8.5/10 Favorite Track: “A Change Is Gonna Come” Otis Blue is raw feeling dressed in sharp arrangements. Redding’s voice carries every track like it is the last thing he will ever sing. Whether he is pleading, shouting, or barely holding it together, there is no distance between the emotion and the mic. His cover of “A Change Is Gonna Come” does not just honor Sam Cooke’s original, it tears it open and bleeds through every note. The album jumps between pain and joy without ever losing momentum.

Black Holes and Revelations – Muse (2006) | Alternative Rock / Space Rock | Avg: 9 | Favorite Song: “Invincible” This one absolutely blew me away. Black Holes and Revelations is everything I want from a concept-driven rock album. It's massive in scale, tightly constructed, and emotionally charged without losing its sense of drama. What really stood out to me was the way Muse shifts between cosmic grandeur and grounded urgency. “Soldier’s Poem” brings everything back to Earth, only to build that tension into a full-on rallying cry. It’s a smart, emotional pivot that gives the second half of the record real momentum. And “Invincible” ended up being my favorite: easily one of their most uplifting and anthemic tracks, and it lands with purpose. From a reviewer’s standpoint, it’s rare to see this level of sonic ambition land so cleanly. The production is astronomical, thanks to its use of wide-open synths, crunching guitars, and operatic vocals, but none of it feels bloated. Muse makes space sound militant and melodic at the same time, and it works. This is the kind of album that feels generational. It captures that post-millennium anxiety, but does it with such scale and clarity that it still hits just as hard now. Spectacular stuff.

10/10 Favorite Tracks: Come Together, Maxwell's Silver Hammer, Carry that Weight Least Favorite: Here Comes the Sun--sadly too overplayed, but that doesn't mean it's a bad song.

Rating: 8.5/10 Favorite Tracks: Layla, Why Does Love Got to Be So Sad, Bell Bottom Blues, Little Wing Least Favorite Tracks: Key to the Highway, Anyday

7/10 Favorite Tracks: Death of a Disco Dancer, Last Night I Dreamt that Somebody Loved Me Least Favorite Tracks: Unhappy Birthday, Stop Me if You Think you’ve Heard This Before, A Rush and a Push and the Land Is Ours

6/10 Favorite Tracks: Paint It Black, Flight 505, It's Not Easy Least Favorite Tracks: High and Dry, Stupid Girl

8/10 Favorite Tracks: Bombtrack, Know Your Enemy, Wake Up Least Favorite Tracks: Bullet In Your Head

10/10 Favorite Tracks: Ex-Factor, To Zion, Can't Take My Eyes Off of You Least Favorite: NONE

8/10 Favorite Tracks: Goodbye, Yellow Brick Road, You’re sister can’t twist, Least Favorite Tracks: This Song Has No Title, I’ve Seen That Movie Before

4/10 Favorite Tracks: Dead Memories Least Favorite: Psychosocial, Butcher’s Hook, Wherein Lies Continue

5.5/10 Favorite Tracks: Gimme Shelter, You Can't Always Get What You Want Least Favorite Tracks: Country Honk, Live With Me, Let It Bleed

8/10 Favorite Tracks: Choke, The Great Divide, Your New Cuckoo, Losers Least Favorite Tracks: Losers, Iron Man

8/10 Favorite Tracks: The Mother We Share, Night Sky, Science/Visions Least Favorite Tracks: Under the Tide

8/10 Favorite Tracks: Everybody Hurts, Man on The Moon, Monty Got a Raw Deal Least Favorite: The Sidewinder Sleeps Tonite

7/10 Favorite Tracks: Mansize Rooster, Alright, Time Least Favorite Tracks: Lenny, Sitting Up Straight

9.5/10 Favorite Tracks: All of them Least Favorite: The Intense Humming of Evil

8/10 Favorite Tracks: Africano, That’s The Way Of The World Least Favorite: None

8/10 Favorite Tracks: Mellon Collie and the Infinite Sadness, Bullet With Butterfly Wings, Cupid De Locke, Beautiful, We Only Come Out at Night, By Starlight Least Favorite Tracks: Tales of a Scorched Earth, Jellybelly, X.Y.U

9/10 Favorite Tracks: All of them Least Favorite Tracks: None

8/10 Favorite Tracks: Charlie Big Potato, Lately, Secretly, Tracy’s Flaw, I’m Not Afraid Least Favorite Tracks: And This Is Nothing I Thought I Had, On My Hotel TV

5/10 Favorite Tracks: When I Dream, Reward, Thief of Baghdad Least Favorite: Ha Ha I'm Drowning, Sleeping Gas, Poppies, Went Crazy, Bouncing Babies, Brave Boys Keep Their Promises, Strange House in the Snow

10/10 Favorites: All

8.5/10 Favorite Tracks: Two Weeks, Dory, Ready,Able, While you wait for the others, I Live with You, Foreground Least Favorite Tracks: Fine for Now, Cheerleader

6.5/10 Favorite Tracks: Proud Mary, Keep on Chooglin Least Favorite: Bootleg, Graveyard Train

9/10 Favorite Tracks: All of them Least favorite: None

6/10 Favorite Tracks: Outside, Pure For Least favorite: None

7/10 Favorite Tracks: Genius of Love, Boardwalk Least Favorite: Booming and Zooming

9/10 Favorite Songs: All Least Favorite: None

7.5/10 Favorite Tracks: Planet Telex, High and Dry, Black Star, Street Spirit

8/10 Favorite Tracks: Title Track, My Mistakes Were Made For You, Black Paint Least Favorite Tracks: None

4/10 Favorite Tracks: None Least Favorite: None

6/10 Favorite Tracks: Disorder Least Favorite Tracks: Day of the Lords, Candidate, Insight

8/10 Favorite Tracks: Rock 'n' Roll Master, Up in the Sky, Supersonic, Cigarettes & Alcohol Least Favorite: Shakermaker, Married With Children

5/10 Favorite Tracks: Hymn For the Dudes, I'm a Cadillac

8.5/10 Favorite Tracks: Glory Box, Roads, Sour Times

8/10 Favorite Tracks: Tattooed Love Boys, Lovers of Today

10/10 Favorite Tracks: All of them

8/10 Favorite Tracks: Ray of Light, Nothing Really Matters, Mer Girl Least Favorite Tracks: Shanti/ Ashtangi, Little Star

8/10 Favorite Tracks: Hide In Your Shell, If Everyone Was Listening Least Favorite Tracks: Bloody Well Right

Disc 1: 6.5 Disc 2: 7 Overall: 6.5 Favorite Tracks: *Wings of Love*, Give Me A Chance, Walkin’ Down the Country Least Favorite Tracks: Black Belt Sheriff, Castle Top Jam, Happy House

7/10 Favorite Tracks: Comme Si, What's-her-face Least Favorite Tracks: Goya Soda

8/10 Favorite Tracks: *Art of Dying*, Isn't A Pity (Part 1 & 2) Least Favorite: Awaiting on you All, I Remember Jeep

7/10 Favorite Tracks: Cowgirl in the Sand, Round & Round Least Favorite: The Losing End, Running Dry

6/10 Favorite Tracks: Sometimes, Goodbye Toulouse, Down In the Sewer Least Favorite Tracks: Princess of the streets, Peasant in the Big S****y, Ugly

7/10 Favorite Tracks: Sing Another Song, Joan of Arc Least Favorite Tracks: Love Calls You By Your Name, Famous Blue Raincoat, Avalanche

7/10 Favorite Tracks: Heads Will Roll, Zero, Skeletons Least Favorite Tracks: Dragon Queen, Shame and Fortune, Hysteric

8/10 Favorite Tracks: *You Don't Love Me*, Whipping Post, In Memory Of Elizabeth Reed Least Favorite: Statesboro Blues, Stormy Monday

6.5/10 Favorite Tracks: Misguided Angel, Blue Moon Revisited, To Love is to Bury Least Favorite Tracks: I Don't Get It, I'm So Lonesome I Could Cry, Walking After Midnight

6.5/10 Favorite Tracks: Speed Trials, Say Yes, Pictures of Me Least Favorite Track: No Name No. 5

4.5/10 Favorite Tracks: Where Is My Mind?, Break My Body Least Favorite: Vamos(Skip), I'm Amazed (Skip), Cactus (Skip), Tony's Theme (Skip)

7/10 Favorite Tracks: When I Touch You, Street Worm, Nature's Way Least Favorite Tracks: Nothin' To Hide, Animal Zoo, Why Can't I Be Free

9/10 Favorite Tracks: America Is Not the World, Let Me Kiss You, All the Lazy Dykes, I Like You

5.5/10 Favorite Tracks: Pick Up Your Feeling, On It, Put It Down Least Favorite Tracks: Girl Like Me, Lost One, The Other Side

7.5/10 Favorite Tracks: El Cuarto de Tula, El Carretero Least Favorite Tracks: De Camino a la Vereda, Dos Gardenias, Y Tu Que Has Hecho, Viente Anos

8/10 Favorite Tracks:*The Beast*, Creature of Doom, The Whole of the Law, Another Girl Another Planet, Breaking Down Least Favorite: Language Problem, No Peace for the Wicked, As My Wife Says

8/10 Favorite Tracks: Hearts and Bones, Train in the Distance Least Favorite: Cars are Cars, The Late Great Johnny Ace

9.5/10

6/10 Favorite Tracks: I Might Have Been Queen, What's Love Got To Do With It, Show Some Respect Least Favorite Tracks:

9.5/10 Favorite Tracks *Sue(Or in a Season of Crime),** Dollar Days*,

7.5/10 Favorite Tracks: Red White & Blue, Steeler, Rapid Fire Least Favorite: You Don't Have To Be Old To Be Wise, Living After Midnight, Grinder

4/10 I feel like I should like this more than I do. This was more of a passive listen, maybe I should try it again but I can’t see myself remembering to

7.5/10 Favorite Tracks: *Put Him Out*, Dy-Na-Mi-Tee, Brother, It Takes More (Bloodshy Main Mix) Least Favorite: Krazy Krush, All I Ever

9/10 Favorite Tracks: *Wonderwall*, *Some Might Say* Least Favorite: She's Electric, Morning Glory

7/10 Reggae Album that has lots of quality, but didn’t really have an impact on me. Might be willing to change in the future but as of now I muddled through the album

7/10 Favorite Tracks: Round & Round, Run Least Favorite Tracks: Fine Time, All The Way, Love Less

8/10 Favorite Tracks: Heard It Through The Grapevine, Before You Accuse Me, Travelin Band Least Favorite Tracks: Run Through The Jungle, Ooby Dooby, My Baby Left Me

10/10 Favorite Tracks: Wesley’s Theory, King Kunta, These Walls, Alright, Momma, How Much A Dollar Cost, The Blacker the Berry No least favorites

6/10 Favorites: Heroes, Sons of the Silent Age, V-2 Schneider Least Favorite: Sense of Doubt, Blackout, Moss Garden

5/10 Favorite Tracks: Girls and Boys, The Debt Collector, This is a Low Least Favorite Tracks: Bank Holiday (skip), Parklife, Far Out, Trouble in the Message Center, Clover Over Dover, Jubilee

7.5/10 Favorite Tracks: Doves In The Wind, The Weekend, Pretty Little Birds, 20 Something Least Favorite Tracks: Garden (Say It Like Dat), Broken Clocks

7.5/10 Favorite Tracks: I Want To See The Bright Lights Tonight, We Sing Hallelujah, The Little Beggar Girl, The Great Valerio, The Calvary Cross Least Favorite Tracks: Withered and Died, The End of the Rainbow

7/10 Favorite Tracks: *Til There Was You*, Please Mister Postman Least Favorite Tracks: Not a Second Time, Money (That's What I Want).

7.5/10 Favorite Tracks: Sugar Magnolia, Truckin’, Attics of my Life Least Favorite: Box of Rain, Candyman, Ripple

10/10

8/10 Favorite Tracks: Can't Make A Sound, Son Of Sam, Stupidity Tries, Somebody That I Used to Know, Easy Way Out Least Favorite Tracks: Wouldn't Mama Be Proud, Pretty Mary Kay, Better Be Quiet Now

6/10 Favorite Tracks: Let It Slide, Good Enough, Shoot The Moon Least Favorite Tracks: Don't Fade IV, Who You Drivin Now, Fuzzgun 91', Pokin Around

10/10 Amazing country concept record. The only country experience I’ve had before this is all the pop country on the radio and this blows it out of the water. Nelson is also supremely talented on the guitar, piano, and harmonica. Well deserved 5 stars.

