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