I had a passing knowledge of Jefferson Airplane and was familiar with the more popular songs from this album (Somebody To Love, White Rabbit and to a lesser extent, Today). So that was a strong start and the classic tracks that I have enjoyed over the years still hold up. There is also a gentleness to this album that I did not expect, specifically great harmonies and the less-than-psychedelic (more in the folk music category) tracks took me a little by surprise. Also some very bluesy tracks, with some psychedelic twang slipped in. I can see how this might be one of those "pillars of music" albums. I am more of a fan of the songs that are filled with simple, reverbing, fuzzy guitar riffs. Overall, I find the album a little uneven, but where the best tracks really standout to make it a worthwhile listen.

As a teen of the 80s, I became familiar with medley of Just A Gigolo / I Ain't Got Nobody thanks to a (pales in comparison) cover by David Lee Roth. I had heard this version, and some of his other music, in movies over the years. The album is a collection of jazz/blues numbers (some familiar classics, some new to me) played with a swagger, instances of fun silliness, great call and response vocals/instrumentation, all wrapped around Prima's frenetic trumpet playing. If I were to imagine a 50s / early 60s party album, the Wildest would be it - a fun and up-tempo album that makes you want to dance, laugh and have a good time.

I can appreciate the artistry involved in the production of this album, however, as a whole, this neo soul/jazz offering feels rather uninspired and lacks any track that justifies the high praise it has received. For those who love Winehouse and enjoy her music, great. Keep on loving it. I listened to this album 3 times to make sure I was not missing anything. And I was not. I find her whiney and nasal vocals to be the weakest part of the album, and as the album progressed, they became just outright irritating. Quite frankly, I think I'd rather listen to Fran Drescher laugh over a soft music beat for 40 minutes straight. Hard pass. If you are looking for something in a similar style that is genuinely enjoyable, I recommend Macy Gray's "On How Life Is."

I had a passing knowledge of Jefferson Airplane and was familiar with the more popular songs from this album (Somebody To Love, White Rabbit and to a lesser extent, Today). So that was a strong start and the classic tracks that I have enjoyed over the years still hold up. There is also a gentleness to this album that I did not expect, specifically great harmonies and the less-than-psychedelic (more in the folk music category) tracks took me a little by surprise. Also some very bluesy tracks, with some psychedelic twang slipped in. I can see how this might be one of those "pillars of music" albums. I am more of a fan of the songs that are filled with simple, reverbing, fuzzy guitar riffs. Overall, I find the album a little uneven, but where the best tracks really standout to make it a worthwhile listen.

As a teen of the 80s, I became familiar with medley of Just A Gigolo / I Ain't Got Nobody thanks to a (pales in comparison) cover by David Lee Roth. I had heard this version, and some of his other music, in movies over the years. The album is a collection of jazz/blues numbers (some familiar classics, some new to me) played with a swagger, instances of fun silliness, great call and response vocals/instrumentation, all wrapped around Prima's frenetic trumpet playing. If I were to imagine a 50s / early 60s party album, the Wildest would be it - a fun and up-tempo album that makes you want to dance, laugh and have a good time.

The only time I saw Neil Young live in concert - back in 2007 - Cowgirl in the Sand, Everybody Knows This Is Nowhere, and Cinnamon Girl were on the set list. The first of Young's many acclaimed classic solo albums, all these tracks were staples of FM radio well into the late 80s (and beyond), culminating in the 10-minute version of Cowgirl In The Sand. These songs have endured the test of time, still sound fresh and vibrant, still rock. Young manages to pack into 40 minutes what many musicians fail to produce in their entire career. And there is still much more (and greater) to come on later albums. Not his best album, but still a great listen.

Although I wouldn't consider myself a jazz/bop enthusiast or a specific fan of Miles Davis, I understand that this was one of the early fusions of bop and big band that came to be known as cool jazz. Nevertheless, I found these songs to be quite catchy, featuring many great hooks and outstanding instrumental performances that draw you into the music. For a collection that wasn't initially intended as an album, the songs are arranged well together, creating a truly enjoyable and fun listening experience. I particularly liked "Venus de Milo," "Boplicity," and "Moon Dreams." This is a great starting point if you're looking to delve into the artistry of big band bop/jazz.

This Van Halen debut album exudes a raw energy and excitement, full of wild wailing guitar riffs, loud and chaotic drumming, and David Lee Roth's vocals, where nothing is beholden to any pre-existing formula or sound - all in the best possible ways. The album carries a punk spirit, and Eddie Van Halen's guitar playing established the benchmark (and model) for hard rock music into the 80s and beyond. Notable tracks include "Running With the Devil," "You Really Got Me," and the guitar work showcased in "Atomic Punk." Their rendition of John Brim's "Ice Cream Man" is particularly interesting as they shift from a more conventional acoustic blues riff into their distinctive Van Halen sound midway through the track. As the 1980s progressed, Van Halen began to lose some of that raw intensity, becoming more predictable and almost a caricature of their original sound, especially following their transition to Van Hagar. This remains an exceptional debut album.

