Sigh. I really wanted to love this with my whole, nostalgic Gen X heart. I was prime middle-school age for this when it came out and adored Duran Duran at the time, tho now I can’t remember which one I was in love with. But now in just regular middle age, it all just sounds like serviceable pop, save for the standout “Rio.” And though when I was 13 “Save a Prayer” was the most beautiful song I’ve ever heard, it now…is not. 3 for nostalgia and “Rio.”

This album has entirely too much in it and it goes for too long. It’s an endless sample explosion, and rarely gets an infectious dance beat going to carry you through. There are some flashes of greatness, like funny snippets, a left field sound, a great mix into the next track, or a legitimately good track like “Frontier Psychiatrist” (“that boy needs therapy.”) This is very much of its era as well, which I was deep in: downtempo, electronic beats, samplecore. But I am happy to leave it in the past.

Well, this is one of my favorite albums of all time, and was released the year I was born. I remember the first time I heard it, about six years old, in a living room listening session with adults. I felt very sophisticated.

It's a sound I really detest: country-rock. Two stars for the obvious musicianship.

I like the indie rock sound, and would have probably been really into it in 1990. But now it just sounds familiar to me.

Wow. Beautiful music. Would rate 4.5 on first listen. I’m interested in seeking out more FF and Father John Misty.

Another 90s rock band that seems to be looking backwards to the psychedelic rock of the 60s. It sounds pretty good, but I was bored. The ubiquitous hit Bittersweet Symphony was the best song on the album for me

I mean, it’s Metallica. Absolutely epic sound.

There was a time when this was a 5 for me. It was so transgressive and thrilling when it came out. Now, the rhymes sound pretty elementary and the braggadocio comes off as silly. The production is still great though, with a lot of funk to it, soul samples, and left field elements, and Dre, Cube and E all sound great on the mic.

Wow! I loved it. Rocked my face off

Not I what I was expecting at all based on the band name. They really threw all their influences in the blender on this one: psychedelica, Beatles, Stones, gospel, samples, lots of instruments, and even a proto-house track. It’s good but I also don’t want to relisten. I’m going 4 bc 3.5 isn’t an option, and I’m more positive than my usual neutral 3 rating

I was psyched for this because I’m a trip-hop fan. Oof. Torch song vocals with spacey electronics. Did not like.

Started off loving the Metallica sound, but the album started to get boring toward the end.

This is a real pageant of an album. Lush orchestration, cohesive theme throughout, songs blending in to and referencing back to each other beautifully, and a soulful, reflective premise that inspired in me, by turns, nostalgia, an inchoate ache, sadness and joy. I would need to be captured more deeply on repeat listens for it to rise to 5 - on a first full listen, it’s a 4.

Like some other albums, I enjoyed the first songs but my interest waned by the end. I appreciate the inventiveness and psychedelic grooves, but ultimately grew a little bored.

Leonard Cohen is just so captivating and distinctive. I love his poetry and his delivery. The music is fairly simple and serves, basically, to present his words, which are always interesting. The Biblical allusions may largely escape me but the sense that his work rewards close listening does not.

Some absolute classics and bangers on here, like Tom Sawyer, Limelight, and YYZ. The bombastic drums especially are irresistible. However, some of the album sounds dated 40+ years on, with very-‘80s synths and guitar solos making their appearances. Possibly it was many other bands imitating Rush - this album came out in ‘81 - but regardless, the sounds now carry a heavy whiff of cheese.

For my first full-length Bjork, this was a challenging one. Not super accessible, it’s a collection of arty and left field “voice music.” Lots of interesting elements and undeniable creativity, but I found getting a toehold difficult.

I really enjoyed this all-instrumental intro for me to “post-rock.” Waves of sound, beautiful guitars, some electronic elements, great musicianship. I’m curious to hear more in this genre.

Absolutely stunning album. Lush, hypnotic music. The guitar especially sounds great.

Sigh. I really wanted to love this with my whole, nostalgic Gen X heart. I was prime middle-school age for this when it came out and adored Duran Duran at the time, tho now I can’t remember which one I was in love with. But now in just regular middle age, it all just sounds like serviceable pop, save for the standout “Rio.” And though when I was 13 “Save a Prayer” was the most beautiful song I’ve ever heard, it now…is not. 3 for nostalgia and “Rio.”

