Really interesting record. Starts with some big band era swing, moves through golden era Blue Note bebop and ends with my favorite track, the post-bop 'Sameeda.' It's blowing my mind that this came out in 1986. It sounds like something from the mid 60s. The trumpet and saxophone are what make this project sing. But the group as a while is very tight.

This is strange collection of so songs. Little Miss Strange could have been a Beatles show by. Burning of the Midnight Lamp pulls out some mid 60s British invasion psychedelia. There's jazz, there's blues rock. And there are the stone cold classics everyone loves. Hendrix as a guitarist and vocalist is amazing. Especially in his most focused moments. But a lot of this feels unfocused. What the fuck is 1983? For as long as the track is, almost nothing happens until the very end. This is a tough one. That final three song run is really good. And All Along the Watchtower still stands as one of the greatest songs of all time. But the album as a whole is kind of a mess with glimpses of genius.

Slim Shady self reflecting on his persona, toxic fandom, and the unintentional effects his lyrics have on people who don't understand that it's not meant to be taken seriously. And also, it's still incredibly violent, misogynistic, and homophobic. Eminem has undeniable talent. His use of different rhyme schemes is impressive. And he drops so many memorable bars. Dre's production here is great. It screams 2000, but it's still very solid. All that being said, the content is ROUGH. I didn't really like it when it came out, and it's still hard to listen to now.

This album is wild. I'm all in for the high concept sci-fi part of it. Musically it's all over the place. Hip hop, pop, funk, rock, samba, circus, punk. Seriously not what I expected. It's very theatrical. I dig it.

I didn't like this album when it came out, I don't like it now. Bowie was inspired by To Pimp a Butterfly and Death Grips while recording this, which is intriguing. But it doesn't make me like it anymore. I love the jazz group he hired to play the music. They are super dialed in. The drummer is especially tight. I'd give this a higher rating if it was just instrumental. The last track is the most Bowie sounding, and it hits harder because it was the last song to be released before he died.

Listening to Hotel California is my Hotel California. I feel trapped and unable to leave. They are undoubtedly good musicians. But this is cheesy and the music is overplayed. If I never heard the song Hotel California again in my life I could die happy.

That they could sound this good and tight without in ear monitors or auto tune is a testament to how good these musicians were. What I wouldn't give to sit in on this show. This album gave me stank face the whole listen through.

My uncle has an Adam and the Ants record that I remember spending a lot of time staring at when I was a kid. But this is the first time I've listened to them. It's fine. There's some interesting stuff. 'Don't Be Square Be There' is ultra catchy and the baseline is incredible. I liked the sample on 'Killer in the Home.' but most of this just runs together. And what the fuck is Jolly Roger? New Wave pirate music sucks.

I believe there is an audience for noise rock. I'm not that audience. I do dig Dracula Mountain and Two Towers though.

I wore this tape out in high school working out in my basement. It's so singable. The three track run at the beginning is unbeatable. This is peak new wave. Which may not be everyone's cup of tea. I love the synths, the hand claps, the at times country sounding guitar, and the unique sound of Ocasek's voice. Of all the skippable songs played on classic rock radio, I'm never turning off Thee Cars.

Ho boy, I am not a fan of Joni Mitchell. I just can't do the rambling run-on stream-ot-consciousness poetry.

Welcome to elevator hell. Hope you like the music.

It's hard for me to be objective in reviewing this album. It was the soundtrack to my junior and senior year of high school. But 22 years later I can say with confidence, this is not a 'you had to be there' album. It's an all time rock and roll classic regardless of age and era. Time Travel with me back to 2003 when garage rock and The The bands were all the rage. The White Stripes, The Strokes, The Vines, The Hives, The Yeah Yeah Yeahs, etc. These bands and music videos were all over MTV. Who was going to rise to the top? Enter Seven Nation Army. Before the song was ubiquitous, and before it had been co-opted by high school bands and sports teams, it electrified the nation, reminding us how good simple rock and roll could be. That's a hook to remember. And Elephant could have easily ridden that single to the heights it got even if the rest of the album was mediocre. But this is not a single only album. From the other hard rock songs like Black Math and There's No Home For You Here to the softer tracks like You've Got Her In Your Pocket and even the Meg song In The Cold Cold Night, the album covers a lot of ground and does it really, really well. For my money, Ball and Biscuit is the best White Stripes song and can stand alongside the best rock songs of all time. I'm listening to this on earbuds while getting my kids ready for school and having the same visceral reaction to it as I did when I was a 17 year old. That should say something because there's a lot of music I listened to then that no longer hits. The White Stripes rule. Long live Jack White, rock guitar's weird uncle who continues to keep the genre alive decades on.