"Whatever people say I am, that what I am not" feels like an overwhelming sensory experience — loud, jangly guitar riffs, powerful percussion, assertive vocals, and everything else thrown in. It's a complete information overload hitting you at the frantic pace of a blurry night out. This exudes the confidence of English charm, presenting a vivid (and somewhat satirical) depiction of pub culture. Influences from the Pistols, Jam, Smiths, Oasis, and Ian Dury can be found throughout these tracks. However, I don't find any of the songs particularly memorable or engaging. This might be due to the rapid tempo and similar rhythmic foundation that most of the songs share. Overall, it's a decent album, though not particularly memorable. It's not something I would choose to listen to again.

This is an incoherent jumble of raw, scornful, intense, fast-paced, hardcore punk. If you've listened to one track, you've essentially heard them all — similar screeching guitar riffs (by Pat Smear — yes, that Pat Smear), chaotic drumming, and while Darby Crash may have something to express lyrically, I can only catch about one in every four words (at best). The only aspect that occasionally varies is their playing speed, and I never once felt compelled to look up the lyrics, either, in the hope of finding some form of differentiation between the tracks. This may have been an album that shaped the genre, but it's too repetitive to keep my interest. And somehow, amidst all the chaos, it's also kind of bland.

This is an album filled with dissonance; it demands your attention, draws you in, and compels you to listen and engage. Understanding this album takes time; it possesses a quietness and intricacy, with songs arranged without conventional hooks that should be experienced as a whole rather than as separate tracks. If you are not willing to invest in actively listening to this album, it is likely not something you will appreciate (and you might find it frustrating). This is not an album meant for casual engagement or background white noise. I find this to be an intriguing listening challenge, an exploration of sound and construction of the music and themes. I can recognize the skill behind this album and the embrace of electronica, but it is not my preferred Radiohead album. However, for those who consider it their favourite, I understand why they feel that way.

Rick Rubin's impact is evident throughout "Blood Sugar Sex Magik," as he not only brings a sharper focus to the rock, funk, and hip-hop inspired tracks but also helped broaden the Red Hot Chili Peppers' musical style. The most notable difference is the embracing of softer/acoustic songs ("Breaking The Girl", "I Could Have Lied", "Under The Bridge"), which are some of the album's finest moments, along with high-energy tracks like "Suck My Kiss" and "Give It Away." While this was certainly their strongest album at the time (and perhaps, ever), my only criticism is that it feels a bit bloated with its 17 tracks. A few songs could have been left off to create a more cohesive listening experience. Nearly 35 years after its release, the album is still a very solid listen.

During the 1970s and early 1980s, punk music was intense, direct, and rooted in non-conformity, protesting against the establishment and authoritarianism. It was a chaotic sound intended to cut through the overwhelming presence of mainstream culture, compelling you to stop, listen, and take notice. Dookie isn't that type of punk. In the early 90s, Green Day emerged as one of the pioneering pop-punk bands to achieve mainstream success, focusing on enjoyment and accessibility. Although their sound had similarities to 70s punk, the lyrical themes revolved more around individual experiences like boredom, anxiety, relationships, and sexuality. Rather than protesting against societal structures, they expressed frustrations of their own personal experiences within society. And it was refreshing following the bleak and intense nature of the grunge music era. When this album was released, I was in my final year of university. I wasn't a punk kid (or especially emo), but I understood what they were saying. I loved the catchy hooks, the quick tempo, the powerful guitars, the harmonies, and the drum beats that made it impossible to remain still. There are some Grade A songs on this album ("Longview", "Basket Case", and "When I Come Around") - 30+ years on, the album holds up. The only downside is how the album ends. But then again, perhaps "All by Myself" embodies a feeling similar to releasing air from a balloon. It is over. Time to deflate.

This album feels very much like a Jekyll and Hyde experience. Some of the songs are musically captivating, featuring rhythmic, synth-driven elements, where the occasional vocals blend seamlessly with the overall instrumentation. There is a soothing quality to these tracks that allows you to immerse yourself in the experience. However, there are songs like "Revolution" and "Suicide" that are startlingly loud in contrast, with reverberating guitars that suddenly pull you out of that trance. I assume this was done on purpose, but I found the shift too sudden to help me reconnect with the music. In general, this is a decent album, though I wish the arrangement of the tracks had better connected the calmer rhythmic pieces with the more intense, louder ones to create smoother transitions. Additionally, there are 2 live tracks that serve more as a distraction than anything else. I am not sure I could listen to this album as a whole, again. However, broken down into parts, this can be an enjoyable experience.