My first full Bowie album. “Young Americans,” “Fascination Road,” and “Fame” were the stand-outs to me on the first listen. I appreciate the soul sound, inventiveness, and pure musicality throughout. This sounds fresh and exciting 50 years on.

Sabbath rules. Who knew? Not me. The band and their propulsive, driving hard rock sounds great. Ozzy is a bit nasally but his voice soars with and complements the tunes. It’s awesome to hear the foundation of hard rock and metal being laid. Black Sabbath ran so that Metallica could fly.

I know this is a legendary group. I could not finish. From the opening twangy guitar, to the nasal off-key wannabe Dylan singing, to the utter strangeness of an English band cosplaying as American country boys (songs about Oklahoma and South Carolina?) to the honkey-Tony country rock style…I just couldn’t stand it. The banjo, fiddle, mandolin (?) and piano sound good. I’d give it 1.5 if I could.

1986 teen me probably would have been really into this. But now it’s just too much aural assault on my ears. I appreciate it, but don’t enjoy it.

Pink Floyd does “concept album” better than anyone. Some of their absolute best and most famous tracks like “Another Brick in the Wall,” “Hey You,” “Is There Anybody Out There?”, “Comfortably Numb” and “Run Like Hell” are on this double album. The album is grandiose, utterly transporting and enveloping as is Pink Floyd ‘s way. Still, I haven’t seen the film, and I didn’t feel some tracks stood on their own as masterpieces, especially those that seemed most tied to advancing the narrative. Due to that, I’m giving this a strong 4.5 stars, rounding down to 4.

Only one of my favorite albums of all time and incredibly influential for me at 17 when it came out. Chuck D’s furious and righteous lyrics helped stoke my political and social consciousness, which led to a political science major in college and now a lifelong career in mission-driven work. It exposed me to the sonic wonders of superlative production, bass, and absolute jams, which brought me to glorious bass-heavy dance floors and electronic music scenes and a huge appreciation for hip hop. P.E. - ahead of their time, right on time, and still relevant now.

I was not stoked to see this come up, because I just thought, “Great. White boys doing reggae.” I only knew UB40 from their ubiquitous hit “Red Red Wine,” and dismissed them as a one-hit wonder. Then the music came on. It might be white boys doing reggae, but it sounds so smooth. I was surprised how much I liked the warm sounds, the drums, the swaying I could not help. Initially a four, it dragged for me a bit be the end, and ultimately I felt it was a little too one-dimensional to sustain a 67-minute length. I also thought the inclusion of a “Strange Fruit” cover a bit of an odd choice, and their version does not hold a candle to the original. I’m going 3.5 stars, which in my system knocks it down to a 3.

I’m not the target demographic here - ie, a teen boy - but damn this shreds. It is far too noisy and unrelenting for me to listen to the whole thing in a sitting, or probably ever revisit, but I do appreciate it. The singer/screamer transforms astonishingly from a rather nice regular voice into the most ragged screams you’ve ever heard. And, he even pulls off the rap/rock parts. I also liked the production with some electronic elements.

Here’s another one that suffers for me because I didn’t listen to it at the time. Insanely influential with a sound that became a template, listening to it 32 years later sounds familiar and a bit simplistic to me. Most tracks just don’t command my interest. Several of the rappers sound great and there are some clever parts, production, and wordplay. I’m sorry I missed this in its time.

His songs weave a spell. Such great songwriting, beautiful warm tones to the guitar and harmonica. The band, Crazy Horse, sounds great. Overall, the album gets knocked down a star for me due to the dated-ness of a few of the tunes and lyrical content, and Neil’s unfortunate voice. Still, he’s one of the greats.

I surprisingly quite enjoyed this - the swirling Indian ragas mixed with rock (ie, psychedelia). The songs are catchy too including a couple of well-known ones I like and didn’t know were Donovan. Although now this sounds a little formulaic and of its time, 1966 is early for this so I give Donovan his props.

So fun! Packed with classics. The sound, while simple, is just irresistible.

Disco! Big hits on this one: “He’s the Greatest Dancer” and, of course, the ubiquitous “We Are Family.” You can’t go wrong with Nile Rodgers/Chic production. Nile Rodgers’ clean, plinky guitar is a great complement to the dance floor beats. I’m not as taken with the slower songs but it’s still a solid, enjoyable album.

