The good points of this album are great, but I'm not sure that they are enough to lift this above some of the cheese here to make this to a truly great album, one that I'd go back to. At least for me, it's more likely that I'll keep songs like Perfect Day and Walk on the Wild Side on general playlists and leave much of the rest as forgettable. There are a couple hidden gems--Vicious perhaps, Hanging Around and Andy's Chest. Others like Satellite of Love are flawed, while Wagon Wheel, Goodnight Ladies, and NY Phone are straight cheese. In fact, if this were a five song EP that ended at Walk on the Wild Side, it would have been a much better product.

This soft rock album is pretty even in tone, and I can see it's strengths for the kind of people that like this stuff. It's a little whiny for me, too much high treble, and generally a perfect example of the kind of rock around in the late 90s/early 2000s. It's funny that this is the second album in this list I get, right after Lou Reed's Transformer. It seems like this is almost a spiritual successor to that album. That being said, it's probably less cheesy overall than Transformer, and maybe a better, more even-toned album. So overall, not for me, but I appreciate how some people may like this. It's well done for what it is. I could see myself sipping quiet tea listening to this at a coffee shop and not being totally annoyed.

I haven't listened to this album forever--I used to like Zappa and the Mothers a lot when I was teenager. This albums starts off as a psychelic trip with Peaches Regalia--I always found it astounding that Zappa didn't do drugs based on their sound. Like many Zappa albums, this is often instrumental, like a rock orchestra. I'm not sure if it's the best place to start on Zappa--he has dozens of albums. But it's certainly one of the better ones from what I remember. I didn't like it as much as a teenager--I preferred Joe's Garage back then. But it's great to relisten to this as an adult--I think my appreciation has grown for the sounds.

Seems like their classic album, and it's pretty well done. I'm not a cold play fine, so it's a little whiny for me--this list is heavy on the whiny soft rock album for me so far. Kind of depressing as well, but it fits right in there with Radiohead for suburban soft rock depression masterpieces.

Super classic jazz album, and one of the ones I listen to the most after probably Kind of Blue. I don't have the jazz savviness to write a more in depth review about how good this is--I'm just an amateur passing fan in this category, but about as near to perfect as you can get for this style. Wild and frenetic but controlled in some chaotic way. Awesome.

Classic big band jazz. Everything you'd expect to get. Just surprised this was released in the late 50s and not like 3 decades earlier.

This album is all over the place. Raw rock riffs, ska-like beats, and some high treble early oughts sounds mixed in, though not enough of the latter to make this a complete write off for me. The album definitely stands above its era, though that isn't saying much. They certainly have energy. I may go back to this album.

A classic of mid-90s punk. A lot of people looking at this album, and probably Dookie by Green Day, may blame them for the subsequent watering down and pop-ification of punk. In other words, would there be any Blink 182 if it wasn't for these albums? I'm not sure what the answer to that is, but the answer doesn't change the fact that this album is rock solid, with banger after banger. It holds up from my teenage years--I've actually listened to it quite often in recent months after probably a big break. I'm not as familiar with their albums after this one, but none of the Offspring stuff I've heard gets near this album as a complete package. Raw energy, great melodies, social commentary.

Starts off with a total classic, and ends with a grunged up better version of it. I love a ton of Neil Young songs, but have always found his discography daunting. This is supposedly the birthplace, or precursor at least, to grunge, the second half of the album. It's a good album, though I may prefer After the Gold Rush myself. Also impressively raw for the era in mainstream rock, which had gone in another direction. I'll definitely go back to this one.

I have mixed feelings about this album. In a sense it's a pretty good album. But it also represents peak new Chili Peppers, basically the type of sound that started with Under the Bridge has nearly completely dominated their sound. The funky rifs are all but gone at this point--only maybe Purple Stain and Around the World have that old Chili Peppers sound. I don't love Scar Tissue or Californication, they sound too generic, like just worse remixes of Under the Bridge. Other Side sounds like that too a little, but the haunting melody in that one gives it a little more merit for me. So all in all, this is great for people who began listening to the Chili Peppers because they liked Under the Bridge. Not so much maybe for the fans of funked up rap-punk OG Chili peppers. It kind of reeks of sell-out in that sense. But 25 years later, I'm sure they don't care, the Scar Tissue side of them is what defines most of their career at this point.

