I prefer OK Computer, though I can see why there are some who believe this is the better album. It’s certainly more consistent tonally, bearing down with ambient electronics throughout. Kid A uses Thom Yorke’s voice as more than a lyrical delivery system, but also as a manipulated force of sound, scattered to the wind throughout each track, creating orderly chaos admist the exacting perfection of a computerized tone.

If this is the best Jazz has to offer, it might just not be for me. I do understand the appeal, but I just get bored. I much prefer Jazz influenced works — progressive bands that incorporate jazz influences. Or Cowboy Bebop type jazz. Typical modal jazz just bores the hell out of me. I wish I enjoyed it more. It’s fine. Pleasent for the background, but not enough to hold my attention as the main attraction.

Day 3 and already my second Radiohead album. And what a departure it is compared to the latter released Kid A. The Bends is a much more straightforward dose of Brit-infused alternative rock. With that said, there are some true bangers on here. With The Bends, Radiohead takes the arena-sized riffs of U2, but sizes them down to a more intimate level using simple chord based rhythm guitar riffs underlying the Edge-inspired riffs. In hindsight, it’s hard to argue that The Bends isn’t Radiohead’s most influential album, with songs like High and Dry, Just, and Fake Plastic Trees making a lasting influence on British rock in the following decade.

In the mid-90s, Oasis was introduced by the British media as nothing less than the second coming of The Beatles. It was this lofty claim that made it almost impossible for their debut LP to live up to the hype. Definitely Maybe doesn’t break any new ground, though does a good job combining the history of Brit-rock (from the poppier end of The Beatles to the rockier end of The Rolling Stones), occasionally mixing in the wall-of-sound psychedelia of shoegaze and late-80’s jangle rock, a testament to Noel Gallagher’s ability to write the heck out of a song. Though it is this confluence of influences that make this album sort of boring. There’s not much in the way of innovation and it all feels like a patische of 90s British rock. In fact, it feels very much like the bridge between Radiohead’s Pablo Honey and The Bends. While it inches towards genius it never quite gets there since it’s bogged down by the band’s influences. 3.7 out of 5

MJ completes his transition from disco-inspired beats to rock-tinged pop, replacing much of his live instrumentation with guitar, drum machines and synthesizers. Tracks 3-6 really bog down the record as a whole. It’s odd to say that a collaboration between MJ and Stevie Wonder resulted in a filler track, but that’s exactly what happened with Just Good Friends. Luckily, the top and bottom of the album are filled with true all-time great bangers.

Bowie takes a break from art rock to focus on his version of soul. This album is totally listenable. His cover of Across the Universe feels… off, to put it lightly. Young Americans, Somebody Up There Likes Me and Fame are the stand outs.

Continuing the power pop tradition in line with 80s era Squeeze, Crowded House removes the jangle, new wave and silliness out of Argy Bargy and outputs a perfectly capable and consistent album of pop rock songs.

It’s fine. Jack White has never really been able to fulfill me. Ha definitely has his own “Jack White” sound, but I’m not sure how much he actually feels his sound in his soul, rather than as a tribute to his influences. There just seems to be a piece missing from the puzzle to really put his music over the top. 3.3/5

This album serves as a bridge between Motown and the hazy psychedelic influence of the 60s. The production is what sets this apart from being just another sunshine pop album, integrating the reverb and swirls of psychedelia. 3.5 / 5

I’m not sure how to review this without more context. I know nothing about Indian classical music other than what I’ve heard through the Beatles and scattered through other songs. The best way to describe it is… earthy? It makes me feel like I’m sitting in the dirt with a circle of my friends just chilling in the woods. I don’t even have any friends, so that makes it even more intriguing. It’s fine. I likely won’t be listening again.

This just bores the hell out of me. For my tastes, it’s too arty for its own good. I’m also just not a huge fan of this vocal style. Just not for me.

I mean, come on. It’s Led Zeppelin IV. It’s nearly perfection and one of the most influential rock albums of all time. Easy 5.

