of the songs generally don't quite hold up, though it's a really strong well crafted album. On the right day, if I'm feeling those other songs, this could be a five star album for me.

Not the worst nu metal ever; a few songs are listenable, but still pretty bad overall. Decent production I guess, but the songs are meh, and the vocals are shrill, and nothing stands out as particularly interesting.

I've always really liked X and their brand of punkabilly. I don't especially love their songs or albums, but no one quite sounds like them. There's just something in their formula that works for me.

Early Beatles doesn't really do it for me, and at this stage their version of the invasion formula is still fairly generic, though I suppose they execute pretty well. That said, there are at least a couple good originals on this album. "It Won't Be Long" and "All My Loving" are standouts for me. Otherwise there are a number of ok to throwaway level songs and a bunch of Motown covers. Feels like a collection of singles more than an album.

It's been a while, but this is a pretty good album. Don't love it, but nothing bad on here either. It was nice to give a close listen to after so long.

This album was pretty meh overall. It had some ok stuff, but also some pretty bad stuff. Not much was really my speed.

This is great when you're in the mood for meandering psychedelia, and no one does it better. It's not really my thing, but it's great background music at least.

I remember this album as one of the first CDs I ever sold back cause I just didn't like it. I still don't really like Pearl Jam that much; I still think of them as bottom of the barrel grunge from this era, and this album hasn't really grown on me.

I like the feel of old ZZ Top. Just fun party blues rock. I'll also never tire of La Grange, and i think this album gets a star for that track alone.

I don't really know much Afro pop, and I know nothing of Olomide or Congolese music, but this album was a pleasant surprise overall. I found the production to be a bit sterile and almost every song started out with a very saccharine poppy sound that really turned me off, but surprisingly, each song morphed into a satisfying grove, no matter how rocky the start. I didn't love it, but I did really enjoy it.

This is not great, but just about as good as the Bee Gees get. There are some real stinkers in here, but a good bit of it is actually somewhat listenable.

I didn't love this, but I liked it more than I expected It feels like it's got some big swings, even if they don't all connect. She's got an intriguing style that I'm sometimes in sync with, and sometimes it rubs me the wrong way.

I'm not really into dance music in general, but this feels like kind of evolved Daft Punk. Not really my bag, but not bad for what it is.

I really liked this. It felt very coherent and complete with the arc of a full album. It reminded me of Outkast in a lot of ways. I didn't love all the music, but I liked most of it. The lyrics and musicianship were great. I'm coming back to this for sure.

I'm typically not that into Cohen albums, though I always love his lyrics, but I really liked this one. Everything about this album feels expertly done and effortless. I also love how much he sounds like Tom Waits on this album. This is very close to a 5.

There are some fun synthy things going on, and the songs and lyrics are ok, but I don't really like the music or vocals much. Feels like the new wavy edge of the disco era and this album doesn't know what it wants to be.

This was pretty fun, a bit better than a lot of the other very similar stuff that came out around this time.

It was interesting to pick out a couple bits that I've heard sampled, but there's not much of actually want to listen to here.

I guess it's been a long time since I've listened to this whole album, but it's better than I remember. I guess I usually think of it as the hours with some filler, but that's not really fair. The whole thing really works, and there's not much I'd lose.

This album was much more of a delight than I anticipated. The songs and music are great, the album has a wonderful arc, and there's humor woven throughout. This album reads almost like Zappa to me. I really enjoyed it.

This is a fun concept album with a few real bangers on it. I didn't really know this album before, aside from the hits, but it further reinforces my love for the Kinks.

This is a very strong debut album, and it's their third best album for my money. The range of subjects, lyrics, samples, and music is fantastic, and feels effortless and refined. I don't think this album is perfect, and I do have some minor technical and musical quibbles, but it's so strong I find it difficult not to give 5 stars. And they only get better over the next two albums. Also Q-Tip is one of my favorite rappers ever, so I'm just not gonna be too objective here.

He's got a great voice, and I thought it was interesting with some good compositions, it's was just a bit emotionally heavy for me in an exhausting sort of way. Glad I heard it though.

I'm not into Christmas music but this is about as good as a straight Christmas album can get. There are some really good versions of some traditional Christmas songs by some very talented artists here, and as deplorable a human as Spector was, this is a great example of his production prowess in shaping that presentation.

I like Pavement alright. No surprises here, I didn't love it, but thought it was some solid music.