Quintessential 60s garage, blues-tinged psychedelia. The guitar tones are so crisp and buttery at the same time. Janis is at the top of her screechy, wailing game, which may or may not be a selling point depending on how you feel about her. At times the songs feel unfocused. And there are a few clunky transitions between tracks. But this is a classic in the genre for a reason. It's wild that Rolling Stone originally panned this record.

Really solid brit pop/rock. Sprawling, experimental at times. I'm always surprised by the number of instrumental interludes.

If you don't listen to closely, it sounds like somewhat standard 60s British invasion, with psych elements. Occasionally they interject a 50s Doo-Wop and song. But then the kazoo kicks in which perks up the ears. Then pay attention to the words, and rlyou realize this is a weird fucking band. Which makes sense because it's a Zappa project. This is a lot more tolerable to me than Captain Beefheart (which I'm sure we will have to listen to at some point). I love this era of music and am a big fan of psych rock. But I don't love Zappa's weirdness for the sake of being weird. I do 💯 agree with the sentiment "I'm not black but there's a whole lot of times I wish I could say I'm not white."

This album sounds like 1999. I don't love dance music, so I had no problem listening to a minute of a track and then skipping. I do appreciate his use of old blues and gospel samples. Southside was a banger when it was on TRL. It still slaps now. Honey, Natural Blues, Bodyrock, and Run On are still great tracks. I didn't like Porcelain when it came out, and I still don't enjoy it.

Sexy music made by nerds for nerds. I loved this when it came out; I love it now. It's so funky and smooth. Thundercat is a phenomenal bass player. The combination of jazz, r and b, and hip-hop just hits a sweet spot for me. He's undoubtedly a weird dude, but it feels like more of a genuine weirdness. This is who he is, living his best life. This is as opposed to Zappa, who used weirdness to provoke in a way that felt disingenuous. Also, Michael McDonald? That's a killer guest spot.

The production is so crisp. There's a reason Premier is one of the best and most sought after producers in the game. This is just top notch jazzy boom nap. Guru is also a great rapper. He manages to carry the album's vocals by himself and drops fire bars after bars. The 91-93 run in hip hop history has some of my absolute favorites.

I have never listened to anything by DMR except Come on Eileen. I probably never would have. But this was pretty good. There were a couple throwaway songs (including the one that sampled Werewolves of London) but most of it was really solid. I love Rowlands voice. Reminds me of Orville Peck. I will be returning to this.

If you close your eyes and take out Jay Moe's vocals, Peace Frog would make a great Cake song. This album is weird and all over the place, just like the Doors. The song transitions are crazy, from super high to super mellow (roadhouse blues-waiting for the sun, Peace Frog-Blue Sunday), but I think it works. The back half slows down after Land Ho, but the songs themselves are still very good. There's just some stone cold classics on here: roadhouse blues, peace frog, land ho! But it's also good as an entire album. The mix of acid rock and blues is perfect, and it never drags, like some other Doors music

For such a legendary lineup, this is unfortunately boring standard brit rock. The only influence I hear here is from Damon Albarn. The rest of the band might as well be studio musicians.