8/10 Super Fun Album through out, normally I don't like the hard rock sound but this one is done well Favorite Tracks: Loose, 1970 Least Favorite Tracks: None

6.5/10 Favorite Tracks: *Schizophrenia*, Catholic Block, Tuff Gnarl, White Cross Least Favorite Tracks: Beauty Lies In the Eye, Stereo Sanctity, Pipeline/Kill Time

10/10 Another buttery smooth album by Willie, this time focusing on how his lover makes him feel. He discusses feelings of being blue while she's gone and happiness while she's there. Also, he only wants her to watch over him, despite how other people may want their SOs. All this over lowly guitars and drums

7/10 I’ve been tainted from most country music but I love Buenas Noches. Story telling, nice guitar chords that have that special country element. Still can't say I "love" this album, but it's the best of what it is.

10/10 Everything about this concert experience was amazing. The crazy backstory was great to read, but more importantly the music. Jarrett absolutely killed this improvisation. His adlibs gave off the impression that he was one with the music, and so I was fully invested too. He was nonstop flowing on the piano. I would definitely come back to this album as it was truly an experience to remember

5/10 This album had some good ideas, just not a great execution. This album could’ve been special. Every time I thought it was leading up to a payoff, it left me disappointed

9/10 Favorite Tracks: *Shangri-La*, Victoria, Mr. Churchill Says Least Favorite: None

7/10 This was a wonderful creation of an album. It felt relaxing to hear the collection of brass and guitar, and I always love concept records such as Money for Nothing. Not all the lyrics landed for me though. Also, this is my first Dire Straits album. Therefore I’m not getting the appeal quite yet. Brothers in arms definitely deserves a relisten once I’m more familiar with the Band and Mark Knopfler.

This album is very forgettable to me, while I don’t remember necessarily disliking anything on this project. Nothing I would go back to. If someone feels real strongly about me relistening to this album I could give it a go, but for now I’m leaving it as an unexciting and inoffensive listen

8/10 Eminem’s debut is one of a kind, and I think everyone can agree that no one had a debut this successful from rapping about murder, rape, and childhood trauma. Of course not all the lyrics aged well, but that’s part of the persona that Shady is. I can get a kick out of the absurdity of some lyrics, but what I get out of this album is the technical ability and Dre production. Songs like My Name Is and Role Model showcase this to me the best.

8/10 Pretty talented dad rock band. I enjoyed every song on here but nothing super outstanding. Great listened all the way through.

The top reviews really summarize my feelings on this album. Something I got stuck listening to and forced myself to finish. Boring and uninspiring

9/10 Superfly is one of a kind. Funky and fun lyrics and a jam to listen to. I can see myself rating this perfect in the future, I’d just need some more listens. Mayfield had a great performance and the production was like candy at certain sections

8/10 Undeniably amazing album. I need some more time to sit with it to give it a perfect rating. Classics on here Favorite Tracks: Baba O Reiley, the Song is over, Won’t get fooled again

7/10 Consistent flows and great rhymes, sorta reminds me of MF Doom. However the delivery falls flat on a lot of the tracks and that’s where it loses me. Left me desiring a lot more as a hip-hop fan

10/10 For this album being made in 1977, it sounds so fresh and exciting to hear in the 2020s decade. All the instrumentation is so triumphant and pleasing to hear. After taking a long break from hearing Mr. Blue Sky, coming back to it made me recognize its timelessness. ELO killed this album and made me appreciate prog rock more as a whole.

8/10 An album I’m glad that I heard. Some of the lyrics are heavy and hard hitting as well as some of the drums. Can’t say I’ve heard another album like it

4/10 Nothing to write home about all pretty standard rock that doesn’t stand out

5/10 Nice album, very middle of the road. It was something different which I appreciate. The Brazilian sound was smooth, but this album felt more like background music than anything else. Favorite Track: Samba do Gringo Paulista

6/10 I feel like I’m with the majority of some on this site where I don’t see the hype of the stones, at least when you see publication websites rate them one of the greatest of all time. While this is their most consistent album and my favorite song is on it, 18 tracks is too much for an album in my opinion. Tracks started to blend together, nothing too offensive though Favorite Track: *Let it Loose*

8/10 Wow. Dirt really suprised me. I’m usually not a big fan of loud rock and metal-esque music but this one on the other hand has mastered it for me. I definitely need to relisten to this when I have more albums under my belt because I can see myself appreciating it more then. The hard hitting nature of this album just works and there aren’t any cringey lyrics that some metal bands have. The writing on the songs are super concise, which I love.

7/10 Duke Ellington really was one of the best jazz artists. An immersive project as a live recreation. My favorite has to be Diminuendo and Crescendo in Blue. My only complaint is that it was a tad too long for me. If I’m looking for jazz, this will be where I go.

10/10 It’s Bob Marley at his peak. I’ve always wanted to listen to an album in full because I’ve only listened to his hits before. He absolutely delivered with this album. Marley brings his listeners along a spiritual journey that heals the soul. Vibe album with so many great tracks Favorite Tracks: *Three Little Birds*, *One Love*, *Jamming*, Natural Mystic

6/10 An absolute masterclass of a shitpost. While not all the songs are tolerable, this album was not as bad as I thought it was going to be going into it. I enjoyed some of the tracks, while not being able to stand others. One thing is to say that this album is an experience may even needing a revisit in the future.

10/10 The Stone Roses is a band/album I had never heard of before, so I was pleasantly suprised with the ability that this band had to offer. Great love story telling, I especially loved how it developed into an ending I didn’t expect. Combine the story with some great rock elements and you have another 5/5 from me.

5/10 I didn’t really love her frail voice and I’ll probably never come back to this on my own. However there were some good lyrical moments of going against deadbeat significant others.

10/10 I was wowed by this album. This album spoke to my past self in terms of my previous partners. The lyrics were touching and I empathized heavily with Buckley in songs such as Forget Her, Lover, You should have come over, and Last Goodbye. Every song was a great listen and completely rocked. The passion by Buckley was also unmatched. Both the delivery of the lines and the instrumentation were perfect. Will definitely be coming back to this album

10/10 Ready to Die holds a special place in my heart. Biggie was a huge inspiration for the hip hop scene and inspired so many more great artists that I love listening to. He flows effortlessly throughout this album. Although some may not agree with his lyrics and the interludes are too much at times even for me. You can’t deny the wordsmith that Biggie was. No song sounds the same on this magnum opus. It’s such a shame we lost him so early. There’s something to be said about this culture that does so much to young impressionable teens with violence and drug abuse. Talking about the highs and lows of the gangster life is so real and that’s another thing I appreciate with this album. One of the greatest albums I’ve heard. Favorite Tracks *Things Done Changed*, *Gimme The Loot*, *Juicy*, *Everyday Struggle*, *Suicidal Thoughts*

4/10 Very underwhelming jazz record. Most of the music felt droning with occasional lyrics or the fangirls yelling. Not much to get out of it unfortunately for James Brown. I’m sure he’s talented, but this was not the album to showcase it.

1.5/10 Out of all the albums so far, this was not what I was expecting to get my first 1 star rating. I nearly fell asleep at the wheel with this project. Everything felt so disconnected while listening and I couldn’t find barely anything that I liked. The cover is bland just like the music. Some songs straight up made me skip them, which I don’t do often. Probably won’t be listening to this again.

9/10 Some classic Hip-Hop right here. Black Thought has been one of my favorite artists to get into and this is my first The Roots album. Masterful lyrics with great storytelling within the verses. Thought was surgical with crafting this project and Questlove did a great job on the production as well. Almost perfect other than it being slightly long and the addition of “Thirsty” (I don’t think it fits in this tracklist). Favorite Tracks: *Break You Off*, *Pussy Galore*, Thought @ Work

6.5/10 I was hyped to listen to this record as I’ve read high reviews before, but I had a hard time getting into it. There are highs but nothing stuck with me outside of those. I’m not really sure how to feel yet. This record felt all over the place to me.

8/10 Licensed To Ill has always been one of the records I’ve wanted to listen to. With Eminem’s call back on Kamikaze, it’s been apparent that this album is a classic and has plenty of impact. Going into the album, it’s a fun bounce with plenty of raw rock rap tracks that feel passionate. I’d love to give this album 5 stars, I think I may need more time with it though. I have small nitpicks as some of the name dropping can get repetitive at times and I haven’t fully fell in love with the production. But all the boys did a great job. Favorite Tracks: Paul Revere, Brass Monkey, Rhymin and Stealin

5/10 Not one of his better albums but still competent enough to get through. Nothing really stood out to me, just all around average

2/10 If I had a gun put to my head and I was told to name one positive and memorable thing about these tracks. I’d be on my way to the clouds because how am I supposed to get anything out of this record. Sure it sounds okay, but over an hour of unless guitar and drum loops aren’t going to save this bore. It’s unfortunate because I had high hopes after American Beauty, but I can see I was wrong. Favorite Track: St. Stephen

7/10 Very strong start to a Bowie album, but sadly it drops off hard at the end. This felt like a more personal album to me. He shows some development and new themes here. Favorite Tracks: *Fascination*, Somebody Up there likes me, Young Americans, Right

8/10 Unexpected bangers on this album. Felt very unique. Great storytelling which I always love on an album. Favorite Tracks: *Papa Won’t Leave you, Henry*, John Finn’s Wife, Jack the Ripper

7/10 An album that's kinda all over the place for me, but in a good way. I think that's what Robbie Williams was kind of going for with this experience. Favorite Tracks: Life Thru A Lens, Let Me Entertain You, Killing Me

10/10 Rap perfection. Remarkably, Nas was able to create this at the tender age of 16. Internal and external rhymes are everywhere, making this so impressive, while also telling some of the most engaging stories of Nas's life in New York in the 90s. Favorite Tracks: *Life's A Bitch*, *The World Is Yours*, *N.Y. State of Mind*

2/10 Originally I thought this album sounded fun and I had it at two starts, but the more and more I listened the more I realized I’d probably never come back to this disaster. While I can appreciate what the artist(s) were going for with the “haunted” and eerie vibe of this album, it ends up just sounding like an old shitty flash game soundtrack that I’m listening to on loop for hours trying to find the most obscure solution. Just a bunch of weird background noise.

6.5/10 Strong first half with the upbeat and “killer” production. The second half is much more underwhelming Favorite Tracks: Mr. Brightside, Somebody Told Me

7/10 While Badu has many great ideas and lovely jazz production, she fails to carry them throughout a whole hour and 15 minute project. There are great highlights however, such as Green Eyes and In Love With You where her performance really suits the tone of the song. Favorite Tracks: In Love With You, Green Eyes, AD 2000, Penitentiary Philosophy

9.5/10 The score continues to show Lauryn Hill’s ability to destroy any kind of product with her crafty writing and lyrics, disgusting flows, and beautiful singing voice like with tracks such as Killing Me Softly with His Song. This is an amazing listen especially for the hip-hop fans. An album worth relistening over and over Favorite Tracks: *Ready or Not*, *Fu-Gee-La*, *Killing Me Softly with His Song*

6/10 This soundtrack definitely has some grooves, and would be nice to come back for some classy jazz. I’m not too high on this album as some others are. Not much going on for me.

7/10 Tom Petty and the Heartbreakers have the potential to great amazing songs, however the songs on here are solid, but not amazing. I keep comparing every song to Mary Jane’s Last Dance, and none are on that level. Favorite Tracks: American Girl, The Wild One Forever

8.5/10 Favorite Track: “A Change Is Gonna Come” Otis Blue is raw feeling dressed in sharp arrangements. Redding’s voice carries every track like it is the last thing he will ever sing. Whether he is pleading, shouting, or barely holding it together, there is no distance between the emotion and the mic. His cover of “A Change Is Gonna Come” does not just honor Sam Cooke’s original, it tears it open and bleeds through every note. The album jumps between pain and joy without ever losing momentum.

7/10 Decent album about all kinds of love and relationship struggles. Past lovers, new lovers, family, childhood Favorite Tracks: Love Is Here Where I Live, Oxford Street

9/10 Jimi Hendrix has mastered the Electric guitar like no one ever has or may ever will be able to. These are the kind of album where you just have to appreciate the art of playing the instrument. However, you can still focus on the lyrics and other instruments as well because they are also amazing. The only drawback is the start to me, and some filler in the 15 minutes of Voodoo Chile. Awesome experience Favorite Tracks: *Rainy Day, Dream Away,* *Still Raining, Still Dreaming* Voodoo Chile (Slight Return)

8.5/10 The Beach Boys didn't disappoint with their first album on this list. R.I.P to Brian Wilson. Masterful songwriting and composition. This album provides great insight into the world we live in today, with lessons about taking care of our environment in songs like "Don't Go Near the Water" and "A Day In The Life of a Tree." We also get a bombastic track about the dangers of rioting in "Student Demonstration Time," my favorite track. All the while, it mixes in some songs to chill out with and navigate through life. There's only one dud on the album, "Lookin' At Tomorrow." Favorite Tracks: *Student Demonstration Time*, *Long Promised Road*, Don't Go Near the Water

8/10 Favorite Track: “Strangelove” Despite the name, Music for the Masses is not built for everyone. It is cold, dramatic, and emotionally restrained in a way that either pulls you in or pushes you out. What Depeche Mode delivers here is sleek, moody synthpop designed for isolation rather than connection. Tracks like “Strangelove” showcase their ability to combine lust, guilt, and distance into something that still feels melodic and oddly catchy. The album rarely breaks its own spell. Every sound feels deliberate and controlled, from the cavernous drums to the layered synths that stretch into bleak horizons. There are moments that drag, but overall this is one of Depeche Mode’s sharpest statements. It captures the feeling of staring out a train window with nowhere to go but deeper into your own head. It is not comforting, but it is compelling.