I do love synth-pop, and there are some stellar moments on this album. I most enjoyed the singles I knew: “It’s a Sin,” “Heart,” and “What Have I Done to Deserve This?” The rest didn’t jump out at me and some sounds dated, a bit too of its time. 3.5 stars

The production is by PE’s The Bomb Squad and Chuck D features, so those elements are great. The lyrical content tho is an odd mix of Black empowerment and boasts about killing people and being the baddest and scariest in town. On the whole, a 3 for me.

This one is big nostalgia for me. I wore out at cassette at 13 when it came out. I haven’t heard it in over 40 years. It’s still killer. Political lyrics, fantastically constructed songs, The Edge’s sharp guitar playing. I’m not a fan of later U2 when they became “the biggest band in the world,” but you can see why they broke through with this album. Bono’s bombastic vocals are too overwrought for me, so it’s bringing it down to 4.5 stars.

A ton of energy, blistering guitar, blistering politically-charged lyrics, grooves, a dose of humor, and range. Love it. I saw them in concert in 1989 and they totally ripped. Vernon Reid’s guitar and Corey Glover’s vocals are standouts. A 3.5 in my new rating system - I like it, even a lot, but don’t feel the need to go back to it.

What a treat! I can’t believe this came out in 1989. It is clearly highly influential on what would come in dance music - breakbeat, bigbeat, and samples that are legendary. Who knew “party and bullshit” goes back at least this far? Similar to the Avalanches’ later samplecore, but with a solid danceable throughline and much catchier treatment.

This is a real pageant of an album. Lush orchestration, cohesive theme throughout, songs blending in to and referencing back to each other beautifully, and a soulful, reflective premise that inspired in me, by turns, nostalgia, an inchoate ache, sadness and joy. I would need to be captured more deeply on repeat listens for it to rise to 5 - on a first full listen, it’s a 4.

I saw “A Complete Unknown” this week and was blown away. Loved every second of the music. I was like, hold on, after a lifetime of resistance am I a big Dylan fan? And do I actually like folk, even down to Pete Seeger’s corny earnestness and Joan Baez’s supremely unironic lilting trills?! So I was stoked to see this come through today. And…ugh. I can’t get past Dylan’s voice (not Timmy Chalamet’s) and didn’t dig the songs so much. The poetry, however, is mostly incredible.

Sterling singer-songwriter chops here, thankfully almost entirely without dates late-60s flourishes. I added a good half these songs to my playlist. This is a 4.5 on first listen.

Big band in top form!

There’s no denying the skill of this band, the rich sound, or the classicness of the title song, “Aqualung.” But at this time of life, I’m just not that into that era’s prog rock, esp. craggy male vocals.

I saw them open for Funkadelic last year, and didn’t care for the music. I was hoping that maybe an album recorded nearly 40 years ago would capture them in their prime. But apparently their age is not the problem: I just don’t dig their ska, reggae funk, hard rock punk thing. Points for the last song and their ability.

I have spent the last 35 years thinking Alice In Chains was probably a knockoff Nirvana that I didn’t need to hear. It turns out they around much more like a knockoff Metallica, but in the best way. Huge guitars, huge drums, huge riffs, great frontman. I enjoyed it, tho I don’t need to repeat.

Some certified bangers on here. The bass and production go hard on this grime record. But sorry Skepta, it's tough to sound gangsta with a British accent and the lyrics/subject matter isn’t among the best.

Astounding use of sound. The man is a musical genius. It’s a four right now because I’ve only heard it once, it’s a bit experimental so didn’t get its permanent hooks in me right away, but I am adding this to my library and am excited to explore more Bowie.

Absolute sitar master. I love Indian ragas, incredible sounds. I’m into the covers of rock songs of the time too—they are arguably improved.

This is quite melodic for seminal punk. This music has a classic, dissatisfied youth edge. It doesn’t sound dated. I appreciate the guitars (more than one chord!), songcraft, and there’s even singing. Not bad.

I love this transition period of the Beatles, that fertile time around 1965 when they were rapidly evolving from kiddie pop to creative visionaries, and the albums hint at where they are going. Rubber Soul and Revolver are the Ur examples of that. Rubber Soul is the comparatively weaker of the two, but it is always welcome in the rotation. Some absolutely classic songs here too, like “In My Life” and “Michelle.” I have always been upset with the misogyny of the final track, “Run For Your Life”, an unfortunate blot on the Beatles discography.