This album makes me want to grow out a mullet and buy a jean jacket. It's not their best record, but it's quintessential Metallica. And it's the on that list the Grammy to Jethro Tull. The Grammys still can't get this category right. Hatfield is the king of thrash rhythm. And Hammett is a soloing monster. Everyone is tight through all the time signature changes thanks to Ulrichs direction. Essential Tracks: One, Harvester of Sorrows Skip:To Live Is To Die

I would never have listened to this album except that Ryan Adams released an entire cover album of it when it came out. I'm glad he did because I would have missed out on some really masterfully written pop songs. This is not the kind of music I would normally listen to. But I can't deny it's good. The pedigree of producers is top notch. The synthy 80s style maximalist pop and vocals are really fun. And it's catchy as hell. I'm not a Swiftie by any stretch of the imagination, but I will defend this album.

It's impossible for me to take Kiss seriously. I really liked them in high school. I skipped a soccer practice to see them and Aerosmith (and saliva weirdly enough) which came with a stiff 30 lap penalty the next day. Totally worth it. This sounds like music a high schooler would like. As a discerning adult, it's just cheese. That this got conservative Christian's panties in such a bunch is hilarious. There are multiple ballads in this beast that undermine any heavy persona they are trying to portray. Detroit Rock City still rips though. Bonus star for that song. But then Great Expectations rips that star away. So many of these tracks sound like Styx songs. Flaming Youth and Sweet Pain would fit right in on The Grand Illusion

Making Whoopee, a great song about fuckin' and it's consequences (spoiler alert, the consequence is children). It's Frank Sinatra, it's kind of hard to criticize. It's perfectly pleasant music from a different era. All the tracks glide one into another, which is probably intentional. Not my jam, but totally inoffensive. Pennies from Heaven is a stone cold classics. And Anything Goes is in Temple of Doom, so that song also gets a bump from me.

Really interesting record. Starts with some big band era swing, moves through golden era Blue Note bebop and ends with my favorite track, the post-bop 'Sameeda.' It's blowing my mind that this came out in 1986. It sounds like something from the mid 60s. The trumpet and saxophone are what make this project sing. But the group as a while is very tight.

Pretty ballsy to start the album with a long noodly guitar solo that at times seems to go nowhere. Guitar Hero has embedded Killer Queen permanently into my brain. But it's such a good song, I can still listen to it Lily of the Valley rips so does Now I'm here. Great combo of tracks. Bring back that Leroy Brown is...a weird choice. It's weird even for Queen, who are the queens of weird.

Don't worry, I won't hurt you. I only want you to have some fun. What a hell of a way to open an album . This album is pure party, pure sex, pure funk. Prince can really do everything. I wish he shredded more, since he definitely can. That's what makes him so good, he's shows a ridiculous amount of restraint, even while being bombastic. This album is all vibes that just build throughout the tracks. The funk bass, synth, and drum combo just move. It's wild this came out in 82. So much from that time and onward owes a debt to this record. There are no duds here.

I don't know how to rate world music. I don't have enough experience to know if something is 'good' or 'mid' or 'bad'. All I can ask is do I like it? Does it vibe? This vibes. But it also gets repetitive. And I'm not really sure what Cooder adds to the mix.

To me this sounds like early 2000s indie folk, thanks to it's connection with needle drops from movies I was watching at the time. It's hard to place it in it's actual setting, 1972. But understandable that amongst his British counterparts at the time, he wouldn't stand out. Which is too bad. This is beautiful music. Quiet, intimate, understated. He does a lot with a little. His wispy voice definitely sets the melancholic tone. I'd have to be in the mood for this. But looking outside, cold and wet, it appears that the mood is now. Did some digging. Man, his life was really, really sad.

Ooh, this is the kind of psych rock I can get behind. This album rules. The polyrhythms are off the charts. Every track feels like a journey. The horns! The hook on Is and Is and Is goes so hard.