6.5/10 Pretty solid new gen pop from Lorde. My expectations were a bit higher on this album from some hype I saw online. She has some great moments of song writing and punch from the production but I can't fully get into the album as a whole Favorite Tracks: Writer In The Dark, Supercut

7.5/10 Very interesting techno album. Some hits, some misses, but overall I enjoyed the projects. Probably not going to listen to in full again, and I’d just go back to the songs I liked. Had my head boppin to Banstyle and Juanita. Despite being long tracks, they were my favorite on the project. The others felt more of droning but not bad by any means. Favorite Tracks: Banstyle/Sappys Curry, Juanita:Kiteless: To Dream of Love

8/10 One of the most consistently great albums on this list. Carole King has plenty of different ways to show her art to her audience. The first half showing her passionate side to her lover, while the second being more eclectic, but similar topics. Glad she switched up her style as it could’ve gotten stale. Favorite Tracks: I Feel the Earth Move, Tapestry, (You Make Me Feel Like) A Natural Woman

Score: 5/10 Favorite Track: “Consequence” Make Yourself is the kind of album that neither offends nor excites. It just exists. It stays in a constant middle gear, coasting on alt-rock textures and vague angst without ever finding a real pulse. There is some quality here. The band is tight, the production is clean, and occasionally a track like “Consequence” hits a solid groove. But most of the album feels like background noise for someone else’s nostalgia trip. It is not a disaster, but it is not essential either. For a record that once tried to sound vital, it now comes off as forgettable. You do not need to hear this before you die.

6.5/10 Best Track: “Mr. Follow Follow” Zombie is a protest in disguise as a groove. Fela Kuti builds up layers of hypnotic percussion atop a message of scathing political critique. It’s infectious, but the record feels stuck in place for all its dynamism. Each song expands for minutes on end, frequently looping around the same musical gestures without much expansion. “Mr. Follow Follow” provides some color to the mix, with more crisp phrasing and a groove that can catch its breath. The message gets delivered with force, but the experience needs to be engaged with some patience. If you’re looking for locked-in afrobeat with a side of revolution, it delivers. If not, it wears thin fast.

5/10 Favorite Song: Time Between Younger Than Yesterday contains the building blocks of a fine folk-rock album, but it rarely combines them into anything memorable. They go for jangle, light psychedelia, and twangy country, but most of it is stale. It is competent and well-played, but the songwriting never rises to the level of feeling important. “Time Between” saves itself with a touch of charm and momentum, but most of it falls flat. There is nothing offensive here, just lots of music that seems happy to fade into the background. It is the type of album that you forget while you are listening to it.

5.5/10 Favorite Track: “E-Pro” Guero wants to be a party, but half the guests never showed up. It throws together rock, hip hop, and flashes of Latin flavor with Beck’s usual genre-blending style, but the energy feels more recycled than inspired. “E-Pro” kicks things off with a strong start, but most of what follows lacks any sort of flavor. There are fun moments, but the album leans too heavily on style over substance. It coasts by not doing much and sounds safe where it should be strange. As my second Beck album, I’m not surprised I don’t like it that much. It is listenable, but never essential.

8/10 Favorite Song: Regular John This record rules. It's so dry, completely locked into its own sound, and it just goes on forever. "Regular John" starts with that distorted lead and keeps that going for the rest of the record. It's as much a midnight desert drive as you can get with no destination. No hooks, no big push, just guitars, repetition, and Josh Homme sounding totally bored and threatening at the same time. It's minimal, and it's totally in control. Maybe not their best album, but definitely one of their most focused. You can tell they knew what they wanted to sound like.

Lynyrd Skynyrd – Pronounced ’Leh-’nérd ’Skin-‘nérd’ (1973) Score: 7.5/10 Favorite Track: “Free Bird” This is a pretty solid album overall. It has that southern rock attitude, and most of the songs land the way you want them to. “Free Bird” is the clear standout and completely earns its status. The slow build into that huge solo still hits just as hard as the first time you hear it. It is one of those rare songs that feels bigger than the album it comes from. “Poison Whiskey” was a low point for me. It felt kind of forgettable compared to the rest. But even with that, there is enough personality and energy across the album to keep it engaging. It might not be perfect, but I would definitely throw it on again.

9/10 Favorite Song: Cocaine Blues The record is a live album, but it's more than that, it's an experience. Cash strides into Folsom as if he is a king, and he plays to the audience like he cares. You can feel the anxiety, the roars of the crowd, the applause, everything about the recording sounds alive. "Cocaine Blues" is the first song, and it is fast and hard-hitting. The crowd loved it, and you can sense that they're not just being entertained, they are being understood as prisoners at Folsom. The rawness to the whole thing makes it connect more than a studio album would. The band sounds tight, Cash is dialed in, and even the mistakes he makes or the chit-chat between songs only adds to the appeal. It is gritty, real, and full of soul. This is the kind of album that you get why Johnny Cash was important.

John Mayall & The Bluesbreakers – Bluesbreakers (1966) Score: 6/10 Favorite Track: “What’d I Say” This one has the reputation, but honestly, it did not do much for me. The band is tight and Clapton’s guitar work is obviously solid, but most of the album just kind of blurs together. “What’d I Say” stands out with some real spark and energy, but it is surrounded by a lot of blues tracks that feel more like exercises than moments. It is more respectable than exciting. “Parchman Farm” in particular drags things down. It feels forced and awkward, and breaks the flow more than anything else. The rest of the album is fine, but nothing really sticks. For a record that helped shape British blues rock, it feels more like a history lesson than something I would come back to.

Kings of Leon – Aha Shake Heartbreak (2004) Score: 3.5/10 Favorite Track: “The Bucket” This album should have been way better. The songs work on paper, the production sounds clean and full of texture, but the execution misses the mark. The biggest problem is the vocals. Caleb Followill’s voice is so grating that it turns decent ideas into something genuinely hard to sit through. It is not just a stylistic choice that did not land. It actively pulls the whole record down. What keeps this from landing in the bottom tier is the production. The guitars are crisp, the drums hit with purpose, and the rhythm section holds things together well enough. “The Bucket” stands out as the one track where everything connects. But overall, it feels like strong production trapped under a voice that never lets the music breathe. It was a struggle to finish.

Score 8/10 Favorite Song: Stonemilker Vulnicura is an emotionally raw and immersive album that finds Björk at her most vulnerable. It’s a breakup record in the most literal sense, documenting the slow unraveling of a relationship and the aftermath with chilling honesty. The string arrangements, often sweeping and sorrowful, are paired with ghostly electronic production (much of it courtesy of Arca), creating a soundscape that feels like it’s collapsing in on itself. Björk’s vocals cut deep here — not just lyrically, but in delivery — like on “Black Lake,” where her pain feels infinite, or “Lionsong,” which sounds like she’s still holding out a desperate hope despite everything. What makes Vulnicura so compelling is how unfiltered it is. There’s not much polish or metaphor to hide behind, which can make the album heavy and, at times, difficult to return to. But that’s also its strength. It doesn’t try to make heartbreak sound pretty. Instead, it offers space for grief, anger, and finally healing, all paced through long, slowly building tracks that give each emotion its due. It’s not an easy listen, but it’s a powerful one, and a standout in Björk’s discography for just how fearless and human it is.

Score 7/10 Favorite Song: Myxomatosis Hail to the Thief feels like a Radiohead album that’s caught between two worlds. It’s messy, ambitious, and full of moments that feel sharp and vital, but it also drags in places and doesn’t always feel as cohesive as their best work. There’s an urgency to the record, both politically and sonically, but it’s filtered through a haze of glitchy electronics, eerie falsetto, and scattered genre experiments. It tries to blend the cold alienation of Kid A with the guitar-driven angst of The Bends, and while some of that fusion really works, a fair chunk ends up getting lost in the sprawl. Still, when it hits, it really hits. “Myxomatosis” is a highlight — pulsing, aggressive, and unapologetically weird, it’s the kind of track that grips you with its grime and growl. Other songs like “There There” and “2 + 2 = 5” bring weight and drama, reminding you just how good this band is when they lean into tension and build-up. But across its 14 tracks, the album’s length starts to feel like a weakness, not a strength. It’s got flashes of brilliance, but the uneven pacing makes it harder to love front-to-back. A good album with a handful of standout moments, just not quite in the upper tier of their discography.

4/10 A Northern Soul by The Verve is a brooding, emotional ride that captures the rawness of mid-90s British rock with a heavy, almost overwhelming atmosphere. The album feels like it’s constantly teetering between collapse and catharsis, drenched in reverb and intensity. “(Reprise)” stands out as the emotional core, closing things out with a haunting and beautiful weight that lingers long after it’s over. It encapsulates the longing and exhaustion that pulses through the entire record and shows what the band is capable of when everything clicks. That said, the album suffers from a noticeable amount of bloat. Several tracks feel stretched or unnecessary, making the whole thing more exhausting than immersive. The mood is consistent, but it sometimes comes at the cost of variety or momentum. While there are high points worth returning to, the record as a whole doesn’t quite earn its length or ambition. It’s a decent listen with flashes of brilliance, but ultimately a 4 out of 10 for me.

Prince – Purple Rain (1984) Score: 9/10 Favorite Track: “Purple Rain” This album is incredible from start to finish. Prince just oozes charisma here. Even when he is pushing boundaries with something like “Darling Nikki,” it never feels forced or edgy for the sake of it. He sounds completely in control, joyful one second, soulful the next. It is so hard not to fall in love with what he is doing on this record. “Purple Rain” is an obvious standout, but honestly, everything hits. I still need more time to really lock in with some of the deeper cuts like “The Beautiful Ones,” but even those already show signs of greatness. This could easily end up being a perfect score for me down the line. For now, it is just short of that, but still one of the most vibrant, passionate albums I have heard in a long time.

In the Court of the Crimson King by King Crimson is one of those rare albums that feels like stepping into an entirely different world. From the moment “21st Century Schizoid Man” begins, the listener is thrown into a chaotic, distorted storm of sound that somehow still manages to feel calculated and purposeful. That track in particular is a powerhouse, jagged and aggressive yet deeply compelling. What makes this album so special is how it balances that harsh energy with moments of floating beauty and mystery, crafting something that feels both royal and surreal, like a sonic myth unfolding track by track. The album’s pacing and narrative arc give it the feeling of a cohesive story, one draped in the majesty of prog rock and filled with surreal poetry. Songs like “Epitaph” and the title track expand the album’s scope into something truly cinematic. While “I Talk to the Wind” does not fully hold my attention the way the other songs do, its inclusion still makes sense in the overall flow, offering a moment of stillness in the storm. This is a one-of-a-kind album, rich, strange, and unforgettable.

Score: 5/10 Favorite Track: Family Affair There’s a Riot Goin’ On by Sly and the Family Stone is an album that’s clearly aiming for a deeper, moodier atmosphere than the band’s earlier, more vibrant work—but to me, it ends up feeling a bit too hazy and hard to grasp. The funk grooves are still there, but they’re often buried under murky production and loose structures that make the tracks run together. There’s a lethargic quality to the whole thing, which might be the point given the sociopolitical climate it was responding to, but as a listener, I found it hard to stay engaged all the way through. That said, “Family Affair” really stands out as the emotional and sonic centerpiece. It’s smoother, more focused, and its sparse, drum machine-led groove gives it a cool, hypnotic charm that’s lacking elsewhere on the album. While I can appreciate the influence this record had on later funk, soul, and hip-hop, it didn’t quite click for me on a personal level. It’s an interesting piece of history, but not something I’d be rushing to revisit.

