This album was and continues to be massively influential in defining the sound of post-punk.

Prog is just not my thing, and I could only make it a few tracks in before losing interest. This album sounds like a not-fully-formed version of the band. Weird choice.

I've been an admirer of Dolly Parton since my boys were very young and unsolicited children's books started arriving each month in the mail, courtesy of her and the United Way. She is a saint, yet I've never really delved into her music. Also, and I'm not an expert on country music by any stretch, but I always felt like Dolly Parton was considered more of a novelty and overlooked in favor of a mostly male cohort (Willie Nelson, Merle Haggard, George Jones, etc.) but also Loretta Lynn and Patsy Cline. Coat of Many Colors is a wonderful listen front to back, fully of life and heartache. Early Morning Breeze lilts on a pretty melody, the harmonizing on My Blue Tears is lovely and the storytelling on songs like Traveling Man and She Never Met a Man (She Didn't Like) embody what makes this era of country music so great. Also, the musicianship and production on this album are first rate.

TIL The Youngbloods wrote "Darkness, Darkness," which is an excellent song (though truth be told, there are cover versions of it that I prefer to the original). But after that leadoff track, I quickly grew bored, and I am picking up a serious "OK Boomer" stench to this entire exercise.

A classic. The Stones at the height of their powers.

Hip hop was definitely in a golden era in the early '90s, yet I've always preferred the East Coast style, from the claustrophobic paranoia of Wu Tang to the fearless creativity of De La, the jazzy cool of A Tribe Called Quest and the clear-eyed storytelling of Nas. On one hand, this is a fun listen, bouncy, funky as hell and full of colorful samples, if sometimes cartoonish. Yet like a lot of the Death Row stuff from this era, it's hard to get past the caustic misogyny and violence. I remain, at age 54, uninterested in how many bitches Snoop will be bangin' in 94.

I appreciate their anti-establishment positioning but I do not like the music of Rage Against the Machine. I just find it obnoxious and seek to turn it off whenever I hear it.

Gotta love Texas psychedelia.

It's albums like this that make me so confused about what Britpop means. To me, it's post-punk, with echoes of bands that came before (Adam and the Ants, T-Rex, The Smiths, Bowie) and after (The Horrors). Nice diverse set of songs.

This album is slammin.

A milestone of my adolescence, this album overlaps my skateboarding years and my first-ever job at a Domino's Pizza store, making for some colorful interaction with the latter's corporate sensibilities. Anyway, while it was fun to hear a few of these songs again, I sold my vinyl copy of this album long ago and hadn't listened to this album in decades until now. I found that Raising Hell by Run-DMC, which mines similar sonic territory, feels more relevant to me today than Licensed to Ill. I also found the Beastie Boys inescapably annoying through the '90s FWIW.