I mean, punk rock really DID change my life. I friggen LOVE the D Boon / Mike Watt sound. The problem is too much can be a bad thing, and Double Nickels 80 minute runtime leads to some major listening fatigue.

I’ve been on the “Eric Clapton is highly overrated” train for decades. Nothing he has done has ever truly blown my mind, and lord knows he has dried with his dozen or so projects he’s been a part of over the years. I haven’t reevaluated them in a while, but I don’t remember Blind Faith or Cream making a true dent in my psyche; nor does his solo work other than the truly emotional “Tears in Heaven.” Bluesbreakers is another reevaluation for me. It’s probably been over a decade since I last gave it a listen through… and? Still not overwhelmed by greatness. There’s some truly solid blues covers here, but none that I haven’t heard done better, perhaps for the exception of “All Your Love.” 3.3/5

Unlike many of their edgy rockin’ and tumblin’ UK contemporaries, Queen is not afraid to revel in the absurd, theatrical, Monty Python-esque side of the British way of life. Drawing inspiration from the pomposity of opera and music hall tunes, Freddie Mercury swings and swaggers his way to a near masterpiece of an album. Brian May sounds like a legit magician on the guitar at times, experimenting with which had never been exploited in a rock environment. There’s an argument to be made that this is where metal guitar’s interest with classical music began.

Who doesn’t love a bunch of nerds playing their instruments at peak performance? Rush’s string of records from 2112 to Moving Pictures is about as good as you’re going to get when it comes to progressive rock. I know Geddy Lee’s voice doesn’t sit well with everyone, but Rush just wouldn’t be Rush without it. I, for one, find it iconic. Neil Peart and Alex Liefson are equally iconic. No one plays the skins like Peart and Lifeson is an underrated piece of the Rush trio. 4.5/5

There is simply no denying that Brian Wilson is one of the greatest songwriters of all time and a true savant when it comes to composing harmonies. This is where the genius truly begins. Influencing everyone from The Beatles to The Ramones, Today is close to perfect and at times just as untouchable as Pet Sounds. 4.5 / 5

For all intents and purposes, this is more of a Timbaland album than a Missy Elliot joint. Other than Phil Spector, I can’t think of a producer who leaves their imprint quite as distinctive as Timbaland. Maybe Metro Boomin is as close as we’re going to get to a modern example, but I still don’t find his work as eponymous as Timbaland’s beats. At the very least this album should have co-credits. With that said, Supa Dupa Fly is only a couple years out from Timbaland’s popularity prime when Aaliyah would be running up the charts. And to her defense, Missy is both creatively and publicly allegiant to Timbaland, who she vocally credits whenever it makes sense to do so. 4/5

I’ll take Duke over Miles any day. Miles Davis’s “classic” albums bore the hell out of me, but there is something about Duke’s band, combining technical perfection with tunes that actually swing. This is the sort of jazz that sets fire to my neurons, instead of stymieing them with the ice of cool bop. I wish there were video to illustrate just how crazy the crowd was actually reacting. I can’t imagine there was a single butt in a seat not at least bopping from side to side.

I know this list is pretty subjective, but I don’t understand why this is included on this list. It has arguably not influenced anybody, nor left much of an artistic footprint. I’m not pretentious. I think this album is… fine. I feel like a female singer would have served the songs better. It’s a neat combination of genres with a moddy 007 tone throughout, but I don’t see why I literally must listen to this before I die. I’m glad I did, but I wouldn’t call it an essential. 3.3/5

I actually quite enjoyed this. I was expecting a paint-by-numbers soft pop album but I was pleasantly surprised. Adele’s voice sores as the centerpiece of 25. The producers made no qualms placing Adele’s vocals in the front-and-center of the mix. The understated and instrumentation feels like an intentional statement. We’re all here for Adele’s generational set of pipes and they were not afraid to show it through the use of an understated piano and basic drum programming acting as second fiddle to the voice. 3.5/5

There were several bands around this period that combined new rave and dance punk with a post-punk undertone (see Late of the Pier) and this album is one of the most consistently solid outputs from this specific time. I like how the songs don’t overstay their welcome. They’re quick and dirty, there and gone again, as any band with a punk aesthetic should be. 3.7/5

Daddy Buckley gets sexy with the winds of blue-eyed funk at his back. If this album had a scent, it would smell like stale cigarettes, dimly lit cheap hotel rooms, and sex-covered 70s genitalia… but not in a bad way. Think of it as the hottest 70s era pornography you’ve ever seen. It’ll probably get the job done, but there’s better options available, and you’ll feel really grimey afterwards.