The Zutons – Who Killed…… The Zutons? (2004) Score: 8/10 Favorite Track: “Nightmare Part II” This was another one I went into blind, and it ended up being a really pleasant surprise. It is a soft pop rock album that stays consistent the whole way through. No track completely blew me away, but nothing missed either. That steady quality across the board made it easy to enjoy from start to finish, and “Nightmare Part II” stood out as the one that stuck with me the most. The one thing that bugged me was the title. With a name like Who Killed…… The Zutons?, I expected more of a concept or mystery vibe to tie it together. They could have named it almost anything else and it would have made more sense. Still, that is a small gripe for an album that was way better than I expected. I can definitely see myself coming back to it.

Led Zeppelin – Led Zeppelin II (1969) Score: 7.5/10 Favorite Track: “Bring It On Home” This is one of those albums where the whole feels bigger than the individual tracks. There are some amazing moments scattered throughout, but a lot of the songs have highs and lows within them. One section will blow me away, and then the next feels like it loses steam. That up-and-down flow made it hard for me to fully lock in with some of the tracks. “Bring It On Home” is the clear standout. That one feels complete all the way through, no wasted space, just a great track front to back. I tend to love songs that stay consistent and deliver the full experience from start to finish, and most of the album wavers in that respect. Still, when it hits, it really hits. Definitely a solid listen overall.

7/10 Another bit of prog rock that I find both pleasing and unimpressive, "Starship Trooper" manages to highlight what I love about prog rock, while other tracks such as "The Clap" leave me hanging.

Iron Maiden – The Number of the Beast (1982, Heavy Metal) | Score: 8.56 | Favorite: “Hallowed Be Thy Name” The Number of the Beast is one of those albums that doesn’t just define a band, but helps define a genre. For me, this is Maiden firing on all cylinders — sharp songwriting, ambitious pacing, and that theatrical flair that makes their work so easy to revisit. What struck me most while scoring it was how consistently it delivers. Even the lesser moments are solid, and there’s a real sense of control and vision running through the whole thing. “Hallowed Be Thy Name” easily stands out as my favorite here. It’s a masterclass in tension and atmosphere, and it closes the album on a high that’s both dramatic and deeply satisfying. Tracks like “Run to the Hills” and the title track are classic for a reason, and they still hold up under scrutiny. “Gangland” is the only place where things dip slightly — it’s not bad, just not as gripping. Overall, this is a tight, powerful record that still feels essential all these years later.

Score: 8/10 | Favorite Track: “Monkey & Bear” Joanna Newsom’s Ys is a poetic and sprawling experience that asks a lot from the listener but often gives back even more. With just five tracks, she crafts an emotional and mythic journey full of harp flourishes, dense lyricism, and orchestral swells that make the album feel like a blend of ancient folklore and raw personal memory. “Emily” opens the album with an ambitious mix of astronomy, sisterhood, and grief, while “Sawdust & Diamonds” strips everything down to harp and voice for one of the most intimate and emotionally exposed moments on the record. The closer “Cosmia” floats somewhere between sorrow and acceptance, giving the album a sense of closure without tying it up too neatly. My personal highlight is “Monkey & Bear,” which blends theatrical storytelling with eerie metaphors in a way that feels both whimsical and deeply unsettling. It captures so much of what makes Newsom special: the ability to make fables feel emotional and strange but still human at the core. If there’s a weak spot for me, it’s “Only Skin,” which, despite some incredible lines and musical moments, occasionally loses focus under its massive runtime. Still, Ys is clearly one of those rare albums that you sit with, return to, and find new meaning in each time. It may not be an easy listen, but it is a memorable and rewarding one.

Score: 8.5/10 | Favorite Song: Barrytown Pretzel Logic is where Steely Dan tightens the screws and fully embraces the studio rat identity they’d later be known for. This album feels compact yet endlessly replayable, packing jazzy chord changes, cryptic lyrics, and lush production into a lean 33-minute run. What really stands out to me is how varied it is without ever feeling scattered. You get country-funk grooves in “With a Gun,” warped nostalgia in “Any Major Dude Will Tell You,” and a smoky piano-led title track that sounds like it came from a parallel universe where jazz ruled AM radio. My personal favorite, “Barrytown,” feels like a deceptively cheerful song that’s actually laced with judgment and irony, which is classic Steely Dan. It’s upbeat and playful but has that unmistakable sting in the lyrics. Across the album, there’s this vibe that nothing is quite what it seems, like you’re peeking into the lives of people who smile while hiding something sharp behind their teeth. That dry, cynical wit combined with incredibly smooth musicianship is what makes Pretzel Logic such a standout in their catalog.

Score: 4/10 | Favorite Song: Breadcrumb Trail I know Spiderland is widely hailed as a landmark album that shaped the post-rock genre, but for me, it was more of a tough listen than a rewarding one. The spoken-word delivery, minimalism, and tension-building structures often felt more draining than immersive. I appreciate the ambition and the eerie atmosphere they create, especially on “Breadcrumb Trail,” which actually pulled me in with its surreal storytelling and shifting dynamics. That track shows what the band could do when their experimental tendencies click. Unfortunately, the rest of the album rarely met that mark for me. A lot of the songs just didn’t land emotionally or musically. The stripped-down guitars, slow builds, and jarring transitions felt more like exercises in restraint than fully-formed ideas. There’s a certain coldness to the album’s tone that left me disconnected, and the lack of melodic payoff or rhythmic momentum made the experience feel more like a chore than an adventure. I get why this is a cult classic, but personally, I struggled to find much I’d want to return to beyond the opener.

Score 7.5/10 | Favorite Song: Description of a Fool A Tribe Called Quest’s debut album feels like flipping through a photo album of everyday life, except every photo talks back to you with smooth beats and clever rhymes. At 7.5 out of 10, this one lands in that sweet spot where you can hear the group’s raw creativity bubbling, even if it has not fully matured yet. Q-Tip’s laid-back voice is front and center, delivering stories about food, love, and street smarts with an almost casual ease, like he is chatting with you on a stoop somewhere in Queens. The jazzy samples and playful production give it a warm, homegrown vibe, but not every track hits the same. Some feel more like sketches than fully painted portraits, and the flow of the album can wander a bit too far into experimentation. Still, Description of a Fool stands out big time. It has a hypnotic bassline and a sharp message about toxic masculinity that feels ahead of its time. You can already hear the DNA of Tribe’s future greatness in moments like that, where groove meets wisdom. This is not the Tribe masterpiece just yet, but it is an important first step on a journey that would eventually reshape hip-hop. A solid and soulful introduction to one of the genre’s most thoughtful and unique groups.

The Sensual World – Kate Bush (1989) | Art Pop / Progressive Pop | Avg: 8.5 | Favorite Song: “Love and Anger”* The Sensual World is lush, layered, and bursting with emotional nuance—Kate Bush at her most elegant and earthy. “Love and Anger” stood out as the peak for me: it’s sweeping, cathartic, and showcases everything that makes her such a singular artist. But truthfully, this album is stacked. Tracks like “This Woman’s Work” and “The Fog” show her range not just as a vocalist, but as a producer and composer—every detail feels intentional, yet organic. What impressed me most is how immersive the album is. It doesn’t rush or pander. It draws you in slowly, with rich textures and poetic ambiguity, and once you’re in, it doesn’t let go. There’s a sensuality here that’s not just romantic—it’s spiritual, intellectual, and deeply human. It might not have the immediate punch of Hounds of Love, but it trades that for something more mature and intimate. From a reviewer’s standpoint, The Sensual World is proof that subtlety can be just as powerful as spectacle.

Pink Moon – Nick Drake (1972) | Folk / Singer-Songwriter | Avg: 8.5 | Favorite Song: “Pink Moon”* Pink Moon is quiet in volume but overwhelming in feeling. At just over 28 minutes, it’s a whisper of an album—but what a powerful whisper it is. The title track alone carries more emotional weight than most artists’ entire catalogs. It’s stark, minimal, and hauntingly beautiful, and that tone carries throughout the record. There’s no filler, no fanfare—just Nick Drake, his guitar, and the kind of intimate songwriting that demands you stop and really listen. From a reviewer’s lens, what makes Pink Moon so special is its restraint. Drake strips everything down to the bare essentials, yet the emotional complexity remains. Every note feels intentional, every lyric feels like it’s been lived. It’s not an album that tries to impress—it just exists, quietly devastating in its simplicity. Whether you’re in the mood for melancholy or just want to be reminded how powerful understatement can be, this one delivers every time.

Underwater Moonlight – The Soft Boys (1980) | Psychedelic Rock / Jangle Pop / Post-Punk | Avg: 6.44 | Favorite Song: “I Wanna Destroy You”* Underwater Moonlight is a quirky, off-kilter blend of psychedelic revivalism and punk energy, and while it has its moments, the highs are few and far between. “I Wanna Destroy You” is the clear standout—it’s catchy, punchy, and actually delivers on the chaotic promise the rest of the album hints at. Outside of that, though, it’s a mixed bag. The songwriting often leans more clever than compelling, and the arrangements, while jangly and energetic, don’t always land with weight. There’s definitely a charm in the eccentricity, but from a reviewer’s perspective, charm alone isn’t enough. Too many tracks feel like sketches or stylistic exercises rather than fully fleshed-out songs. Even the better ones tend to plateau quickly. Still, I wouldn’t call it a total miss—there’s a sense of playful rebellion that gives it some spark. But as a full listen, it ends up feeling more like a curiosity than a must-hear.

Miriam Makeba – Miriam Makeba (1960) | Afro-Pop / World / Vocal Jazz | Avg: 5.31 | Favorite Song: “Mbube” There’s no denying that Miriam Makeba is a culturally significant album — Makeba’s voice is stunning, and her presence is undeniable. However, as a full listen, this one didn’t fully resonate with me. “Mbube” was the standout track. It’s haunting at first, but then commands with her strong voice and great supporting background vocals, making it the most emotionally powerful song here. That track alone hints at the strength and uniqueness she would come to embody, especially inspiring “The Lion Sleeps Tonight” just a year later, but the rest of the album feels uneven in comparison. Much of the record comes off more as a showcase than a cohesive artistic statement. The arrangements are simple, the pacing sometimes drags, and some songs seem more like curiosities than deeply engaging pieces. From a reviewer’s perspective, it’s easy to appreciate Makeba’s vocal control and the cultural importance of her debut — but purely from a musical standpoint, it’s not something I’d revisit often. It feels more like a historical entry point than a defining listening experience.

Amnesiac – Radiohead (2001) | Experimental Rock / Art Rock | Avg: 6.7 | Favorite Song: “Knives Out”* Amnesiac is one of those albums that feels like it’s constantly drifting in and out of clarity—beautiful in moments, but frustratingly elusive overall. “Knives Out” is the one track that gave me something to hold onto: a clear groove, memorable melody, and emotional resonance that cuts through the fog. A few other songs—like “Pyramid Song” and “You and Whose Army?”—show flashes of brilliance, but much of the album stays wrapped in abstraction. The textures are rich, but the emotional payoff isn’t always there. It’s not that Amnesiac lacks ideas—it’s overflowing with them—but too many of those ideas feel like sketches rather than complete thoughts. Compared to the tight emotional arc of Kid A, this one feels more like a companion piece with a looser grip on cohesion. That said, I get why some people revere it. There’s a cold beauty in its disorientation. But from my perspective, it’s Radiohead at their most cryptic—an album I respect more than I actually enjoy.

Suicide – Suicide (1977) | Synth-Punk / No Wave | Avg: 3.0 | Favorite Song: None Let’s cut to the chase—this album was borderline unbearable. Suicide might have historical importance, but in practice, it sounds like two guys actively trying to alienate the listener. The synths are primitive in the worst way, the vocals are grating, and the songwriting feels like an afterthought—if it was a thought at all. There’s a difference between minimalism and laziness, and this album leans hard into the latter. I kept waiting for something to evolve, some kind of payoff or at least a shift in mood, but it never came. “Frankie Teardrop” is easily one of the most unpleasant songs I’ve ever sat through. It’s not disturbing in a meaningful way—it’s just a 10-minute endurance test of screaming and repetition that borders on parody. I get that this album broke rules, but sometimes rules exist for a reason. If you’re looking for music with depth, nuance, or even basic listenability, this isn’t it. It’s not edgy, it’s not profound—it’s just annoying.

Coles Corner – Richard Hawley (2005) | Chamber Pop / Crooner Ballads | Avg: 7.63 | Favorite Song: “The Ocean”* Coles Corner is all about setting the mood, and Richard Hawley nails it completely. This album feels like it's wrapped in soft lighting—warm, melancholic, and full of old-school romanticism without ever becoming kitschy. “The Ocean” stood out the most for me. It’s the emotional core of the record, arranged with elegance and rich vocals, capturing that sense of longing that runs throughout the entire album. It hits with weight without ever raising its voice. From a reviewer’s perspective, this is the kind of album that rewards patience. There’s not much variation from track to track, but that consistency is what makes it charming. Hawley fully embraces his crooner instincts, and the instrumentation is lush but not overwhelming. It’s not a record trying to reinvent the wheel—it’s fully committed to its style, and because of that, it succeeds. If you enjoy classic songwriting with a velvet touch, Coles Corner offers exactly what it promises.