I think this might have been the only Who album my parents had on vinyl when I grew up, and I always really liked it. I still think it's a really great live album, and a really great Who album.

I've always liked this album but I've never counted it among my favorite Zappa albums. I think now I have to. It's really great and I'm glad I had a chance to give it a close listen. I sometimes love orchestral meandering groove Zappa even more than pointed poppy satirist Zappa. Today is one of those times.

Another one I remember from my parents' vinyl stash growing up. The vocalist sounds like the poor man's Tom Jones. Musically it's ok, but feels like they're trying for somewhere between The Doors and Zappa and not quite getting there. The title track still cracks me up every time.

This had some ok stuff, but also some pretty bad stuff, and most of it was pretty forgettable.

This was nice. I enjoyed it, but it didn't blow me away or anything.

I love me some Cure, and they epitomize my ideal of the early 80's goth sound, with perhaps Siouxsie and Joy Division not far behind. This album has that sound, period, and for me it's among those that sets the goth template. It doesn't have my favorite Cure songs, though "A Forest" and "Play for Today" are great songs. All that said and despite all those strengths, this is just not one of my favorite Cure albums. It's lacking a bit of heft, has a few throw aways, and some of it just isn't that memorable. But I've always felt the tendency for this genre to kind of run together and get lost. I'm really glad to hear it again, but as important as it is, it's not one of my go-tos for the band or the genre.

This was pretty good, I liked it alright.

There's some really great material here including the title track, but some really tedious religious stuff too. Great overall soul style, though.

I'm a bit torn here, because this album represents a lot that I really like, including the overall electro style and references to Kraftwerk and such. But it feels dated now, and honestly felt dated then. The rhymes are often goofy and childish, and the 808 style was not long for the world with more sophisticated layered sample based productions right around the corner. As much as I truly like Planet Rock and Perfect Beat, this is just a collection of singles, and only about half are really worth while.

They are polished and have a few ok songs, but mostly its just monotonous and repetitive. They feel like a slightly less annoying version of Coldplay.

This is a fantastic album, and possibly my favorite rap album ever. The Bomb Squad evolves everything they've done over the last couple albums here, starting from their JB sample focus of It Takes A Nation Of Millions and widening it based on all kinds of sources to create a dense wall of sound rarely matched in this era. Chuck D pairs this with a wider range of social commentary that pulls no punches. This album may show it's age a little bit around the edges, but it remains massively impressive. I will never tire of this album.

This is a really fun and interesting album but not the most listenable ever.

Sounds like perfect background music for a hip coffee bar circa 1994.

The lyrics are sometimes clever and fun but then get a bit rapey, so that's not great. Some of the music is alright, most of its a bit tedious. The vocals are pretty annoying.

Overall this was actually better than I expected. Certainly not the worst funk influenced disco, just pretty boring and repetitive, even if there are a couple good songs in there.

I don't hate the Eagles quite as much as the Dude does, but their main value is as parody fodder with such classics as Life on the Fault Line. And who could forget that they made the song Hotel California so that the Moog Cookbook could give the world the most brilliantly demented cover of all time.

There's some good stuff on here but it's not my favorite Jay Z. It seems to meander and lose focus a bit, it maybe that's just me. Still a strong album, just not my favorite.

Some of this album was surprisingly good with some very strong poppy songs even outside of the ones everyone knows. Unfortunately it's bogged down by a lot of dead weight and legitimately bad songs. I wanted to give this three stars but I can't quite get there.

This album was a lot of fun, and sounds like it was a lot of fun to make. Sounds like experimental tape loops and Moog explorations ala Tomita or Carlos pulled onto some good song writing and dense production. I loved it.

This album displays some good musicianship, songwriting, and production. A few songs nearly convince me this is worthy of four stars. Unfortunately it's also bogged down by even more dull and/or cheesey songs that make the overall album pretty snooze worthy.

I'm a bigger fan of later funkier JB, but this is a great live album, probably among my favorite. Live JB is amazing in any era.

I've listened to this before and never thought too much of it outside of Running Up That Hill, which is just a phenomenal song. On a closer listen this is a really impressive album with some interesting, if often very dated, production. And I love Kate's power through all of it. Still, I don't love most of the songs as much as I find them academically interesting, so I think I will always come back to that one song and I can live without the rest unless I'm really in the mood.