There are so many of these post-punk bands that sound so similar that I really just can’t get into them. If you love this genre, you should feel like a pig in shit because this was such a massive scene in the early 80s. Look at this as a bridge from The Velvet Underground to R.E.M. 3.2/5

Just really boring. The Temptations had been better in the past and they would be better in the future. They find themselves in a creative lull, producing one of the soulless covers of “I Heard It From The Grapevine” in existence. I don’t recall hearing any of these songs on the oldies station when I was a kid and there’s probably a good reason for that. 2.3/5

This album sounds like Minutemen with gothic rock influences. The Fall has a darker edge than the often jazzy, upbeat Minutemen, taking its influences from The Cure rather than Talking Heads. I actually preferred the female accompaniment to the pair of songs Spotify added to the track list, which weren’t actually included in the original release. 3.7/5

Glam rock with a darkness around the edges. Billion Dollar Babies skips right past macabre to the novelty of shock rock, though it doesn’t quite hint at Alice’s sole focus on shock rock that’s to come. 3.9/5

Actually not what I expected. I know the bangers well. America, Mrs. Robinson, and A Hazy Shade of Winter are legit folk rock classics, but clocking in at less than a half-hour long and still managing to feature a couple filler tracks, even at that length, there lacks enough substance for this to be a true masterpiece. The three classic singles on Bookmarks is enough to push it to a four, but it’s a pretty low four. 3.7/5

Why does this album feel like it’s 10 hours long? At 53 minutes, Take Me Apart outstays its welcome, but why? I like the general sound of the record, but every song really does have a very similar feel. To me, Kelela sounds like a much more even-keeled Solange Knowles. Both use unique, bass heavy arrangements, but unlike Solange, Kelela’s tempo and overall dynamic remain almost constant throughout, and the few tracks with any sort of unique qualities are the standouts. 3/5

To this day, Document had remained one of two early R.E.M. albums I hadn't listened to all the way through, along with Fables of the Reconstruction, which I hope to get to eventually. Document sounds to be a turning point for R.E.M. as they transitioned from jangley post-punk to a more pop-oriented alternative rock. Everything went downhill following Document, and in my opinion, Document was part of that downfall. I find myself disappointingly underwhelmed. Other than the two songs everyone knows, there’s nothing here that’s grabbing my attention. It’s not… bad, but it’s not classic R.E.M. 3.4/5

Flyest beats and flow in all the land, though some of the lyrical content can get a little predictable, and at their worst, slightly cringey. With that said, there aren’t many rap albums I can listen to all the way through, but The Low End Theory is one of them. Any points taken away for their bars is easily replaced with the flawless, buttery flow and the incomparable jazz beats. 4.5/5

No album better embodies New Romanticism. Rio feels like a 1980s mall fashion show, with big hair and couture dominating the catwalk. Flutes of complimentary cheap champagne and a whiff of hair spray lingering in the air. 4.5/5

Just so good. Absolute peak ensemble folk rock. Beautiful harmonies and just such a luscious, pastoral, autumn-like tone throughout. An album made for a cozy, chilly day in. This might be the best supergroup album of all time. Even though the word behind-the-scenes was that the egos could barely be contained, the conflict led to one cohesive sounding gem. This is a must listen and belongs on the list. 4.7/5

No album better embodies post-9/11 American in the mid-00s. At a time when public enemy number one was our own President and the constant fear of terrorism still burned in our skulls, Green Day put pen to paper and wrote our collective American experience. 3.9/5