Made in Japan – Deep Purple (1972) | Hard Rock / Heavy Metal (Live Album) | Avg: 5.36 | Favorite Song: “Highway Star” Made in Japan is one of those live albums that showcases just how tight and technically gifted Deep Purple really was. The musicianship here is undeniable—every member of the band is locked in, and they extend these songs in ways that feel bold without being overindulgent. “Highway Star” in particular stands out as the best showcase; the energy is electric, the solos are razor-sharp, and it sets a high standard that the rest of the album never quite reaches again. That said, from a reviewer’s perspective, it’s hard not to feel a little underwhelmed by the repetition of previously released material on “Machine Head”. The performances are excellent, but the setlist doesn’t bring much new to the table beyond extended jams. It’s more of a technical display than a new artistic statement. I came away impressed by how well they played, but not necessarily moved by what they played. For fans of Deep Purple, it’s probably essential. For me, it lacked the depth or unpredictability to feel truly meaningful or stand out on this list. It should be sought out by those who truly enjoyed “Machine Head.”

Garbage – Garbage (1995) | Alternative Rock / Electronica | Avg: 8.54 | Favorite Song: “Only Happy When It Rains” Garbage is one of those debuts that lands with a fully formed identity. From the first track, it’s clear this band wasn’t interested in following trends—they were here to bend them. “Only Happy When It Rains” is the obvious centerpiece for me. It captures the album’s ironic melancholy, pairing alt-rock angst with a sleek, almost industrial shimmer. But what really surprised me is how consistently strong the rest of the album is. Nearly every track lands in the 8 to 10 range, and that kind of consistency is rare. What makes this album special is how it blends darkness and polish without compromising either. Shirley Manson’s vocals are commanding but never overbearing, and the production—layered with fuzz, loops, and distortion—is ahead of its time. There’s a lot going on here: grunge attitude, trip-hop aesthetics, pop sensibility. Yet somehow it all works. Garbage doesn’t just hold up—it still sounds modern. For a debut, it’s remarkably self-assured, and from a reviewer’s standpoint, it’s one of the most well-balanced records of the alt-rock era.

Bad Company – Bad Company (1974) | Hard Rock / Blues Rock | Avg: 7.29 | Favorite Song: “Don't Let Me Down" This debut plays like a greatest hits collection—tight, confident, and built around hooks that just work. “Don't Let Me Down” is the one that stood out most for me. It strikes the perfect balance between grit and vulnerability, and the arrangement gives Paul Rodgers room to absolutely soar. But honestly, this album is full of tracks that just hit right. “Can’t Get Enough” and “Movin’ On” are classic rock staples for a reason—they’re lean, catchy, and executed with total control. What I appreciate here is the economy of the songwriting. There’s no fat, no filler—just eight tracks, all with purpose. Every member of the band knows their role, and the chemistry is obvious. It’s not the most adventurous record, but it doesn’t need to be. It’s polished without sounding sanitized, and bluesy without feeling dated. For a debut, it’s remarkably self-assured, and from a reviewer’s perspective, it’s one of those rare records that’s both easy to enjoy and hard to critique.

Closer – Joy Division (1980) | Post-Punk / Gothic Rock | Avg: 4.63 | Favorite Song: “Twenty Four Hours” Closer is often treated as a towering monument in post-punk, but for me, it fell flat. The atmosphere is undeniably thick—bleak, industrial, and heavy with despair—but the songwriting just didn’t pull me in. “Isolation” stood out slightly, mostly for its sharper production and sense of momentum, but the rest of the album blurred together in a grey, static wash. I respect what they were going for, but as a listening experience, it left me cold in all the wrong ways. The biggest issue for me was the emotional monotony. There’s a narrow emotional register here that might work for listeners drawn to mood above melody, but from track to track, the lack of variety became a drag. Ian Curtis’ presence is ghostly and evocative, but when the instrumentation never really shifts, the impact gets diluted fast. I get why this album resonates for others—but from a reviewer’s standpoint, it felt more like a mood piece than a fully realized album.

C’est Chic – Chic (1978) | Disco / Funk | Avg: 8.06 | Favorite Song: “Le Freak” C’est Chic is just hit after hit. What makes this album work so well isn’t just how tight the grooves are—it’s how effortless it all feels. “Le Freak” is the obvious standout, and not just because it’s a cultural landmark. That track moves, but it’s also a masterclass in arrangement. Nile Rodgers and Bernard Edwards lock in every rhythm, every bassline, every drop—it’s dancefloor science. But what impressed me is how consistent the rest of the album is too. Tracks like “I Want Your Love” and “Savoir Faire” keep the vibe lush and layered without losing momentum. There’s a sophistication to C’est Chic that elevates it above your average disco album. Even at its most repetitive, there’s always a new texture or melodic twist to hook you in. The strings, the background vocals, the precision—it’s all intentional and locked in. It’s flashy, sure, but it’s also deeply musical. This is disco at its most refined, and the fact that nearly every track scores in the 7.5 to 10 range says it all: it’s a record built for movement, but it holds up under scrutiny. There’s a sophistication to C’est Chic that elevates it above your average disco album. Even at its most repetitive, there’s always a new texture or melodic twist to hook you in. The strings, the background vocals, the precision—it’s all intentional and locked in. It’s flashy, sure, but it’s also deeply musical. This is disco at its most refined, and the fact that nearly every track scores in the 7.5 to 10 range says it all: it’s a record built for movement, but it holds up under scrutiny.

Stephen Stills – Stephen Stills (1970) | Folk Rock / Singer-Songwriter | Avg: 8.45 | Favorite Song: “Go Back Home” This one really surprised me—Stephen Stills is way more versatile and emotionally tuned-in than I expected from a solo debut. “Go Back Home” was the clear standout for me. It’s gritty, bluesy, and Eric Clapton’s guest solo doesn’t just elevate the track—it defines it. But the strength of this album isn’t in flashy features. It’s how Stills blends folk, rock, blues, and Latin grooves into something that feels cohesive but never one-note. The songwriting is sharp, and the arrangements are deceptively rich. Even the more understated tracks have layers that unfold with repeat listens. What impressed me most was how well the record holds up front to back. There’s just this sense that Stills was pouring every ounce of musical identity into this one, and it paid off. It’s an album that doesn’t scream for your attention, but if you’re a reviewer who values craft, range, and sincerity, it’s hard to ignore how dialed-in this project is.

Black Sabbath – Black Sabbath (1970) | Heavy Metal / Doom Rock | Avg: 8.8 | Favorite Song: “N.I.B.”* This debut is the blueprint. Black Sabbath isn’t just the start of the band—it’s the start of heavy metal as a genre. And even all these decades later, it still sounds genuinely dark and menacing. “N.I.B.” was the standout for me, with its creeping intro and that massive riff kicking in like a slow, evil march. But honestly, every track holds its weight. The band was locked in from the jump—those sinister blues roots, the thunderous rhythm section, and of course, Tony Lommi’s game-changing guitar tone. What really caught me this time around was how atmospheric the record is. There’s this muddy, almost live-sounding quality that works in its favor—it makes everything feel raw and dangerous. The songwriting is tight, the performances are confident, and the pacing is spot on. Even the few slightly lower-scoring moments didn’t break the mood. It’s easy to see why this album kicked open the door for a whole new genre. It doesn’t just hold up—it still hits like a storm.

Love and Devotion – Nusrat Fateh Ali Khan | Dub / Reggae / Electronic (1988) | Avg: 3.46 | Favorite Song: None Alright, I’ll be honest with this one—it started off with some promise, but got painfully repetitive fast. Most of the tracks landed squarely in the 3-range for me, and not because they were offensively bad, but because they just didn’t evolve. There’s only so many times you can ride the same groove before it starts feeling like a loop rather than a song. Nothing stood out as unlistenable, but nothing stood out as necessary either. I get the appeal if you’re zoning out or using it as background music, but from a critical standpoint, there’s just not a lot of substance to grab onto here. It’s the kind of album that blends into itself and leaves you checking how many songs are left. If there was supposed to be a deeper meditative arc, it got lost somewhere in the monotony. Especially after hearing 12 7+ minute songs, I got sick and tired of it. Not a total disaster, but very much a one-note experience.

Rock & Soul – Solomon Burke (1964) | Soul / R&B | Avg: 8.75 | Favorite Song: “Cry to Me”* Rock & Soul by Solomon Burke is one of those records that feels like a masterclass in delivery. Nearly every track on here hits, and Burke’s voice carries it all—he’s equal parts preacher, crooner, and soul shouter. “Cry to Me” is the clear standout, and honestly, it’s one of the most emotionally resonant performances in ’60s soul. But even beyond that, the consistency across the record is striking. Most of these songs hover around the 8.5 to 10 range, which tells me this album never really loses its grip. There’s a timelessness to Burke’s phrasing and the way he leans into every line like it matters. Whether it’s an upbeat R&B shuffle or a slow-burning ballad, he finds the pocket and owns it. This isn’t flashy soul—it’s soul with weight, grit, and conviction. The record is short, but there’s no bloat, no filler. Just twelve tight, impassioned cuts. It’s easy to see how this laid the groundwork for later soul giants, but even on its own, Rock & Soul holds up beautifully.

Court and Spark – Joni Mitchell (1974) | Folk Rock / Jazz Pop | Avg: 7.82 | Favorite Song: “Twisted” Court and Spark feels like Joni at her most poised—emotionally articulate, melodically rich, and beginning to embrace jazz without losing her folk-rooted storytelling. “Twisted” ended up being the standout for me, and I know that might raise some eyebrows considering it’s a cover, but her delivery and that sly, breezy energy made it unforgettable. Overall, the album is consistently strong, with tracks like “Help Me,” “Free Man in Paris,” and “People’s Parties” balancing intimacy and complexity without ever tipping too far in either direction. There’s a softness to this record, but it’s never dull. Joni’s voice is in complete control here. She's able to slip between conversational and soaring within a single phrase, and the arrangements support her perfectly. Even the more subtle tracks hold their own, and the one or two dips aren’t due to lack of quality, just less emotional resonance by comparison. Court and Spark doesn’t try to dazzle, but that's the charm of this record. It’s a confident shift toward a more refined sound, and she pulls it off with grace.

Another Music in a Different Kitchen – Buzzcocks (1978) | Punk Rock | Avg: 3.8/10 | Favorite Song: “I Don’t Mind” So this one really didn’t do much for me. Another Music in a Different Kitchen feels like a band trying to ride the punk wave without really carving out a compelling voice of their own. “I Don’t Mind” was the one track that stood out, and even that felt more solid than standout. The rest of the album landed in the 3–4 range for me—just a lot of similar-sounding, punchy tracks that blur together without much payoff. The energy is there, but it’s not paired with memorable writing or hooks. What hurts the most is how repetitive it all gets. You can feel the urgency, but after a few songs, it becomes hard to tell one track from the next. I get that punk thrives on simplicity, but here it feels more like monotony. The pacing lacks dynamic shifts, and vocally it never really breaks out of that flat, almost mechanical delivery. For a debut, it might have made some noise back in the scene, but from a critical lens today, it just doesn’t hold up. This one’s more historical footnote than essential listening.

Boston – Boston (1976) | Arena Rock / Classic Rock | Avg: 9.38 | Favorite Song: “More Than a Feeling”* Boston is pure, distilled arena rock perfection. There’s no pretense here; it's just massive riffs, clean production, and hooks that refuse to leave your head. “More Than a Feeling” is the obvious standout, and for good reason—it’s not just a hit, it’s a blueprint. But what’s wild is how consistently strong the rest of the album is. Tracks like “Peace of Mind,” “Smokin’,” and “Hitch a Ride” aren’t just filler—they’re all anthems in their own right. Every song feels like it could’ve been a single. What makes this record so impressive is how effortless it sounds, even though it’s meticulously crafted. Tom Scholz’s multi-tracked guitars are crisp and layered without ever feeling bloated, and Brad Delp’s vocals bring the kind of range that elevates even the simplest choruses. The production was groundbreaking at the time, and it remains impressive today. This is one of those rare debut albums that doesn’t just introduce a band; it defines them immediately. If you’re into classic rock with maximum replay value and zero dead weight, this is a masterclass.