I was pretty skeptical because all the connections to the white musician enlightenment thing. But there were some genuinely exciting passages. The guitar was pretty good. There are parts that just sound beautiful. The musicianship is there. And unlike the previous world music album, it's not repetitive. I started the day super skeptical, but now I'm on board

Wu Tang again? Yes, again and again! Depending on the day, this is my number one (or number 2) hip hop album of all time. The beats are so grimy and dusty and dialed in. The samples are so perfect. Kung Fu and hip hop? Yes Please. RZA's production on this will never be matched. The rhymes are insane. These guys just got in the booth for hours and looked for ways to one up each other. The skits are actually worth listening to. We get some of the most memorable hooks in all of hip hop. And just some of the best rappers who ever played the game. GZA, Raekwon, Ghostface Killah, Method Man! Are you kidding me?! We're introduced to ODB, raps insane dirty uncle who lays down some of the funniest bars. I have listened to this album countless times, and I still hear new things. 10/10. It's a perfect album

Oooh baby! This is peak -era Stevie Wonder. It's funky, it's jazzy, it's soulful, it's even a little weird at times. It doesn't have the heavy hitter singles of some of his other records around this time, but the songs are no less good. for my money, They Won't Go When I Go might be his most moving song. Speaking of moving, the backing band here is incredible. So tight. And that bass tone just sends me. Absolutely interstellar. It's a little down tempo at times and there are a couple tracks that drag. But this is still top tier Stevie.

Most of us are sad 🤮🤮.

So much noise and parts that go nowhere. Sonic Youth is pretty high up for me on bands I want to like but don't. I've listened to this album a number of times before, and it's just never caught on for me.

The one where the band exits 90s alternative and starts getting weird. Admittedly I'm a basic bitch and like The Bends more. But this album continues to grow on me with each successive listen. It's really densely layered, I know I'm missing some things. As much as I like sing a longs, there is something really satisfying about a record that rewards multiple close listens. *That Exit Music for a Film was written for Luhrmann's Romeo and Juliet might be one of the most 90s things of all time.

I'm an unabashed Soulquarian fanboy. Questlove and J Dilla in the same space? So much genius and skill there. And the music on this doesn't disappoint. The beats are so tight and complex. Everything is carefully constructed and dialed in. There isn't a single note out of place or extraneous part. That attention to detail they have here is inspiring. Now, Common on the other hand is not my favorite rapper. He's pretty middle of the pack, and his career is spotty. But man, they do manage to elevate him here. The blatant homophobia and misogyny is really, really unfortunate. It distracts from everything else that is so good. Cold-Blooded and The Light are just phenomenal songs.

I'm pretty burned out on most "classic rock" bands due to oversaturation, and Led Zeppelin is no exception. However... Immigration Song, Celebration Song, Since I've Been Living You and Out on the Tiles.. are just incredible rock and roll songs. Tangerine and That's the Way are beautiful, especially back to back. And then the album ends with two acoustic blues songs that are also really good, if not out of left field. The only skip for me is Friends, which isn't a bad song either It's hard to argue against Jimmy Page's talent. And Robert Plant's voice is about as recognizable as Brian Johnson's. There are many imitators. But only one RP (unless you count his female counterpart Janis Joplin). I honestly didn't expect to like this album as much as I do. The sequencing is a little weird, but that's a pretty small complaint.

It's disco Mike! Disco, Funk's popper, fancier cousin. It's hard to argue with the catchiness of these tracks. The horns and wiki-wiki guitars are a sexy combination. Michael has amazing breath control. I mean, there's a reason he is the king of pop. It's not something I'd put in regular rotation, but it is full of bangers. Besides the singles other tracks like Workin' Day and Night are pretty stellar.

Green Day's 'sellout' album. I mean, the singles on this defined punk in the 90s. Basket Case still hits as hard as the first time I heard it. Mike Dirnt is just annihilating his kit. Tre Cool is in the background shredding the bass. Billie Joe is about as intelligible as Eddie Vedder but you still want to sing along. You've got the whole MTV generation singing about masturbating. Non-single She is probably my favorite Green Day song. This is the definitive pre American Idiot Green Day album . What more do you want? Holy shit, I forgot about All By Myself. Hilarious and creepy.

Yacht rock fueled by kick ass musicianship and guitar wizardry.

Despite never having lived in NYC or used heroin, I really like The Velvet Underground. The band and the album. Pale Blue Eyes is one of the best love songs of all time.

Father and Son and Wild World are undeniable classics. Cat Stevens is a style, not my personal favorite, but not bad by any stretch

Upbeat Brit-rock, catchy enough and fairly pleasant to listen to. Some of this feels like 'you had to be there' music. I'm just wondering now if I don't really like 90s British music all that much, outside of Oasis and some odd singles (Blur, etc).