A perfectly pleasant collection of warm and cozy Christmas tunes, courtesy of Phil Spector’s Wall of Sound. And boy does Spector make it clear that he was the one in charge, with a whole track dedicated to him thanking everyone for helping him create his vision. That was a literal laugh out loud moment for me. But as cringey as the ending was, it did leave an impression of an intimate night together with Phil and his girls. The Ronettes really shine, as usual. It’s a very nice listen, but nothing that made raised my hackles. 3.5/5

This is clearly just Bowie’s fourth Berlin album. His fingerprints are just littered all over this thing, including the cover art. I’m really not sure what Iggy’s post-Stooges career would look like if wasn’t mooching off of one of the greatest song writers of the past 50 years. All I know is that the quality of his songwriting fell flat on its face once Bowie was out of the picture. With that said, this falls under the era of post-punk music that just doesn’t do it for me. I wish I liked this sound because there is so much of it out there, but it just doesn’t align with my soul. Even with Bowie’s help, it just doesn’t grok. I can listen from the outside and understand why this would be a damn masterpiece to some. It’s just not there for me. 3.3/5

I’ve attempted to listen to This Year’s Model several times in the past and it never really did it for me, but wow, My Aim Is True is right up my alley. Very satisfying.

Despite the fact that this is basically a supergroup of musicians, there doesn’t seem to be a hint of ego. Just a pure love for tradition and country. Buena Vista Social Club is a love letter to Cuba, conjuring images of a simmering Havana at dusk, hot enough to make you sweat, but a hint of moonlight shadowing its way into a Cuban night. Despite that, I don’t think I would jam to this on my own unless really in the mood. 4/5

More Dream Pop than Shoegaze in my opinion, but a super solid listen. I’m not typically a huge Shoegaze fan, but the drumming on Rise gives the album a real rocker feel, much more so than something like Loveless, which makes me feel like I’m living in a fog. This was an hidden gem for me. Also note, this took my multiple listens to truly appreciate. It’s the second listen that truly blew me away. 3.7/5

In 2003, garage rock revival bands dominated the rock scene. The Strokes, Franz Ferdinand, The Hives and yes, the Yeah Yeah Yeahs. Of all the revivalists, the Yeah Yeah Yeahs were the most authentic when it comes to sheer garage grit and grime. They lacked the polish of the rich boy The Strokes, and for those looking for an authentic garage sound, that was a good thing. Karen O’s voice can become pretty caustic after sustained listening, though the band does settle into a decent groove as your mind acclimates. At just over half an hour long, it doesn’t overstay its welcome, though there are a track of two that I would still consider filler as they just don’t maintain the same forward heft as the other tracks, such as No No No. 3.6/5

Basically an artsy version of Duran Duran. Imagine if the Duran Duran boys had just binged the David Bowie discography. It would sound something like this. There’s also more horns than I expected, which is a good thing. 3.7/5

Well this was an easy one.

Badly Drawn Boy has a really great knack for crafting sweet-sounding pop melodies, but I can’t help but feel something is lacking. I can’t quite put my finger on it. I don’t know if there is a certain inherent inauthenticity or something along those lines that just isn’t ringing true. While the musicality is expressing true feeling, the vocal delivery is telling a different story. Several of the songs verge into twee territory because of how sugary sweet they are. Also, the way he jumps between genres, while interesting, adds to the overall lack of conviction I’m sensing. There’s also unnecessary reverb on his vocals on most of the songs that even furthers the feeling of distance. Some of it is very Sufjan Stevens-esque. I’m quite torn on a rating here. 3.5/5

I can understand those that feel this is Bowie’s crowning achievement, but I personally feel a handful of Bowie albums overshadow Low. While the production is absolutely phenomenal, side B being all ambient Eno-inspired instrumentals really bores me after awhile. If Side B lived up to the high bar set by Side A, Low would be an S-tier album. But unfortunately, it never quite reaches those heights. Still better than most of the albums on this list though. 4.1/5

The best live blues album of all time. B.B. King’s voice and guitar is THE blues.