All Mod Cons – The Jam (1978) | Punk / Mod Revival | Avg: 7.38 | Favorite Song: “Down in the Tube Station at Midnight” All Mod Cons feels like The Jam finally hitting their stride. It's more refined than their early work but still packed with the urgency and bite that made them stand out. “Down in the Tube Station at Midnight” was the clear standout for me. It’s not just a great song—it’s one of those moments where storytelling, atmosphere, and tension all come together perfectly. Overall, the album keeps a strong pace, with very few tracks falling flat. Even the more subdued moments carry weight thanks to Paul Weller’s sharply observational writing. What makes this album work is how well it straddles aggression and sophistication. There’s a polish here that doesn’t sacrifice the band’s punk roots; it just sharpens them. The dips in score on a couple of tracks mostly come from slight energy lulls rather than real missteps. But as a whole, this is one of those records that doesn’t overstay its welcome and feels thematically tight. It’s politically aware, emotionally grounded, and still hits just as hard decades later.

Strange Cargo III – William Orbit (1993) | Ambient / Downtempo / Electronic | Avg: 6.1 | Favorite Song: “Water from a Vine Leaf”* Alright, so Strange Cargo III is a bit of a tale of two halves for me. The opening stretch is honestly stunning—“Water from a Vine Leaf” in particular feels like Orbit at his most cinematic and emotionally dialed-in. There’s a real elegance in how he blends ambient textures with subtle rhythmic motion, and for the first five tracks or so, I was completely locked in. It’s immersive, melodic, and easy to get lost in without feeling shapeless. If the album had kept that trajectory, we’d be talking about something much closer to essential. But the drop-off in the second half is pretty stark. Once you hit the midsection, it starts leaning hard into pure ambience, and not in a way that feels compelling. The last third especially feels like it’s coasting—barely-there ideas stretched into full tracks that don’t hold up to the standard set earlier. I’m all for mood-building, but those final pieces feel more like placeholders than finished thoughts. So while Strange Cargo III opens strong and shows Orbit’s skill as a soundscaper, it definitely ends on a whimper rather than a high note.

The Low End Theory – A Tribe Called Quest (1991) | Jazz Rap / East Coast Hip-Hop | Avg: 9.00 | Favorite Song: “Check the Rhime”* Alright, so let’s talk about The Low End Theory, an album that really doesn’t miss. From front to back, it’s one of the cleanest, most cohesive hip-hop records I’ve sat with. The beats are warm, minimal, and locked into that jazz pocket in a way that gives every verse room to breathe. “Check the Rhime” was the easy standout for me, but honestly, you could rotate that with “Buggin’ Out,” “Jazz (We’ve Got),” or “Scenario” and I wouldn’t argue. This is Tribe at their most fluid, with Q-Tip and Phife trading bars so naturally it feels effortless. What really sticks out is how the album manages to be chill and energetic at the same time. There’s no need for overproduction or flashy hooks; the confidence is all in the groove and the delivery. I never found myself bored, even during the deeper cuts, which is rare for a rap record this long. It’s smart, stylish, and unbelievably smooth. As far as sophomore albums go, The Low End Theory doesn’t just live up to the hype—it resets the bar for what “timeless” sounds like in hip-hop.

Kid A – Radiohead (2000) | Experimental Rock / Electronic / Art Rock | Avg: 8.0 | Favorite Song: “Everything In Its Right Place”* Kid A is one of those albums that doesn’t just challenge expectations—it redefines them. From a reviewer’s standpoint, this is Radiohead intentionally pulling away from OK Computer’s anthemic peaks and diving headfirst into atmosphere, alienation, and digital decay. “Everything In Its Right Place” is easily the most striking track here—paranoid, pulsating, and emotionally direct in a way that slices through the album’s icy veneer. There’s a surreal cohesion to this record, like a dream you’re not sure you enjoyed, but can’t stop thinking about. It’s not perfect—there are moments where the opacity starts to wear thin—but that’s kind of the point. Kid A isn’t built to please; it’s built to immerse. From the glitchy unease of “Everything in Its Right Place” to the drifting haze of “Motion Picture Soundtrack,” the album keeps you at arm’s length while still managing to pull you under. It’s bold, cold, and yet deeply human in its detachment. For what it’s aiming to do, it hits nearly every mark.

The Specials – The Specials (1979) | Ska / 2 Tone | Avg: 5.77 | Favorite Song: “A Message to You Rudy”* The Specials kicks off with a bang, and “A Message to You Rudy” clearly sets the bar high with its infectious horns and laid-back ska groove. However, it seems like the energy and charm of the opener isn’t quite sustained throughout the record. Several tracks fall into the 5 range, and a few even dip into the 3s, which suggests the album’s blend of ska, punk, and political commentary felt more uneven than explosive. There’s no denying the band’s influence or the importance of their sound in the late ’70s UK scene, but based on your scores, the album might come across as a bit repetitive or thin in spots. The raw performances and stripped-down production give it a certain immediacy, but that same roughness may have made it hard to stay engaged all the way through. It’s a record that kicks off with promise but doesn’t fully cash in on its momentum.

Blur – Blur (1997) | Britpop / Alternative Rock | Avg: 6.69 | Favorite Song: “Beetlebum”* Blur marked a turning point for the band, shedding the bright, cheeky nature of Britpop in favor of grittier textures and more introspective songwriting. Blur is a mixed but fairly rewarding experience. “Beetlebum” comes out on top, and it’s easy to see why—it’s emotionally charged, melodically rich, and sets the tone for a darker, more mature Blur. Tracks like “Song 2” and “Death of a Party” also show up well, bringing that fuzzed-out edge without losing cohesion. However, I'm not as high on those as others are. The back half of the album seems to lose me a bit, with a few dips into the 5 or even 3 range. That kind of inconsistency is expected with a transitional album like this one; there’s experimentation and moodiness, but not every idea lands. Still, there’s a lot of charm in the record’s looseness. When it works, it really works, and even when it doesn’t, the band sounds like they’re breaking free of a formula. Blur may not be as polished as earlier records, but it makes up for that with depth and rawness.

All Directions – The Temptations (1972) | Psychedelic Soul / Funk | Avg: 8.25 | Favorite Song: “Papa Was a Rollin’ Stone”* All Directions is a bold, socially conscious pivot from The Temptations’ earlier Motown material, and I'm all in for the ride. “Papa Was a Rollin’ Stone” towers above the rest, and rightfully so. It’s cinematic, moody, and expansive, with that iconic bassline stretching across a full narrative arc. Even beyond that, tracks like “Run Charlie Run” and “Funky Music Sho Nuff Turns Me On” maintain a high level of energy and substance, making for a consistently compelling listen. What’s striking here is how the album manages to strike a balance between innovation and groove. The psychedelic production and lengthy arrangements don’t sacrifice accessibility; they enhance it. There’s a real sense of purpose in the way the record addresses societal issues, but it never feels preachy. Based on my scores, All Directions hits the rare mark of being both musically rich and thematically deep. It’s one of those albums where you can feel the band evolving in real time, and doing it with style.

Swordfishtrombones – Tom Waits (1983) | Experimental Rock / Avant-Blues | Avg: 3.77 | Favorite Song: “Frank’s Wild Years” (by default)* Swordfishtrombones is a deep dive into Tom Waits’ most bizarre, theatrical tendencies—and I believe it wasn’t exactly a pleasant swim. With most tracks falling in the 2 to 5 range, it’s clear the off-kilter instrumentation, gruff vocals, and abstract songwriting didn’t land for you. “Frank’s Wild Years” stands out slightly above the rest, mostly for its storytelling charm, but even that doesn’t seem to redeem an album that you found more alienating than engaging. There’s no doubt this record is intentionally strange, and in the right context, that strangeness can feel like boundary-pushing artistry. But based on my scores, the relentless weirdness came across more as exhausting than adventurous. The album sacrifices melody for mood, coherence for character, and risks leaving the listener behind in the process. For fans of jagged carnival sounds and whiskey-soaked monologues, Swordfishtrombones is a cult classic—for you, it sounds like a misfire.

461 Ocean Boulevard – Eric Clapton (1974) | Blues Rock / Soft Rock | Avg: 6.39 | Favorite Song: “Let It Grow” 461 Ocean Boulevard is Clapton in cruise control—mellow, polished, and occasionally moving, but not exactly pushing any boundaries. “Let It Grow” is the clear emotional centerpiece here, offering a bit more depth and dynamic than most of what surrounds it. The rest of the album, though, is pretty middle-of-the-road. It’s clean, easy listening, and largely inoffensive, but from a reviewer’s perspective, that smoothness often reads as stagnation. There’s a sense that Clapton’s playing it safe, content to vibe rather than stretch. The blues influences are still there, but they’re softened—stripped of urgency and grit. That works fine for background listening, but when you sit with it critically, it starts to feel a little hollow. A few of the deeper cuts rise above the haze, but they’re not enough to elevate the album beyond “pleasant.” It’s competent, sure, and it has a couple strong moments, but it’s ultimately the kind of record that leaves little behind once it’s over.

Feast of Wire – Calexico (2003) | Americana / Tex-Mex / Indie Rock | Avg: 7.43 | Favorite Song: “Sunken Waltz”* Feast of Wire is one of those albums that quietly opens up its world the deeper you go into it. Your ratings show a steady appreciation across the tracklist, with almost no major dips—just smooth, sun-drenched consistency. “Sunken Waltz” leads the pack as the clear favorite, and it makes sense: its sparse yet evocative arrangement captures the album’s desert mood perfectly. Songs like “Not Even Stevie Nicks…” and “Black Heart” reinforce that strength, blending spaghetti-western atmospheres with cinematic melancholy. What stands out most is how Calexico manages to balance subtle experimentation with grounded songwriting. Even the instrumental or interlude-like tracks seem to add texture rather than drag things down, which is rare for an album with such a broad sonic palette. It’s the kind of record that never shouts but still feels fully formed, layered, and immersive. Feast of Wire doesn’t rely on highs and lows—it flows like a slow-moving train across a beautiful landscape, always in motion, always deliberate.

Stories from the City, Stories from the Sea – PJ Harvey (2000) | Alternative Rock | Avg: 5.58 | Favorite Song: “You Said Something” This PJ Harvey album feels like her attempt at accessibility—cleaner, more melodic, and far less abrasive than Rid of Me—but based on your ratings, it doesn’t seem to fully deliver. “You Said Something” emerges as the high point, bringing a sense of clarity and emotional warmth that much of the album lacks. A few other tracks inch toward that 7 range, but most settle firmly in the mid-5s, suggesting that while the album is more listenable than some of her earlier work, it doesn’t necessarily strike a deep chord either. There’s a recurring feeling here of almost—but not quite. The songwriting is solid, the vocals are emotive, and the production is clean, but the spark isn’t always there. It’s the kind of album that plays well in the background but rarely demands attention. Compared to Harvey’s more intense records, Stories from the City is undeniably more approachable, yet that smoothness might be what holds it back. It’s a competent listen, just not a gripping one.

Slanted and Enchanted – Pavement (1992) | Lo-Fi Indie Rock / Noise Pop | Avg: 4.97 | Favorite Song: “Here” Alright, let’s be real—Slanted and Enchanted might be a lo-fi indie milestone, but for me, it was more miss than hit. “Here” stands out as the one track that really connects, and it’s no coincidence that it’s also the most emotionally grounded and melodically focused moment on the record. The rest? It feels like a mess—self-consciously sloppy in a way that often crosses the line from charming to careless. There’s a fine art to sounding loose without sounding lazy, and Pavement dances on that edge a bit too recklessly here. I get the appeal: the drawling vocals, the fragmented songwriting, the off-kilter attitude—it’s all part of the anti-polish aesthetic. But when song after song blurs into the same detached haze, it starts to wear thin fast. The wit and irreverence only go so far when the hooks aren’t strong enough to carry the weight. From a reviewer’s lens, I respect what it represents more than how it actually sounds. Slanted and Enchanted may be a cult classic, but for me, it felt more like homework than a hangout. I get the appeal: the drawling vocals, the fragmented songwriting, the off-kilter attitude—it’s all part of the anti-polish aesthetic. But when song after song blurs into the same detached haze, it starts to wear thin fast. The wit and irreverence only go so far when the hooks aren’t strong enough to carry the weight. From a reviewer’s lens, I respect what it represents more than how it actually sounds. Slanted and Enchanted may be a cult classic, but for me, it felt more like homework than a hangout.