This was groundbreaking when it came out, and at least production wise, remains a brilliant landmark. The lyrics and subject matter of Death Row haven't aged too well but if you can look past that, this album, Doggy Style, and a bunch of other stuff from around this era shows how Dre basically invented a massively influential subgenre. I still love this album.

These guys have kinda faded from my memory, and on revisiting them, that's just fine. They made quality pop for their time, but not much interesting is really going on. Billy's brand of earnest shrieking to whispering and back is very tiresome. Still, there's good music and production, and it's impressive how many big hits they had from this album.

I really like Tracy Chapman as a lyricist and songwriter, but I'm not into the sound, and the production, while solid, sounds at times very dated in the worst ways. I don't feel I'd ever reach for this album, but she's really great.

The music isn't too bad, not at all remarkable, but unfortunately there's no Lou Reed here to rescue Nico from herself, so you only get her whiny warbly God awful vocals. I will never understand why anyone ever thought it was a good idea to put such an awful singer in front of a mic.

They've got some good material and some truly iconic songs, but there are some major whiffs on here too. I don't think anyone needed that Dylan parody or that Christmas song for filler on an already very short album.

Sometimes I really like Elvis Costello and sometimes he kind of grates. I guess it's been a while since I found this album really delightful. It's probably not a favorite I'd reach for often, but certainly a cohesive album with fun lyrics and varied production and instrumentation. It's already kinda grown on me a bit.

Musically well produced and kind of interesting, but also pretty snooze worthy, like if Eels and Beck had a really boring baby.

I've always kinda liked fIREHOSE, and after listening to this album, I still do.

I love Manu Chao. They always bring a smile to my face and make me want to move.

There are a couple really great songs on here, a few truly bad ones, and some very forgettable filler. It is funny going back to see how unremarkable the stones really are.

Well, this was both fun and disturbing. Some of it was pretty interesting, but I don't think I'll be going back to it too much.

I kinda prefer the sound of more crudely produced reggae, but Bob Marley is just brilliant. This album is pretty outstanding with a ton of great songs and very little fluff.

I think their best song on this album is hazy shade of winter, but the bangles version is better. This album is better than the herbs album, but they still sound like they want to be Dylan or the Beatles.

There are a few good songs on here but lots of generic filler. I don't love AC/DC to begin with but this album feels like a precursor to all the garbage hair metal of the next decade.

Impressively braindead. Almost entirely worthless. I wasn't able to get through an entire song.

Even worse than Oasis.

I think this is definitely one of Bowie's better albums, and it does a lot of weird stuff. If I'm in the mood it's great, though sometimes it can be a bit too much. Today it was great.

There's some good stuff in here, and plenty of fluff and stuff I'm just not into, but they get points for creativity. I think I'd this album were cut in half it would be a lot stronger.

If you like budget Depeche Mode this is for you. Kinda sounds like they want to be Kraftwerk a bit too.

This is one I can't be very objective about, having listened to this album way too much in high school. I doubt I'd score it quite so high if I were new to it now, as there are a few skipable tracks on it, but I love the overall vibe and it's got a lot of strong content. It's still my favorite Jane's album.

Not as good as the Slider, but still great.

I think there was a time some decades ago I really liked this, but I feel increasingly bored by Jefferson Airplane. Still, this album does some good stuff and has a few really good songs.

I like to think of Brian Eno as Aphex Twin minus the beat. I generally don't have the patience for him, but when I am attentive I usually find it worthwhile.

Sometimes I find the slower songs a bit of a drag if I'm not in the mood, but otherwise this album is pretty fantastic. Sloop John B is still my favorite off this album.

I'm such a sucker for this album. I know it's silly and ridiculous, but it just makes me smile no matter what. Van Halen might be one of my guiltiest pleasures

I love Nas's style, but the nihilistic attitude can wear thin if I'm not in the mood. I like a lot of the production, though it doesn't feel quite on par with the top shelf material of that era. An excellent overall album.

I'm On Fire is a genuinely brilliant song, and there are a couple other highlights on this album, but a lot of it feels really dated and cheesey. There are some good Springsteen albums, but this isn't one of them.

In some ways this feels like peak Queen to me. The material is all so varied and, well, operatic, it's all just so fun. Also bonus points for Bohemian Rhapsody.

This is not close to my favorite Prince album but it's still fantastic. It's pretty poppy and I can pretty much skip Doves and the title track, but there's just so much great stuff here. Let's Go Crazy is one of my favorite Prince songs too.