This is basically Van Halen for teenaged girls. It might not be capital A art, but it’s a whole lot of fun. 3.8/5

The Boys lay down some insanely catchy beats, but their flow can get repetitive after awhile. Their bars are solid, but the rhyming structure and delivery sound the same for almost every song. It’s also a bit long with some filler that could have been cut. Unfortunately Ill Communication just isn’t as consistent as I remember it to be. 3.6/5

Just a really solid collection of chamber-y folk rock tunes. I love the baroque touches. 4/5

There’s not a single stinker on the entire album. Just a really consistent showing of peak Stones blues rock, including several of their best tunes. 4.5/5

Nobody was doing what Jimi was doing in 1967. The pure power and sexual energy he injected into the guitar was absolutely unprecedented and absolutely blew other musicians other professional musicians of the time out of their damn shoes. Jimi didn’t make his guitar weep, he made it sing. So often tunes of the 60s become very much a product of their time. Are You Experienced is so pure that it could be released at anytime and still feel fresh and slightly alien. Easy 5.

The groove is strong with this one, though it feels more like a list of singles than a cohesive album, which I guess is a net positive when discussing a disco album designed for radio play. The lyrics are pretty vapid and the vocals aren’t doing much for me either. 3.2/5

I LOVE Breakfast of Champions. I don’t love this. What is it missing? I dunno, man. It just feels less… dense? I’m used to good progressive pop having a bit of girth. Supertramp just feels a bit hollow compared to their other classic work. I’m not getting that satisfying hit of endorphins that I get during a real Supertramp banger. I think the production just feels lacking compared to their later work. It leans a little too much into the Yacht Rock spectrum than I would have preferred. It’s thier Pink Floyd moments that really get me excited. The tone of the album is darker in general than Breakfast. I wish I loved it. I wanted to love it. 3.1/5

McCartney is without a doubt the most influential songwriter of the past 100 years. Short of Brian Wilson, no one could craft a melody as emotionally evoking as Paul. Does Band on the Run measure up to any of his later Beatles work? No, but it’s still damn good. 4/5

I’ve always had trouble getting into PJ Harvey. Maybe her music is more directed at the female gaze, though I don’t have trouble with Laura Marling, Sia, and other modern female singer-songwriters. Maybe I’m just more of a Joni Mitchell guy rather than a Patti Smith guy. PJ is definitely channeling her inner Patti Smith spirit on this album. Also, while I dig Thom Yorke, he felt woefully out of place, even though I like some of his input. I don’t know. This is an album of conflict for me. 3.4/5

Sort of like a fleeting dream that has no meaning once you wake up and clear your head.

Sort of like a fleeting dream that has no meaning once you wake up and clear your head.

This one really surprised me. After listening to the album I went and looked at some of the reviews left by others on this site and I was frankly shocked. There are so many people who are just ready to pounce on anything remotely artsy / flamboyant. Stop wasting your life hating. Especially something as lovely as music. So as I already mentioned, I was truly taken aback by this one. I absolutely did not expect the lush, beautifully layered, and frankly beautiful set of tunes. It is without a doubt supremely top-heavy. The first half of the album tears the second apart, but the whole thing is worth a listen. 4.2/5

It’s hard to believe that this album is so divisive. I guess some people have trouble separating the man from the music. Is Kanye a narcissistic, mentally ill douche? Without a doubt. Is The College Dropout the most influential rap album of the aughts? I believe so. Like it or not, Kanye changed the production game and made it okay for rappers to be a bit nerdy. 4.5/5

I live on the beach. This does not remind me of the beach at all. This makes me yearn for sweet relief from the boredom. Plus, the little kid singing? My word. I wasn’t a fan of this at all. 2/5

Pretty straight-forward, solid psychedelic blues. You can hear the influence they would have on upcoming bands, like the very early Grateful Dead albums. Nothing really blows me away, but as far as a solid, pretty standard blues rock album goes. There are poorer examples. Some of it is even danceable. 3.5/5