The live tag at the end of Head Over Heels is wild. This whole album feels like quintessential 80s synth pop, but it also feels better than that label

Man, this album rules. Coldplay have been around for so long, I sometimes forget they began here. And finally, some really interesting brit rock. Complex, poppy, and full of heart. Chris Martin has an amazing voice and great breath control. He knows when to hold back and when to go for it. I started to list all the great songs on here, and I realized I was just typing out the tracklist. I didn't realize how much I liked this album. Yellow is still an incredibly beautiful song 25 years later.

So funky, so soulful. The Temps were some of the best who ever did it. A vocal group where each guy had a special voice and new exactly where they fit in. And this is that special album where they're trying to tackle current issues. Which still hits even if we aren't in that same space. Dennis Edwards replaces David Ruffin, which is just such a sad situation. Ruffin was the voice for a time, but Edwards also brings a lot to the table. A little gruffer but all soul still. And the backing band totally crushes here. Hits all the right notes.

Progressive heavy metal Queen is really different. Brian May is just going for it. Everything is over the top. Which isn't necessarily bad. Fantasy themed lyrics feel strange coming from Mercury. And the whole thing feels ahead of its time. I need to give this another listen, but I like what I heard.

Fuck yeah, I love hardcore punk! Not as complex as Black Flag or as boundary pushing as Bad Brains. But for a first, it's good. Germs were never known for their musical prowess. And it's cool they actually got Darby Crash on tape, since he was notorious for doing everything but singing into the mic. His story is sad too, like Nick Drake. Some of the songs feel a little long. There's a reason hxc is known for one or two minutes tracks. If you don't like it, it will be over soon. But the attitude here is is undeniable.

Still in the classic Pixies era, with some unquestionable classic songs like Velouria, Alison, Dig for Fire, and Havalina. Is She Weird is one of my favorite tracks on the album. Not everything follows the quiet-loud-quiet Pixies formula, like Ana. But it's still there, if not slightly muted. They also dialed down the weirdness found in Surfer Rosa and Doolittle, which may be appealing to some (though I like the quirkiness). Despite not having their biggest hits, Bossanova is still a really straightforward, solid, and easily digestible Pixies album.

This is strange collection of so songs. Little Miss Strange could have been a Beatles show by. Burning of the Midnight Lamp pulls out some mid 60s British invasion psychedelia. There's jazz, there's blues rock. And there are the stone cold classics everyone loves. Hendrix as a guitarist and vocalist is amazing. Especially in his most focused moments. But a lot of this feels unfocused. What the fuck is 1983? For as long as the track is, almost nothing happens until the very end. This is a tough one. That final three song run is really good. And All Along the Watchtower still stands as one of the greatest songs of all time. But the album as a whole is kind of a mess with glimpses of genius.

Slim Shady self reflecting on his persona, toxic fandom, and the unintentional effects his lyrics have on people who don't understand that it's not meant to be taken seriously. And also, it's still incredibly violent, misogynistic, and homophobic. Eminem has undeniable talent. His use of different rhyme schemes is impressive. And he drops so many memorable bars. Dre's production here is great. It screams 2000, but it's still very solid. All that being said, the content is ROUGH. I didn't really like it when it came out, and it's still hard to listen to now.

Ooh wee that guitar tone! Just shredding back there behind Loretta. Young Alex would have laughed at this. But the older I get the more I appreciate this version of country. The moral of this album is don't fuck with Loretta Lynn.

Minimalist dance rock. I missed this when it first came out. But really dig it. The songs are all about a minute too long. But still enjoyable.

It's fine. I like what she's trying to do, I just don't love the product.