I really want to like Bjork. I feel like a basic bitch, but her sound is just too weird for me. Especially this album of bloops, bleeps, and atmospheric meanderings.

Some rap from the early days sounds hopelessly simplistic in both rhymes and beats. This groundbreaking album at the time (first major release by a female rapper) sadly falls in that camp. Despite some interesting Jamaican/rasta flourishes and singing that adds some dimensionality, ultimately the Queen’s simple delivery and DJ MC 45 (or something)’s lowkey beats just don’t hold my interest now.

I missed this, too, at the time, but would have loved it. I wasn’t listening to college radio which I think was probably the only place to her Jesus and Mary Chain in 1987. They sound much like other indie rock I love, like the Cure and the Smiths. The 80s had some really prime alt rock.

Somehow I was a 70s kid and never knew that this is a rock opera (and goddamn, how many rock operas did this era produce!) Anyway, I always assumed Meatloaf must be heavy metal. I think he and Ozzy conflated in my mind what with the bats and all. But there, in all its 70s glory, self-importance, and theatricality, it is indeed operatic. Meatloaf’s soaring, emotional voice is perfect for this material. The themes of love and heartache work their magic. It’s a ball of cheese, but good cheese.

Now, then, and always a 5. Beautiful, soulful voice, grooves, and sax, gently and urgently calling a nation to its conscience. Sterling.

I grew up avoiding Bob Dylan, hating his nasal twang, his surly reputation, and folk in general. But damn, you gotta give it up for this album. Really exemplary storytelling, accompanied just so by the guitar and harmonica. I look forward to repeated listens to enjoy the writing and the mid century characters he evokes. I appreciate the political consciousness too.

Love the Doors, problematic front man and all. This record is heavy on the blues rock, which works for them. Band sounds great, Manzarek’s keyboard is on point, not too noodly. Jim doesn’t sound too drunk and his poetry shines. “LA Woman” (and I am one,) “Wasp/Texas Radio” and of course “Riders on the Storm” are standouts.

This album has entirely too much in it and it goes for too long. It’s an endless sample explosion, and rarely gets an infectious dance beat going to carry you through. There are some flashes of greatness, like funny snippets, a left field sound, a great mix into the next track, or a legitimately good track like “Frontier Psychiatrist” (“that boy needs therapy.”) This is very much of its era as well, which I was deep in: downtempo, electronic beats, samplecore. But I am happy to leave it in the past.

Ambitious album, with so many influences and styles woven throughout. A talented band who I’ve never heard of. There’s shoegaze, garage rock, punk, and fittingly for the Subpop label in 1993, grunge. It’s good, I like it, but I wasn’t especially compelled by it.

I grew up on CSN and CSN&Y, though never knew of this album, David Crosby’s first solo record after CSN&Y’s blockbuster - and one of my formative albums - “Deja Vu.” There are no recognizable tunes on here to me, but what is recognizable is Crosby’s excellent songcraft, guitar, and melody. I have a feeling this will reward future listens, and thus it gets a four.

I could listen to Johnny Cash with his grizzled, life-worn, and somehow deeply vulnerable voice read the phone book. This album, even if mostly covers, is a wow. I love how eclectic it is, covering everything from folk tunes to the Beatles to Depeche Mode (!!). It also contains his astounding rendition of NIN’s “Hurt.” It doesn’t get much better than this for feeling the sweep, pain, love and vagaries of life.

Oh, stoned 16 year old me was so into this album. I re-listened recently and it holds up. Great early psychedelica without the flourishes that can date the music. Compelling and catchy tunes, further enhanced by a hell of a lead singer, Grace Slick.

I don’t know that I’ll ever get the appeal of intentionally discordant, weird, or atonal music. Luckily those elements aren’t the totality of this album. The rest—the Portuguese beats, language and drumming—is enjoyable enough.

I can tell there is excellent production, musicianship and heartfelt lyrics on this album. But it would take a real investment to get into it. I listened, admittedly while working, but it just faded into the background for me. I can have a hard time with these indie opuses - if it doesn’t capture me right away, I don’t really feel motivated to immerse myself long enough in its world to care.