I think hell just froze over. For most of my life I have held an irrational hate for U2 and Bono. I’m still unsure whether my Bono hate is misplaced, but today’s listen to The Joshua Tree absolved me of my negative alignment against the band as a whole. Though it’s still cringey to call yourself The Edge. The truth is that The Joshua Tree is a beautifully produced, delicately written album that really works once it clicks. I’ve listened to this in the past, but now I’m doubting whether I actually listened. It’s really solid. 4.3/5

I love me some jangly riffs, so naturally it’s the jangliest songs on Murmur I like the best. There’s something about a good jangle that syncs with my brainwaves just right. “Sitting Still” is a great example. You can track the guitar sound on Murmur directly to its influence on early-90s alternative (see The Cranberries, Gin Blossoms, etc.), and I love that. A few of the less jangly tracks fall a bit flat for me and sort of run together. Solid album though. 3.9/5

Too much glam for my taste. It’s fine though. The horns are fun, but it’s not doing anything for me on a primal level, which is really the effect masterpieces have on me. I have no intention to listen to this again because nothing stood out, but it’s fine background music and not offensive. 3.3/5

Syd Barrett of early-Pink Floyd fame roles out a folksy, psychedelic record just as the other Floyd boys were tip-toeing towards progressive rock. This sounds a lot like Pipers at the Gates of Dawn, which shouldn’t be too much a surprise considering that was Syd’s baby as well. There are a couple of great tracks (Octopus, Here I Go), a couple good tracks, and a few mid songs as well. I remember thinking this was a masterpiece back in my early-20s, but my more experienced and subjective brain is now able and capable of admitting its faults. 3.8/5

Very basic and the bars aren’t nearly as mic-droppingly awesome as their later works, but there’s no denying the influence this album had on hip hop. Whether it’s the rock-influence, the white boy new stylee, or the use of sampling, Licensed to Ill really was a game changer. 4/5

Pretty minimal and almost whispery at times. They sound like they’re trying to be the Velvet Underground but just don’t have the emotional depth to really follow through. 3.4/5

Like for many, this was my introduction to the Dead. Unlike others who also love this album, no other Dead work ever really clicked with me the way American Beauty did. That’s including their live albums, and I’ve listened to my fair share of them. Don’t get me wrong, they are a lot of fun, but they are much better for background sound than active listening time. With that said, American Beauty is an absolute classic. Most of the time I can easily listen all the way through, but sometimes they lose me halfway through Side B. An easy 4.5/5.

One of the top three grunge albums. Sludgy as mud and heavy as steel from start to finish. After listening to Dirt I feel like I have been digging pits in the Seattle sun all day and now badly need a fix. Dirt is one of the best albums of the 90s, period. 4.7/5

Lou Reed beats out David Bowie by creating that Berlin sound three years before the release of Station to Station. In the early 70s, Bowie and Reed frequented the same German nightclubs and man, those places really must have had a certain feel to them. While Bowie did it better, Lou Reed not only won the time war, but was hot on Bowie’s trail in pure songwriting quality as well. Berlin’s cold theatricality makes it feel almost sarcastic. Unlike some of the Bowie Berlin albums, Reed’s Berlin is undoubtedly better consumed as a whole rather than piecemeal through singles. As a whole package, it’s solid as hell. 4.2/5

It’s a little controversial, but I’m more of a Paul guy than a Bruce. Maiden’s raging guitar greatness stay consistent throughout their career, but Bruce’s more theatrical voice has a tendency to grate on me a bit; especially compared to Paul’s edgier tone. This album is one of my favorites of theirs. There’s an element of punk-iness to the song writing that I can’t quite put my ear-finger on, and I like it. Prowler, Phantom of the Opera and Strange World are favorites. 4.3/5

Amy is one of the most blunt and honest songwriters you'll ever hear. She’s promiscuous, man-obsessed, a cheater, an alcoholic, and she doesn’t care who knows it. Frank serves as a sort of confessional, where Amy lets free of all her deepest wounds and darkest secrets. Her smoky voice is absolutely perfect for the jazzy, neo-soul instrumentation. Her voice is the star of the show; no doubt about it, but it didn’t hurt that the songs are really well-written too. 4.3/5

What can I say? Easy top 3 album for me. Each song on their own are spectacular, but has a whole, Dark Side of the Moon is magical. The very definition of a masterpiece and one of the only pure 5 out of 5s I’m likely to hear.