Hmmm, new wave. I've hated this era of music for most of my life. Goofy vocals and sounds effects, goofy styles--it always seemed so affected and forced. This album has all of that, but that being said, it is listenable, probably good for the people into this genre, and the songs sometimes manage to rise about the genre's inherent cheese--especially the last song, Giant. New wave typically doesn't age very well, though I can see that many albums like this one laid the ground work for bands post-2000.

I'd heard these guys' names back in the day but had never really listened to them before. A strange but sometimes soothing mix of early 90s house and rap. Not really unlike a lot of house that often had a verse of rapping, only this lasts a whole album, and the album is consistent rather than just one or two radio singles then a bunch of filler. It definitely has a kind of Lost in Time type feel to it. But it's definitely unique.

I got this one right after Rust Never Sleeps on this list, so cool to compare them in that way. I didn't think I'd like the latter more than this album, but I have to say that after a full listen of each, Rust Never Sleeps is more consistently good, whereas After the Gold Rush has some slow bits that come off a bit whiney for my liking. Perhaps that's why I've always seen Neil Young as an amazing song writer, but not necessarily as a great album maker. The high points are super high--Southern Man, After the Gold Rush. Then lots of forgettable filler.

Most post punk, whatever that means, but I haven't really heard of these guys other than the name. Much better than The The, which I just had before this. This is a rawer sound, and doesn't have the goofiness of new waves. Some really good songs on here. Dumb Waiters is a banger. Hot drums on It Goes On. There's a lot more here to like that I didn't hear on a first listen. I'll probably come back to this album, good discovery.

Classic foundational French hiphop album. Funky, great word play, great beats. MC Solaar sits somewhere between a Big Daddy Kane, Q-Tip and Guru in terms of style, flow and wordplay. Great to revisit this album, it's been a while. Worth listening to even if you don't speak French, as the beats are great, representative of the 1991 sound. Great album.

This is wild, experimental, visionary, groundbreaking, and close to unlistenable. I can appreciate that this is important for the development of jazz, and looking this guy up, I see he collaborated with thrash metal dudes, which kind of makes sense. But I probably won't be listening to this album ever again. And I typically like jazz and even some thrash metal. Maybe if I developed a meth addiction I'd listen to this at 4am. Ecars was pretty good, all that being said, and the closest thing to a track with melody on the album.

A lesson in smooth. Cool to see how Getz started getting into samba before the Girl From Ipanema, collabs with Jobim and Gilberto. You can still hear some of that "getting to know the style" type vibe in this, like experimenting. Also, as far as jazz goes, this is like the polar opposite to the John Zorn Spy Vs. Spy that I had on this list immediately before this album. Short sweet and pleasant.

I tend to prefer John Lennon written songs when it comes to the Beatles, and post drug albums. But listening to this album made me realize there's such a thing as too much Lennon and too much drugs. Maybe the other three guys tempered John's excesses. In any case, there are a few good songs here, Imagine obviously and I really liked How do you sleep? but I'd never go back and listen to this album as a complete package. How? Is also OK. Kind of just shows you the start of the decline more than anything. Keep in mind when I write this, I'm only a passive Beatles listener, not a massive fan. I enjoy some of the best later stuff, but not crazy about them.

A strange but soothing album. I don't exactly know what it is, but it might be something I'll listen to again when I'm in a kind of zen need to relax mood. Or at least mostly soothing. It has some very strange breakdowns here and there, odd solos, strange instruments or sounds that come from I don't know what. But it works.

For the longest time I thought the title song was actually made in 1999 because they played it so much on the radio that year. I always wondered why the sound was so dated and clearly not 1999 at the time. Anyway, having learned it was released in 1982 makes sense. Probably right at the beginning or in the thick of the synthy 80s sound. Listen, I know prince is incredibly talented, and I've even grown to like some of his hits like Red Corvette and When Doves Cry over the years. But the sound just doesn't speak to me as an overall rule. So it's tough to appreciate a full album. Songs like Delierious are just straight goofy. Then again, there are some slept on funky gems here like DMSR that I might add to a playlist at some point. I just can't see this as an album I'd groove to on the regular, not my scene. Prince songs are best enjoyed here and there on the radio for me.