Sex: The Album. If 'Dick in a Box' were a real song it would be on here. It's a little smoother than I like, but the funky notes are pretty good

Prologue, I was obsessed with Nirvana in high school. I thought Kurt Cobain was the greatest songwriter of all time. I had regular internal debates about whether Nevermind or In Utero was their best album. I watched the documentaries available, read the books, bought every scrap of available recorded music. And then I got super over it. I haven't listened through this album in probably 20 years. So, Nevermind with fresh ears. Out the gate, SLTS is a raw, rawkus punk rock anthem. There's no wonder this took the world by storm. Honestly, no bad track on this album. Everything is so hard, so raw, so angsty, so anti corporate. Which is crazy that it has become what it is. I often wonder what Kurt would think of it all now if he was still around. I imagine he'd be pissed that Wal Mart sells branded Nirvana shirts to kids who think it's a clothing company. But maybe he'd have grown up to and would just laugh at the absurdity. This doesn't hold the same place for me it once did. But it's still undeniable. Anyways, 10/10, all-time classic.

Other than the singles, totally unfamiliar with this. I only knew Personal Jesus because of Johnny Cash. I like the gloomy industrial vibes here. More propulsive than The Cure. I definitely hear this as a prototype to NIN. I'm glad to add this to my rotation when I'm in the mood for this type of music

Funky, soulful, iconic, a slice of history that should be paid attention to (because it seems we're entering that kind of time again). What's going on? What's happening brother? What's happening my man? Who the fuck even knows? And who's going to do anything about it? I appreciate these kind of messages and these albums. But they can get preachy. It's a fine line to walk. A whole album of this isn't necessarily something I'd want to return to much. I like the song segues. It makes the whole project seem like a complete movement. This is the definition of an album-composed and thought out Bangers-What's Going On, What's Happening Brother, God is Love, Mercy Mercy Me, Inner City Blues Skip-Right On, Wholly Holy

This album is wild. I'm all in for the high concept sci-fi part of it. Musically it's all over the place. Hip hop, pop, funk, rock, samba, circus, punk. Seriously not what I expected. It's very theatrical. I dig it.

10/10, it's about absolute masterpiece. Adult Alex would choose this over Nevermind, teenage Alex would go the other way.

Sounds like a bunch of mid tier Beatles tracks I like the Kinks, but there's not much here I'd remember after it was over.

Extreme pleasant listen. Her voice is beautiful and the melodies are captivating. My daughter really liked it too. The House of the Rising Sun cover was killer.

I would never have listened to this on my own. I forgot how good One Way or Another is outside of movie needle drops. Debbie Harry has such a strong and commanding voice. Holy shit, that first minute of Fade Away and Radiate hits so good. Then you get the proggy I Know But I Don't Know. This album covers a lot of territory in the best way. I was all in by the time Heart of Glass hit, which sounded so good in the context of the whole album experience. 💯 Did not expect to dig this album so much

The only thing I knew about Supergrass was the music video for Pumping On Your Stereo. Right away, this album feels big. The songs are grandiose and undeniably rock and roll. Which is different from the more subdued 90s Brit-rock we've heard so far. This album is rollicking. It moves. And each song has it's own unique flavor. I could actually tell you the difference between them. Sidenote, the verse music on Cheapskates sounds like The Ghostbusters theme song.

Hey did you know the drummer only has one arm?.....man this sucked. Big ups for the cowbell on 'Foolin' though.

Emmylou Harris is a national treasure! $1000 Wedding is really touching. The medley is fantastic. And that version of Love Hurts is amazing. I'm all in when the slide guitar is allowed to just jam. Overall, I'm half and half on this one.

Take me to church Aretha! What a voice! So much soul. And that backing band is on fire. The absolute definition of musical goodness. This is music that moves you. She's an undeniable force. This record is perfect top to bottom

So, just voting on whether it's my taste or not. Sarah is clearly a talented jazz singer and her backing group is solid. This is just not the kind of jazz I enjoy. Okay, Sarah not knowing the words on the last song and going completely off script is fucking hilarious.

This is the definitive unplugged album. Even stripped down, this is an incredibly heavy album. Just listen to "Where did You Sleep Last Night." They took the covers and made them their own, sometimes elevating them beyond the source material (ie The Man Who Sold The World). I am thankful this introduced me to the Meat Puppets. It takes a lot for an unplugged album to become an essential part of a band's discography. But here we are. WHERE DO BAD FOLKS GO WHEN THEY DIE?! 10/10

Proto-punk legend Iggy Pop and his Stooges really turn up the rock on this one. I don't know what else to say, this rules.