This was enjoyable relaxing ambient stuff. I liked it.

Maybe my favorite Elvis Costello album.

This was a fun listen, and interesting to learn about, too. I'm excited to explore her work further. She seems like an amazing woman.

This has some promising moments and nice builds, but doesn't really do much in the end. Also half the songs are ruined by the awful vocals like so much EDM of this era.

I'm Betty torn on this album, as I feel there's some very strong material here, but I also feel that a good portion of the album is just tedious generic EDM of its era doing nothing new or interesting and just taking up space. If this album were tightened up a bit it would score much higher for me. Ultimately it does show how talented they are and paves the way for their later more interesting work.

This album is pretty great, with a ton of great songs you know, a strong theme and some good variety. My only complaints are that there's to much material to keep up the quality, and the feel dips into a cheesier area that would come to be known as adult contemporary. Still, the pluses are so strong, it my be his best work.

I vaguely remember PJ Harvey and I guess I never listened to this album, but I really liked it. It has a nice thick grungy vibe, a few songs felt kinda like Sonic Youth to me, and a good bit of it felt like shows if go to in small rooms around 30 years ago. I enjoyed the range, the subject matter, the attitude. Great album.

Ranges from pleasant to boring ambient stuff. Maybe depends on your mood a bit.

I actually like the Big Brother one with the Crumb cover more, but maybe that's cause I grew up with it. This is still a really good album, the songs just don't move me the same. But she's brilliant.

This really feels like the spiritual successor to 36 chambers. I really like it, and will definitely come back to it and so many other Wu Tang solos and sides. This is among the best of them.

Again I feel weird and uneasy cause I'm enjoying the music of a self-proclaimed Nazi. I guess I'm just a horrible person, but I kinda liked this album.

Good stuff. I'm not too familiar with Kraut Rock but I did detect some Kraftwerk vives in there. Fun album.

I'm not huge on Cohen, but he's a great song writer and lyricist. His very late stuff is incredible.

I'd never listened to this before but it was a great find. I'm not typically into this kind of music, but these are some great lyrics and stories.

Some of this is ok, but a lot borders on unlistenable. Not my jam.

This was pretty good.

This album seems to age worse and worse over time, but even though it's frat broey, misogynistic, violent, and shrill, it displays a lot of talent in the production and some of the lyrical wit. If this we're all the Beasties ever did, they'd be a bit of a joke, but they followed it up with some far more evolved rhymes, themes, and production, and managed to separate themselves from some of the idiocy on this album. This maybe gets an extra star for the nostalgia, though as I said, it's not the greatest look.

There's some pretty good stuff here, but there's a lot of fluff, or at least a lot of stuff I didn't really like. Great singer, great production, great collaborators, but a lot of boring generic music.

Sounds like a bridge between music concrete and Japanese noise bands. I didn't know how much I could stand to listen to it, but I really enjoyed it

Better than CSN, not as good as Y.

I love this album. It's really tight and has a bunch of fantastic songs, and their sound is amazing. I think there's just enough dead weight to not give this 5 stars, but it's really close.

I feel like a lot of this album is really ahead of its time in terms of its P-funk aesthetic, but it's a bit hit and miss. Still, there's plenty of great stuff on here, including the once inescapable lead track, which is still a banger.

I'm a sucker for a couple of these songs, but the whole thing is just very one note, and doesn't do much.

I kinda liked this overall. Folky and varied, but not something I'd come back to a lot.

This is a really great album. I mean, the subject matter is entirely generic and predictable, but the songs and musicianship are top notch.

I didn't listen to Nirvana much these days, but it's pretty impressive coming back to it. This is still a really strong album with a bunch of great songs, and maybe a couple I generally skip. I still like Nevermind more, but I'm really happy I listened to this again today.

The lyrics are bad, vocals are unlistenable. I guess there's a little bit to the crunchy staccato guitar punches, but it doesn't do much other than stay the same and eventually grate. There's one mostly listenable song with no real lyrics, but not much really going for it otherwise.

I like the Cocteau Twins the more I listen to them. I love the use of really primitive drum machine sounds on this album. It also evokes a lot of Cure or Siouxsie for me.

There's a lot of garbage here unless you're a fan of Tony Danza. Also, Indian Sunset is some pretty appalling red face. This is pretty close to one star.