HMS Fable – Shack (1999) | Britpop / Indie Rock | Avg: 6.65 | Favorite Song: “Natalie’s Party”* HMS Fable sits in that middle ground where solid songwriting and likable melodies carry the weight, even if the album doesn’t push any boundaries. “Natalie’s Party” shines through as your favorite, and it makes sense—it’s one of the few tracks here that feels fully realized, with a memorable hook and genuine energy. The rest of the album hovers mostly in the mid-6 to 7 range, suggesting a smooth, enjoyable listen without a ton of standout moments. It’s competent and occasionally charming, but not particularly daring. There’s a bittersweet, reflective tone across the record that gives it a consistent emotional color, which can work both for and against it. Some songs start to blend into each other by the back half, and that sense of sameness is likely why a few tracks dipped closer to the low-6 range. Still, Shack clearly knows how to write from the heart, and while HMS Fable may not be a top-tier Britpop album, it has a sincerity and melodic sensibility that keeps it grounded and likable.

Fear of Music – Talking Heads (1979) | Post-Punk / Art Rock | Avg: 4.95 | Favorite Song: “I Zimbra”* Fear of Music is the sound of a band pushing boundaries, but this one didn’t fully connect. “I Zimbra” leads the charge with its manic polyrhythms and hypnotic energy—by far the most engaging moment here. Beyond that, the album seems to struggle with tonal consistency. With most tracks sitting in the 4 to 5 range, it feels like the experimental edge often comes at the expense of memorable songwriting. There’s ambition, for sure, but it doesn’t always land in a satisfying way. That said, you can still hear the groundwork being laid for the band’s stronger future material. There’s a rawness to songs like “Mind” and “Air” that could be appreciated on a conceptual level, even if they don’t have the replay value of later classics. Fear of Music may be respected for its artistic risks, but based on your scores, it sounds like it ends up more frustrating than rewarding. Fear of Music is an album caught between innovation and accessibility that never quite finds the sweet spot.

Screamadelica – Primal Scream (1991) | Psychedelic Rock / Dance-Rock | Avg: 7.52 | Favorite Song: “Movin’ On Up” Screamadelica is an album that feels like a rave filtered through a gospel lens, and your scores suggest you appreciated both the vibe and the variety. “Movin’ On Up” starts things off on a high note, setting a euphoric tone that carries through much of the project. With most tracks landing comfortably in the 7 to 8.5 range, it’s clear the blend of psychedelic textures, house beats, and blissed-out melodies hit the right balance for you. The production is immersive without losing structure, and even at its most spaced-out, it rarely loses direction. What’s interesting is how consistent the mood stays despite the album pulling from so many genres. Whether it’s the dubby grooves of “Higher Than the Sun” or the gospel-tinged “Come Together,” there’s always a pulse driving it forward. The lack of filler is impressive too—interludes aside, nearly every track seems to serve a purpose. Screamadelica isn’t just a vibe album; it’s one that knows how to stretch that vibe across an entire runtime without wearing it out. It’s spiritual, it’s danceable, and it still feels fresh.

Dry – PJ Harvey (1992) | Alternative Rock / Punk Blues | Avg: 6.0 | Favorite Song: “Dress” Dry is raw, unfiltered, and full of intention, but it doesn’t always translate into something I want to revisit. “Dress” was easily the standout for me: it’s sharp, tense, and truly delivers on the album’s ferocity. That track feels like PJ Harvey at her best: emotionally direct, dynamically arranged, and completely captivating. But much of the rest of the record feels stuck in first gear—spirited, yet often repetitive and lacking nuance. From a reviewer’s perspective, I understand the appeal. There’s a kind of righteous anger and stripped-down intensity that was clearly making room for something different in early-’90s rock. But overall, Dry feels more like a blueprint than a breakthrough. The energy is there, but the songwriting doesn’t always hit with the same accuracy or emotional depth. It’s a bold debut, no doubt, but it seems more important than essential.

The Who Sell Out – The Who (1967) | Psychedelic Rock / Mod Rock | Avg: 5.19 | Favorite Song: “I Can See for Miles”* The Who Sell Out is a concept album full of quirky charm and satirical ambition, but your ratings suggest the execution didn’t quite match the concept’s potential. “I Can See for Miles” is the obvious highlight here—it’s the one track that delivers on both sonic punch and melodic memorability. Beyond that, the record struggles to maintain momentum. With most tracks falling into the 4 to 6 range, it seems the fake radio commercial interludes and stylistic experimentation didn’t fully resonate. There’s certainly a playfulness in this album’s DNA, and for some listeners, that might be enough. But from your perspective, the novelty wears thin quickly, and many of the songs fail to leave a lasting impression. The whole thing feels more like a collage of clever ideas than a cohesive musical statement. While it earns points for creativity, The Who Sell Out ultimately lands in the middle of the road, occasionally entertaining but largely forgettable in the long run.

The Chronic – Dr. Dre (1992) | West Coast Hip-Hop / G-Funk | Avg: 7.29 | Favorite Song: “Nuthin’ but a ‘G’ Thang”* The Chronic is one of the most important hip-hop records of the ‘90s, and your ratings make it clear that it still holds up well today. “Nuthin’ but a ‘G’ Thang” is the obvious standout. It's slick, smooth, and effortlessly cool; it’s the blueprint for G-Funk done right. Most of the tracks land solidly in the 7 to 8 range, which suggests you found Dre’s laid-back, bass-heavy production consistently engaging, even if not every track hits with the same force. While the album is front-loaded with iconic moments, your ratings also reflect how the second half has more of a steady groove than jaw-dropping highs. Some of the unrated tracks likely serve as skits or interludes, which are part of the album’s texture but not necessarily worth scoring. Still, The Chronic holds its place as a vibe-heavy, genre-shaping project. Even with a few dips in momentum, it’s packed with memorable hooks, unmistakable atmosphere, and a cultural swagger that still resonates decades later.

Whatever People Say I Am, That’s What I’m Not – Arctic Monkeys (2006) | Indie Rock / Garage Rock | Avg: 6.73 | Favorite Song: “Mardy Bum”* This debut is fast, sharp, and undeniably confident, and mostly solid, with a few standout moments. “Mardy Bum” rises above the rest with its laid-back charm and subtle emotional pull—arguably the most well-rounded song on the album. A handful of other tracks like “A Certain Romance” and “When the Sun Goes Down” land in the upper range as well, proving that the band had more than just punchy riffs going for them. There’s a clear voice here, even if the tone can feel one-note at times. Much of the album settles in the 6 to 7 range, which makes sense for a project that’s more about youthful energy than compositional depth. Some of the songs blur together in their pacing and vocal delivery, and while that adds to the unified aesthetic, it also limits the emotional variety. Still, it’s easy to hear why this hit like a jolt of electricity back in the mid-2000s. It’s messy, brash, and undeniably fun—even if it doesn’t fully break free from its own attitude.

Bitte Orca – Dirty Projectors (2009) | Experimental Pop / Indie Rock | Avg: 7.06 | Favorite Song: “Stillness Is the Move”* Bitte Orca is one of those albums that feels like it’s constantly shifting under your feet; it's inventive, intricate, and occasionally polarizing. “Stillness Is the Move” stands tall as the crown jewel, where the band’s off-kilter rhythms and vocal layering suddenly snap into something deeply catchy and emotionally resonant. Your scores show a solid appreciation across the board, with most tracks falling in the mid-6 to 8 range, suggesting that while not every experiment lands, the record succeeds more often than it stumbles. There’s a cerebral quality to this album, and at times it does ask for a bit of patience. Tracks like “Temecula Sunrise” and “No Intention” show how the band balances complexity with bursts of groove and melody. But it’s also easy to see how the slightly lower scores reflect moments where the eccentricity overshadows accessibility. Still, the album’s ambition is part of its charm. Bitte Orca doesn’t aim to please everyone; it aims to push boundaries, and in doing so, it creates some stunning highs and a genuinely original sonic world.

Fear of a Black Planet – Public Enemy (1990) | Political Hip-Hop | Avg: 7.79 | Favorite Songs: “Fight the Power” and “Burn Hollywood Burn” Fear of a Black Planet is a wall of sound; dense, aggressive, and unapologetically political. I have a strong appreciation for the album’s high points, with multiple tracks in the 8 to 10 range, and “Fight the Power” and “Burn Hollywood Burn” standing out as massive, culture-defining moments. The Bomb Squad’s production is relentless, layered with samples and noise that give the album its chaotic energy, while Chuck D’s voice cuts through with commanding urgency. It’s a record that hits hard and leaves no room for indifference. Even with a few lower-scoring tracks scattered throughout, the consistency in the top-tier cuts demonstrates the project's real impact. Songs like “Brothers Gonna Work It Out” and “Power to the People” continue the fire without feeling repetitive. There’s a focused fury behind everything here, and while the density might be overwhelming at times, it’s also what gives the album its lasting weight. It’s not just a classic because of its message—it’s a classic because it sounds like nothing else, and still resonates today.

Rid of Me – PJ Harvey (1993) | Alternative Rock / Noise Rock | Avg: 5.38 | Favorite Song: “Rub ‘Til It Bleeds”* Rid of Me is a brutal, jagged listen. My personal score reflects just how abrasive and uneven the experience can be. “Rub ‘Til It Bleeds” stands out as the one moment where PJ Harvey’s raw intensity feels locked-in and purposeful, rather than overwhelming. Elsewhere, the album veers between chaotic and disjointed, with several tracks landing in the 4 to 5 range. There’s definitely a daring edge here, but it’s not always the kind that invites repeat listens. That said, the album isn’t without merit. When the production clears enough space for the songwriting to breathe—like in “Man-Size Sextet” or “50ft Queenie”—there are glimpses of something more impactful. But overall, the project often feels like it’s prioritizing shock and rawness over structure or replay value. It’s aggressive, confrontational, and emotionally charged, but not always in a way that rewards you for sticking around. For fans of primal catharsis, it might be gold—for everyone else, it’s a tough ride.

Music from Big Pink – The Band (1968) | Roots Rock / Americana | Avg: 6.18 | Favorite Song: “Chest Fever”* Music from Big Pink feels like an album where the mood and influence outweigh the moment-to-moment excitement. There’s a warm, earthy tone that runs through most of the project, and your ratings suggest it peaks in short bursts—most notably with “Chest Fever,” which brings a much-needed shot of energy and color. “The Weight” may be the better-known track, but it’s songs like “Chest Fever” and “I Shall Be Released” that seem to showcase The Band’s knack for blending gospel, rock, and rustic storytelling. Still, much of the album falls within the 5 to 6 range, which suggests a lack of variety. It often feels more like a collection of songs meant for quiet reflection rather than an album that pushes boundaries or grabs your attention. That’s not necessarily a bad thing. It’s a foundational roots rock record, but it might not always hit as hard today without the historical context. There’s soul and sincerity here, but also a noticeable drag in pacing that keeps it from reaching its full potential.

Q: Are We Not Men? A: We Are Devo! – Devo (1978) | New Wave / Post-Punk | Avg: 6.55 | Favorite Song: “Uncontrollable Urge” Devo’s debut is raw, twitchy, and proudly unpolished, and your scores reflect that mix of charm and inconsistency. “Uncontrollable Urge” jumps out as the obvious highlight—it’s kinetic and tightly wound, setting the pace for an album that thrives on nervous energy. Tracks like “Gut Feeling” and “Mongoloid” maintain the momentum, offering enough melody to balance out the more erratic tendencies. There’s a playful absurdity running through the whole project that’s either invigorating or irritating, depending on your tolerance for controlled chaos. That said, the back half noticeably dips, with several tracks hovering around the 5 or lower mark. It’s the kind of album that starts strong, delivers its thesis early, and then overstays its welcome just a bit. Still, Are We Not Men? feels like a necessary document of post-punk evolution—its jagged edges and robotic delivery would go on to influence countless bands. It might not land every punch, but the jabs are weird enough to leave a mark.

Endtroducing….. – DJ Shadow (1996) | Instrumental Hip-Hop / Trip-Hop | Avg: 7.85 | Favorite Song: “Midnight in a Perfect World”* Endtroducing….. feels like a sonic collage that’s as moody and hypnotic as it is meticulously crafted. Even with a few tracks unscored, the ratings paint a clear picture of consistency, with most songs sitting in the 7 to 9 range. “Midnight in a Perfect World” stands out as the pinnacle of the record; it’s eerie, soulful, and beautifully layered, capturing the dreamlike aura that makes this album a standout in instrumental hip-hop. There’s an emotional weight here that sneaks up on you, track after track, as if you’re drifting through a late-night radio broadcast from another dimension. What’s interesting is the number of interludes, and how it doesn't seem to disrupt the flow. That might actually speak to the seamless transitions and ambient cohesion of the project. DJ Shadow isn’t throwing out obvious bangers, but instead building a mood that lingers. This isn’t an album where every track demands attention; it’s more about the experience as a whole. And while that means some moments blur together, the consistency and intention behind the production make Endtroducing….. a landmark listen in its genre, especially for those who like their beats introspective and cinematic.