I can see how this is the blueprint for late 90s early 2000s indie rock. I've never listened to b &s before. It's nice, upbeat, pretty light, a little pretentious.

This album feels like a collection of experiments at trying to find their sound. The songs are very good, the overall product isn't necessarily cohesive. It feels a little more interesting than If You're Feeling Sinister, though I did really like the trumpet on that one. Again, sets the blueprint for the kind of indie that I grew up on.

Classic album with classic songs. Tangled Up In Blue, Simple Twist of Fate, and Shelter From the Storm are just incredible. It's hard to believe he had so many albums before this. Prolific. But, if you don't like Bob Dylan, this won't change your mind. It's got all the stereotypes. Ooohhhhhh plus harmonica plus ten verses. They're all great, I love them. But it's prototypical BD.

I've never listened to this the whole way through. Just paid attention to the singles, which are definitive 90s alternative. This is a really great album, even aside from Today and Disarm and Cherub Rock. What a wild juxtaposition to the grunge explosion happening at the time. Soma is a great blueprint for post-rock today. And Geek USA just rocks.

A bunch of pleasant weirdness, not as good as what the Beatles were putting out but still enjoyable. Waterloo Sunset is an obvious classic

This is the quintessential "American Rock Record" by the definition of an American Rock Band.

I love Bob Marley. This is a great album. He manages to take some really heavy themes and make them inspiring and uplifting.

The production here is really great. But it's not at the heights of FutureSex, which to me is a 5/5 album. There's a couple really strong songs here, Cry Me A River, Rock Your Body, but it's mostly a mid pop album. Which makes sense since it's his first solo outing.

This is pretty over-the-top. It's not bad, but I doubt I'll return to it.

I had no idea Sixpence None The Richer on 'There She Goes' was a cover. I really enjoyed this odd collection of songs. That this influenced Oasis is no surprise at all. Will definitely return to this one

Pet Sounds is one of the greatest albums ever recorded. And Smile (and even Smiley Smile) are up ther for me too. But admittedly, I haven't gone too deep on them beyond those and their earlier radio hits. Reading the background of this one, I'm curious how much Brian Wilson was involved (since accounts vary). For this record, I had to do a double take on the cover and title. Surfs Up? With that artwork? What is this?! The songs have a different feel to them. Psychedelic, darker in tone. Orchestrated but missing the BW high notes in places. Gives other members voices a chance to shine. After listening to the whole thing, my assessment is (not that I'm an expert) but BW has much less input than was publicized. Til I Die and Surfs Up sound like a classic BW songs. But the rest are missing his presence. Which isn't to say they aren't good. If anything, it shows the rest of the band can do weirdness pretty well. This isn't on the same tier as the best BW led Beach Boys projects, but it's still really good. I will be definitely returning to it.

I listened to this album a lot last year because I had the opportunity to see Offspring play through the whole thing at a festival. But after spending so much time with it, I decided I'd rather see a different band. I popped in for the big songs but then stepped back out. Because to me, this album is so basic. The music is pretty generic punk, the lyrics are... fine. I can appreciate what it did for punk in the 90s along with Green Day, but there are much better bands doing better versions of this at the time. Nitro, Bad Habit, Gotta Get Away, and Self Esteem are all great songs, but everything else just kind of blends in together. It's still wild to me that Dexter has a PhD in molecular biology and churns out the mediocre and sometimes clingy lyrics he does. Also, white dreads. 2.5/5

Dark, brooding, captivating. I love Peter Hook's bass playing and Sumner's crunchy guitar riffs. Ian Curtis sounds gloomy and to me is the least interesting part of the band (I'm more of a New Order fan). But I enjoy this brand of JD much more than the "Love Will Tear Us Apart" version. Obviously this was immensely interesting influential on so much music to come. And rightfully so. Songs like 'Shadowplay' just command a lot of attention.