This is a tough one to rate. It's aged poorly in a lot of ways, feeling dated in style and especially content, but it's still so well done. Half the album is really amazing and I think if the fluff were trimmed and the violence and misogyny weren't quite so thick this could be one of the greatest rap albums ever.

This was pretty adorable. It sounded like Bjork reading a children's story with orchestral accompaniment. Cute as hell.

Great album. I love Jeru's flow, and the production is perfect. I love the dissonance and the kinship with the Wu Tang sort of vibe coming up around the same time. Come Clean is an absolute classic.

Pretty good 80s Brit pop. One of the few bands that feels like they're emulating the cure and that ilk and finding their own voice doing it.

I liked the music, but some of the songs were actually pretty bad. Great vibe over all though

This feels like a throwback to a lot of 80s synth pop or goth stuff in a good way. It also sounds like they had fun making all kinds of sounds.

I always found Eminem annoying, so I never really have this album a chance. I guess it's better than I remember in that he really is a good story teller and can be pretty clever, and the production is pretty solid. Also points for being open, self aware, and self deprecating, even if it doesn't always work. Unfortunately there just aren't any good songs, his flow just doesn't work for me, and it's all pretty juvenile.

The was a gem I'd never heard before. I love all the different influences and rhythms. I knew nothing of music from Mali before this, and I'm excited to hear more, and especially to hear more from this group.

This was some nice chill background your of stuff. A bit jazzy,a bit Beatlesy, a bit orchestral, it was a lot of fun.

I enjoyed this album in that it sounded like a parody of itself. Not really my bag otherwise.

This is probably one of their better albums. It's got a few really good songs a lot of filler.

This is fine.

I guess this shows how they helped establish many of the norms that would come to define dance and techno for better and for worse. Mostly worse.

Never found Moby to interesting, and I still don't. Most songs are pretty boring and repetitive.

I didn't really like this album at first, but it seemed to pick up as it went, and I ended up looping it a few times, and I guess I'm hooked. I don't think this is my favorite PJ, but it really grew on me in a hurry.

Fine for what it is, but not my bag.

Fantastic album by the baddest band in all the land. This isn't even my favorite Fishbone album, but I love it. Great variety, subject matter, musicianship, attitude, flavor, just everything works.

Sounds like a proggy synth sort of Dead inspired band, but very repetitive and boring, like late stage Dead. Not all bad, just not much substance.

Doesn't measure up to Astral Weeks for me, but still pretty good.

Better than I remembered, but still mostly runs together and is not particularly memorable. The singer kind of annoys me at times, but otherwise the instrumentation is pretty good. The first track is my favorite.

There are good songs on here, and some good musicianship, but it suffers from largely ridiculous lyrics and often obnoxious vocals. I do like varied albums, but somehow this one just feels disjointed. It's just too much in about every way. If this could be trimmed down by about an hour it would do so much better. At least I got to laugh/cry at The Stolen Child.

This album isn't perfect, but it is still amazing. The range of samples and what's created from them is pretty brilliant, even if it could be trimmed a bit. I also feel like this is one where I feel the goofy skits are sometimes a lot of fun, even if I usually skip them. This is one of my favorite albums of this era.

Sometimes I forget how much I love Miles Davis. I think this is one of the best albums by possibly the most important musician of the last century.

There were at least a couple songs on here I really liked, but there were more I really didn't. I kind of enjoyed the way they played with melodic patterns, but then the singer came in and was a very generic clone of all the other Indy singers of this era who wish they were Thom Yorke, and unfortunately he grates even more than most. It drags everything else down.

This is not close to my favorite Cure album. It maybe I just want in the mood today, I dunno.

I haven't heard this for years, but this is a great album. Probably among his best.

I'm glad I listened to this so soon after In a Silent Way, as that so obviously sets the table for this album. I think when I'm really in the mood for it, I prefer this one too the somewhat lighter and shorter Silent Way, but I thinks it's brilliant either way.

This album started out feeling very generic and typical, but as it went on it definitely got a bit more interesting and grew on me a bit. Unfortunately the singer does sound very generic, even if some of the lyrics and music are pretty good. In the end it just doesn't do much for me, but it was enough to make me listen through more than once, so it just clears 3 stars for me.

This is massive, so I didn't get through it all, but I'm really surprised how much I liked it. I always liked Ella, but never thought of myself as a Gershwin fan til today Who knew?

Lots of great classic stuff on here, but he's still really finding himself.

Not really my thing, but there were a few good songs in here.