Man, I really wish I liked his vocal style better. And it might grow on me after a few more listens. The deep tone combined with a rather monotone delivery just isn’t my favorite thing to listen to. Leonard Cohen is probably the one exception, through Cohen can be very expressive in his own way. Anyway, the instrumental piece of the puzzle is absolutely stunning. Really beautiful compositions throughout. And equally beautiful lyrics. If his voice was more my style, I could see this being deep into the 4s, but as it stands — 3.7/5

I’ve been a metal fan pretty much most of my conscious life. Like any other metal aficionado, I’m a huge fan of early Metallica. Many are critical about this albums production, specifically the mixing of the bass, and I agree with that criticism. It’s not that the bass is completely missing, but what we do hear is so relentlessly womp-wompy that it’s dizzying. It’s like a constant vacuum whooshing that sucks all of the pressure out of your ears, leaving a mild headache in its wake. With that said, some of James and Kirk’s best riffs are littered throughout. “One” might be the band’s all-around best song. The progressive bent is a welcome addition that disappears as soon as this albums over. What happens next is their well-established turn towards a more pop-oriented hard rock sound. Anyway… 4.2/5

It’s easy to take for granted how good Nevermind really is. I’ve heard these songs so many times it’s like they are a universal truth, just another constant in my life, as permanent as my family. Not only did Nevermind bring grunge to the masses and systematically plunged the final nail in the coffin of the 80s, it gave us an album of truly, undeniably great songs. Now, while this album sparked the creation of maybe the worst genre of the past 50 years (post-grunge), and a slew of Kurt Cobain copy cats, I can’t hold that against them too much. 4.6 / 5

The world meets Elvis and it’s never the same again. While Little Richard created and mastered Rock and Roll as we know it, Elvis Presley introduced it to suburban teens and sparked a revolution. This album isn’t as great as you remember. There are a few classics but some of the tracks fizzle. Its cultural impact is undeniable. Its musical follow-through is certainly being viewed through rose-colored lenses. 3.5 / 5

“Jesus Inc.” is one of my favorite songs ever. If all the songs had the same affect on me this would be the easiest 5 of the list, but somewhere a little past halfway through the album, no matter how much I try to remain focused, my mind wonders. Whether that’s a reflection on my patience level or the album itself is a subjective take. This album is really, really good, despite my ADHD ways. 3.8/5

I’ve attempted to listen to Captain Beefheart’s much more experimental work in the past and it’s never really clicked with me. This album is more traditional blues rock, but also has not clicked for me as of yet. Safe As Milk sounds like a combination between The Who and Canned Heat with a dash of very early Floyd psychedelia. There’s something very pastiche about Captain Beefheart that rings untrue to me, and I can’t place my finger on it. But objectively speaking, this is a really solid psychdelic blues album. 3.6 / 5

I’ve tried time and time again to get into Zappa. As a massive music junky, I feel like a failure for not resonating with Zappa in his prime. Again, it’s that brain-jazz barrier that refuses to meet within my noggin. I can totally see the appeal. Objectively, it’s no doubt that this is some great stuff, but subjectively, my brain is eagerly awaiting to move on. I think eventually Zappa will wiggle his way to my frontal cortex and everything will click, but I’m not there yet. I will say though, it’s crazy this came out in 1969. 3.6/5

Madonna’s constant reinvention shadows the fact that she’s a really talented vocalist. Ray of Light is a hidden gem if you weren’t already blessed enough to have heard it in the past. As far as I’m concerned it’s one of the best downtempo albums ever released. There are multiple 5/5 songs on here, which is good enough for me to give this album a 5.

Even though The Killers have that Joy Division post-punk sounds I just really never meshed with, they are also far more melodic than a typical post-punk band, combining pop friendly tunes with synth and dark vocals. 3.5/5