I was always under the impression that Courtney Love was a toxic human being. So I avoided her music. I was prepared to hate this. I'm shocked to find I'm actually really enjoying it. A lot actually. This is some great 90s alternative.

What a weird fucking album. I have no idea what voodoo rituals I just participated in. I have to admit, I do like the vibe. And the longer I listened, the more I jammed out with the ambience. It's great background music.

White. Reggae

I love the Boss. But I'm less aware of his later output than his earlier. I knew this was his 9/11 comeback album. And listening to it now, I can understand why it made such a mark. Just beautiful, soulful rock and roll. So much hope. Into the Fire is one of the most beautiful songs I've heard in a long time. I appreciate that where other artists took an opportunity to get vengeful after 9/11, Springsteen sought unity and hope.

I get what this did for punk rock. I get this is live, so the production is going to be understandably rough. And the band is rough anyways, they're playing is all over the place, the vocals are sometimes spotty. I get their was some interesting controversy over Kick Out The Jams motherfucker. But raw aggression can only cover so many things for me. I want to love this album. As it is though, it's just okay in my opinion.

Man, what a voice. FOUR WOMEN absolutely rules. Nina Simone is a stone cold badass

Kanye is a massive piece of shit. He is a product of unchecked ego and unchecked mental illness. He has too much money and too much influence. And somehow along the way he became anti-Semitic (what?). He hasn't put out a good album since 2016. I wish people would stop paying attention to him so he would stop getting the spotlight. But once upon a time, he was a really good producer and rapper. And he put out a series of albums that will always be discussed in the the greatest of all time conversation. This is the album that kicked all that off. It's amazing to me that this is his debut, but obviously a lot had been cooking under the surface for a while. I've listened to Jesus Walks more times than I can count. But I'm not overly familiar with this album as a whole. Man, it pisses me off to say but it's really good. He can rap. He can make a beat. He's got some amazing guest spots. And despite the length, I wasn't tired of it by the end. It's just got banger after banger. It's a hip-hop classic. Someday, after everything with Kanye is over, someone will write a really interesting book on how he went from this to where he is today.

Angry, Caustic, iconoclastic, boundary breaking. This is an album I was afraid of as a kid. And there's a lot to be afraid of. Violence, sexuality, abuse, death of God, suicide. But also, moving past that, there's total brilliance here. Pretty Hate Machine is a great album. But this is where Trent really made his mark. Not my favourite NIN record, but an undeniable force. Perfect album. 10/10.

I mean, it's fun. Ridiculous. But fun.

In my mental game called "What's the best Hip-hop album of all time?" I go back and forth between this, Enter the 36 Chambers, and 3 Feet High and Rising. Which is to say, this is a classic of the genre. Jazz influenced conscious rap? Yes please. It also transcends time and genre. This is an album I refer people to who say they don't like hip-hop. It's just that good. From the production to the rhymes, 100/100, perfect album hands down.

Sloppy awesomeness. Pure, jamming, fucking gold. The Weight is one of the greatest rock songs of all time. On top of that, you've got Tears of Rage, Long Black Veil, and I Shall Be Released. This album was made for drunken sing-a-longs. It's imperfect, which is what makes it so damn good.

I'd never heard of this band before today. They're fine. It's inoffensive and pretty forgettable.

Holy smokes, no wonder it took so many takes to get that first track. There's so much going on, and those rhythm changes are wild. You've got some incredible personnel on this besides monk. Rollins is a monster on the sax. And I love Maximum Roach's drumming. He's right up there with Blakey and Rich for me. I've never heard this album before, but it's definitely going to enter my rotation. It's easy listening but also has some progressive elements found in later 60s post bop than what was typical of 50s jazz. I could play this at home without and get my jazz fix without getting too many raised eyebrows.

Not for me.

HEY, BEEN TRYING TO MEET YOU. In my top albums of all time. Absolute masterpiece.

This is super duper British. But I like it.

The backstory to this one is insane. We are truly blessed this came to be. The true spiritual sequel to Pet Sounds. And Brian Wilson proves that even so many years later he is a genius.