Tusk – Fleetwood Mac (1979) | Rock | Avg: 6.97 | Favorite Song: “Sara” Fleetwood Mac’s Tusk is one of those albums that feels like a creative unraveling—sometimes stunning, sometimes uneven, but always fascinating to witness. Based on the song ratings, there’s a strong mid-album core where “Sara” clearly stands out with its lush, haunting beauty. It’s the kind of track that reminds you why this band could still hit emotional high notes even while going off the rails creatively. Surrounding tracks like “Storms,” “Sisters of the Moon,” and “Beautiful Child” also hold up well, suggesting a more atmospheric and reflective side to the album that’s easy to get lost in. That said, there’s a clear inconsistency throughout the runtime. A handful of songs hover in the 5 to 6 range, which brings the overall energy down and makes the album feel bloated at times. It’s not that these tracks are bad, but rather that they pale next to the highlights. You can really feel Lindsey Buckingham’s experimental edge rubbing up against Stevie Nicks’ and Christine McVie’s more melodic tendencies, and the push-pull can be both compelling and chaotic. Overall, Tusk is an ambitious project that doesn’t always stick the landing, but when it does, it’s magic

Oar – Skip Spence (1969) | Psychedelic Folk / Outsider Music | Avg: 4.7 | Favorite Song: “Books of Moses” This was a challenging listen. Oar is the kind of album where you can tell something very genuine is happening beneath the surface, but it’s so fragmented and unstable that it rarely fully connects. “Books of Moses” was the only track that really stood out to me. It’s haunting, focused, and finally gives the album some weight. Most of the other songs drift by like unfinished thoughts. There’s a constant sense of emotional collapse, which is interesting in theory but, in practice, makes the album feel more like a record of deterioration than something I’d want to revisit. I understand why it has a cult following: Oar is raw, personal, and completely unfiltered. But from a reviewer’s perspective, it’s also one of the most confusing albums I’ve encountered. It’s not that I need perfection, but I do need something to hold onto, and this album rarely offers that. If you’re really into outsider art, it might resonate differently, but for me, it felt more like an intriguing failure than a hidden treasure.

Frank – Amy Winehouse (2003) | Neo-Soul / Jazz-Pop | Avg: 6.19 | Favorite Song: “In My Bed” What stood out to me was how raw and unfiltered it feels, but not always in a way that works. “In My Bed” was the highlight without question. It has this smoky, confident swagger, and the production finally matches Amy’s emotional intensity. You can sense that future greatness bubbling up in this track. The problem is, the rest of the album doesn’t consistently reach that level. Much of it settles into a mid-tempo haze that feels more like potential than a payoff. From a reviewer’s perspective, I see this record more as a stepping stone than a final destination. The jazz influence is intriguing but sometimes makes the album feel more aimless than polished. Lyrically, Amy’s sharp wit is already evident, but the hooks aren’t as sharp, and the pacing slows down at times. There’s enough here to make it worth revisiting, especially if you’re exploring her artistic development. But on its own, Frank is an uneven debut that flashes brilliance without fully settling into it.

CrazySexyCool – TLC (1994) | R&B / Hip-Hop Soul | Avg: 7.77 | Favorite Song: “Waterfalls” So with CrazySexyCool, what really struck me was how smooth and self-assured it feels, even thirty years later. The production is clean, warm, and consistently serves the group’s chemistry, which is probably the album’s biggest strength. “Waterfalls” was the clear standout for me; iconic for a reason. It’s not just catchy, it’s conceptually tight and emotionally grounded in a way that gives the whole record more weight. Most tracks fell within the 7 to 8.5 range for me, and that consistency speaks to how well the group managed to blend sensuality, confidence, and vulnerability throughout the project. From a reviewer’s standpoint, I think this album nails what a mainstream R&B record should be: accessible without being shallow, polished without losing its edge. Even the moments I didn’t score weren’t duds—they just felt more transitional or interlude-like. There’s a clarity of identity here that’s hard not to admire. TLC knew precisely what kind of album they were making, and they pulled it off with an effortless cool that’s still hard to replicate.

Station to Station – David Bowie (1976) | Art Rock / Funk Rock / Krautrock | Avg: 7.58 | Favorite Song: “Wild Is the Wind”* Station to Station might be one of Bowie’s most seamless blends of style and transformation. You can feel him pulling away from glam and leaning into something colder, more theatrical, and more compositionally daring. The title track sets the tone—ten minutes of tension and slow-build that eases you into the rest of the record’s strange, elegant sprawl. There’s funk, there’s krautrock rigidity, and there’s a real sense that Bowie’s persona is shifting right in front of you. But the moment that floored me most was the closer, “Wild Is the Wind.” Even though it’s not his original song, it might be one of Bowie’s greatest vocal performances. It’s tender, aching, and completely exposed in a way the rest of the album only hints at. That one track reframes the whole project emotionally. I see Station to Station by David Bowie not just as a pivotal Bowie album, but as one of his most subtly ambitious works—caught between personas, but locked in artistically.

1977 – Ash (1996) | Britpop / Punk Pop / Alternative Rock | Avg: 6.36 | Favorite Song: “Girl from Mars” 1977 is scrappy, hooky, and packed with the kind of youthful urgency that defines a debut like this. “Girl from Mars” easily rose to the top for me. It’s got that perfect mix of melody and punch, and it captures everything Ash does well in under four minutes. There’s an infectious energy across the album, and when the band is locked in, they really hit a sweet spot between pop catchiness and garage-rock grit. That said, the consistency isn’t quite there. A handful of tracks in the middle and toward the end start to blur together, either losing steam or leaning too heavily on attitude without enough substance. It’s fun, but sometimes a little shallow. Still, even with its uneven pacing, 1977 has a charm that’s hard to deny. It doesn’t try to be deep. It's Ash wanting to be loud, fast, and fun. And when it sticks to that formula, it delivers.

Steve McQueen – Prefab Sprout (1985) | Pop / New Wave | Avg: 6.55 | Favorite Song: “Bonny” Steve McQueen has a distinct charm: clean, intricate production, clever lyrics, and a softness that’s easy to sink into. “Bonny” stood out as the highlight for me. It’s understated but emotionally sharp, and it captures the kind of fragile optimism the album flirts with throughout. The first half in general hits a strong stride; the arrangements are thoughtful, the melodies memorable, and it walks that sophisti-pop line without ever tipping into blandness. Where it lost me a bit was in the back half. A few tracks felt underdeveloped or too restrained to leave much of a mark. There’s a fine line between subtle and forgettable, and this album occasionally slips into the latter. Still, the polish and songwriting quality are undeniable. It’s a record that knows exactly what it wants to be, even if it doesn’t always hold my attention all the way through. A solid listen, with real high points worth revisiting at some point.

Isn’t Anything – My Bloody Valentine (1988) | Shoegaze / Noise Pop | Avg: 5.91 | Favorite Song: “(When You Wake) You’re Still In a Dream” Isn’t Anything feels like a record caught between two worlds. It’s noisy, reverb-drenched, and often intentionally disorienting, but not quite as transportive or enveloping as what they’d later accomplish on Loveless. There are moments here that genuinely intrigued me—tracks where the textures lock in and the emotion starts to peek through—but just as often, the songs drift into that muddy middle ground where the fuzz overpowers everything else. “(When You Wake) You’re Still In a Dream” was the clear standout for me. It’s the one moment where the haze lifts just enough to let the melody shine through. There’s a perfect balance of noise and structure there that I wish the rest of the album hit more often. The lyrics are a bit more tame and written a bit better on this track compared to the rest. I can appreciate what this album was going for, especially considering where it sits in the broader shoegaze timeline. The experimentation is already present, and the groundwork is being laid, but the full vision isn’t quite there yet. The inconsistency in my scores reflects that push and pull. Some cuts hit with hypnotic clarity, while others feel like sketches wrapped in a wall of sound. It’s a fascinating listen historically, but not one that fully clicked for me on its own.

At San Quentin – Johnny Cash (1969) | Country / Rockabilly / Live Album | Avg: 8 | Favorite Song: I Walk the Line At San Quentin is clearly trying to recapture the lightning-in-a-bottle energy of At Folsom Prison, and while it definitely has its moments, it doesn’t quite reach the same heights. The performance is strong, the crowd is electric, and Cash sounds fully committed, but something about it just doesn’t reel me in the same way. The rawness is still there, but the emotional gravity that made Folsom so compelling feels a bit more scattered here. That’s not to say this isn’t a quality live album; it absolutely is. There are standout moments and plenty of that rebellious spark you want from a Johnny Cash prison recording. But San Quentin feels more like a sequel trying to live up to a legacy rather than an experience carving out its own. It captures a lot of the surface energy, but doesn’t dig quite as deep. Still, it’s a powerful listen with undeniable historical weight. It just lives in the shadow of the album that came before it. All's that to say I'd still give it 4/5 stars.

Beyond Skin – Nitin Sawhney (1999) | Electronic / World Fusion / Multi-Genre | Avg: 7.05 | Favorite Song: “Broken Skin”* This album really had me going back and forth. Beyond Skin is ambitious in scope and sonically diverse to the point of whiplash—sometimes in a good way, sometimes not. The opener, “Broken Skin,” hit me right away. It’s soulful, cinematic, and sets a strong emotional tone. But as the album unfolds, it becomes clear that this record is juggling a lot: smooth vocal ballads, sharp political interludes, abstract beat experiments, and some spoken word and rapping that doesn’t always feel locked in. From a reviewer’s standpoint, this is definitely a “high ceiling, wide floor” kind of album. When it lands, it’s powerful and inventive. But when it misses, it can feel unfocused or even grating. Some of the vocal textures hit the ear in a weird way, and a few moments felt like they were going for meaning over musicality. Still, I admire the intent behind all of it. Beyond Skin is aiming for something personal and global at once, and while it doesn’t always stick the landing, there’s a lot here that’s worth sitting with.

2112 – Rush (1976) | Progressive Rock / Hard Rock | Avg: 8.14 | Favorite Song: “2112” (Title Track) 2112 is Rush at their most unapologetically ambitious, and it works way more often than it should. The title track, the full 20-minute opener, is the clear highlight for me. It’s ridiculous, overblown, and completely locked in. Every movement of that suite feels intentional, whether it’s the whispered sci-fi drama or the explosive instrumental breaks. It’s a prog rock odyssey that somehow doesn’t overstay its welcome, which is no small feat for a track that long. The rest of the album plays backup to the title track, and while nothing quite reaches those heights, it all still holds its own. Songs like “A Passage to Bangkok” and “Something for Nothing” keep the energy high and the musicianship sharp. From a reviewer’s lens, this is the album where Rush truly became Rush. They're nerdy, technical, philosophical, and totally unafraid to lean into excess. But the difference is, they make it fun. 2112 isn’t just a prog milestone, it’s a blueprint for how to go big without losing your grip.

Arc of a Diver – Steve Winwood (1980) | Soft Rock / Blue-Eyed Soul / Synth Pop | Avg: 6.43 | Favorite Song: "Slowdown Sundown" Arc of a Diver was a pleasant surprise—nothing mindblowing, but definitely an enjoyable listen from start to finish. There’s a laid-back groove running through the whole record that just sits nicely in the ears. It’s warm, clean, and totally unbothered by flashiness. The production is smooth in that early-’80s soft rock way, and while it doesn’t reinvent anything, it does a good job of staying in its lane and doing that sound well. As a reviewer, I’d say this is one of those albums that succeeds by keeping things simple. The songwriting isn’t particularly bold, and the pacing doesn’t shift much, but that consistency kind of becomes its strength. It’s not an album I’d rave about, but I wouldn’t skip it either. It fills a niche—relaxed, pleasant, musically competent, and good for setting a mellow mood. Not essential, but definitely worth a spin.

Black Holes and Revelations – Muse (2006) | Alternative Rock / Space Rock | Avg: 9 | Favorite Song: “Invincible” This one absolutely blew me away. Black Holes and Revelations is everything I want from a concept-driven rock album. It's massive in scale, tightly constructed, and emotionally charged without losing its sense of drama. What really stood out to me was the way Muse shifts between cosmic grandeur and grounded urgency. “Soldier’s Poem” brings everything back to Earth, only to build that tension into a full-on rallying cry. It’s a smart, emotional pivot that gives the second half of the record real momentum. And “Invincible” ended up being my favorite: easily one of their most uplifting and anthemic tracks, and it lands with purpose. From a reviewer’s standpoint, it’s rare to see this level of sonic ambition land so cleanly. The production is astronomical, thanks to its use of wide-open synths, crunching guitars, and operatic vocals, but none of it feels bloated. Muse makes space sound militant and melodic at the same time, and it works. This is the kind of album that feels generational. It captures that post-millennium anxiety, but does it with such scale and clarity that it still hits just as hard now. Spectacular stuff.