Sorry Deadheads. It’s just not for me. I’ve heard too much country folk rock in my life. Just don’t like the style. I can see value in their musicianship.

First time hearing this fabled album. I like this style a lot more than the country rock dominant in this era. I enjoyed the heavy rocking prog and jazz influences, hearing some really good musicians go on journeys. I’m glad I heard it, but I wasn’t compelled by the subject matter so don’t feel called to listen again necessarily.

Sometimes a voice just stops you in your tracks. Miriam Makeba has that voice. She emerges sounding fully-formed out the gate with this first album from 1960. I love the African music tracks and her singing in a native tongue, complete with clicks (how?!). The English-language songs tend to follow a slower, swooning midcentury kind of sound, very orchestral, which I don’t love, but like an Ella or Aretha, the voice is so commanding that you kinda want to follow it anywhere. This would be great to drop during a dinner party. It’s going in the rotation

Top notch, get me a scotch.

He’s a horny bordering on sleazy fucker, but man can he rock. The template for dirty rock n roll.

I missed Mudhoney during the grunge era. They sound good. Energetic, fast drums and guitar. Must have been fun back in the day, a little too hectic for me now.

It’s good, his talent is is undeniable. But I didn’t love this one like the other two I’ve heard.

For some reason, probably because of the name, I always thought Badly Drawn Boy was some sort of forgettable indie twee or emo from the 2000’s. Turns out it’s an arresting piece of art from a singer/songwriter, with gorgeous and idiosyncratic instrumentation and interesting lyrics. It will reward future close listens

Man, I have got to stop judging and dismissing bands on their name alone. In this case, I assumed they were some sort of shoegaze that would bore the shit out of me. Wrong. This is balls-out rock’n’roll. Think White Stripes, one of my favorites. It’s a high 3 teetering on 4 if it got added to rotation. Still, I don’t really see myself playing this that much these days, so 3 it is. Might revisit that.

I’m a Gen X who somehow never heard this full album. Wow. Prince is the man. Funk, dance, new wave, rock, all at the highest levels, and synthesized in such a ground-breaking way. His talent is off the charts, and that’s before we get to his elastic voice stretching into the most primal cries, the fact that he played almost all the instruments himself, and that he put all his freak in. A classic.

There is no denying the pop sensibility of this album. It’s full-on rock’n’roll with catchy riffs and hit after hit. I just gave in to the FM circa 1976 juggernaut and enjoyed most of these songs for what they are. Is it too big? Is it too cheesy? Have you heard the hits a million times? All yes, and they are still fun. I can, however, love it and leave it, and therefore it’s a 3.

This is a spell-binding piece of art. Her voice, clarion calls for justice, and that guitar. Hard to believe she was just 23, there’s so much wisdom here.

X-Tina’s voice is powerful and flexible, gliding from spoken purrs to glissandos and roars. The production on this is the best money could buy at the time. But this album feels very much of its time. It screams pop girlie/r’n’b diva 2002. I liked the couple bangers, but too much of the album settled into middling r’n’b and midrange tempo to hold my interest. The deliberate switch from teen pop princess in the late 90s to sexed-up grown woman here is kinda cringe too. It’s a high 2/low 3 for me.

Gosh, I’m conflicted here. I absolutely loved and devoured “Live Through This” in 1994. And then didn’t hear this album until now, 2025. I can hear how the band evolved and strengthened (and I know there are other players and contributors, like Billy Corgan.) The music is undeniably more interesting and complex. The songs are well-crafted. But on this first listen, Courtney’s (deliberately?) ugly and ragged voice is too distracting to me, and the overall wall of buzzing sound isn’t engaging me.

I find as I’m getting older that I really appreciate artistic statements like these. Just a singular artist flexing creativity, innovation and charisma. I love the build on these songs, the wild places they end up. Ultimately, this is poetry or theatre experienced in music. 5 stars.

What an absolute treat. Other than Hey-Ya, I haven’t heard this in 20 years. I’m even more impressed than I was at the time. Love BigBoi’s dirty south mastery and flow on album one. Only downside is some skits that drag. And then Andre, creative genius savant that he is comes through with an eclecticism and originality that’s just stunning—some juvenilia aside. And bops galore. OutKast individually and together are truly gifted originators. Five stars

It’s 2000’s rock revival, it’s fine, I just didn’t really care about it.