With the opening guitar riffs of "Welcome To The Jungle". Guns N' Roses ushered in the decline of 80s Glam Hair Metal Rock. The carefree celebration of rock 'n roll, filled with partying, sex, and drugs, was fading into the background. And it was being replaced with a primal, raw, gritty, and aggressive sound, reminiscent of early Aerosmith or AC/DC. Themes of decaying urban landscapes ("Welcome To The Jungle"), searching for an escape ("Paradise City"), and heroin addiction ("Mr. Brownstone") are central to the album. While thematically, it may not be groundbreaking, its lyrical and sonic qualities are unique. Axel Rose sang about fears and darkness, with an underlying vulnerability ("Sweet Child O' Mine."), wrapped in wailing high pitched anger. His distinctive voice is supported by the dynamic interplay of Slash and Izzy Stradlin harmonizing guitar riffs and solos. This album was released during my high school graduation year, and I clearly recall how it cut through the crowded pop music top-40 on the radio, being enthusiastically embraced by nearly everyone. At that time, I had no concept of the lasting influence this album would have. And while songs you've heard on the radio were played ad nauseum, they still stand the test of time. Most of the deeper cuts are also strong and still relevant, too.

Recently, someone pointed out to me that people are likely more acquainted with Steely Dan than they realize, often having heard their music without connecting it to the band. While listening to "Can't Buy A Thrill," I was amused to recall how many songs I remembered listening on late-night FM radio in the 80s during high school. Walter Becker and Donald Fagen are true musical craftsmen, which is clearly demonstrated on this album (and the ones that followed). However, I have always sensed that their pursuit of perfection overshadows the actual music from a creative exploration perspective. The music itself, which includes elements of jazz, R&B, and blues, evokes a light, carefree feeling, as if I should be cruising in a convertible along the coast at sunset on a warm summer night. The most well-known tracks remain strong, and others like "Dirty Work," "Midnight Cruiser," and "Kings" also shine. However, aside from perhaps "Reelin' In The Years," I find this album to be somewhat passive; it’s the kind of music you might play in the background and forget about, more like pleasant white noise. It’s not the type of music you actively engage with, except maybe during your first few listens. That is not a criticism of the quality of the music, just an personal observation. While I enjoyed "Can't Buy A Thrill", their best album remains either "Pretzel Logic" or "Aja".

First off, I will admit this album is outside my usual musical wheelhouse (but I suppose that is the point of this project). My initial thought was that if someone with a musical meatgrinder threw in some deep soul, a helping of acid funk, a side of cool jazz, with a dash of synth new wave, the result would be the eclectic Frankenstein of late 70s and early 80s sound that is "Drunk." With only 16 out of 23 tracks exceeding two and a half minutes, the album often shifts pace. At times, silly (dreaming about being a cat, Japanese pop culture, and school yard level humour), however, there are touching songs too, such as "Lava Lamp" and "3AM" that help balance out the album. And much like the mix of musical styles, the album features an array of guest musicians, including Michael McDonald and Kenny Loggins on ("Show You The Way), and others such as Pharrell, Wiz Khalifa, and Kendrick Lamar. Overall, the album's solid production, while occasionally repetitive, is carried by the standout tracks to make it a worthwhile experience... for those willing to embrace its chaotic nature.

“Stand!” is a powerful and vibrant album that evokes aspects of social consciousness often associated with Marvin Gaye or Curtis Mayfield. This feels like a real ensemble piece, with a wide range of numerous vocalists mixed with thumping bass lines, punctuating keyboards, joyful sax and horns, reverberating guitar solos, and some Latin inspired percussion, all wrapped up in (a mostly controlled) psychedelic chaos. The more structured tracks are exceptional, including "Stand!", "You Can Make It If You Try", and the classic "Everyday People". In contrast, some of the less structured pieces resemble jam sessions, and for the most part, mix in well with the rest of the album. However, "Sex Machine" is overly lengthy and chaotic to the point of self-indulgence, which detracts from the album's quality. Overall, this album is a highly enjoyable, brimming with energy.

Fifty-five years after its debut, "Moondance" remains a magical experience. "Moondance" marks a departure from Van Morrison's previous album "Astral Weeks", showcasing a more vibrant blend of blues and rock while still weaving in elements of jazz and Irish folk. This sound would lay the groundwork for much of his future albums/music. Overall, it is a deeply spiritual album, rich with themes of redemption, nature, love, mixed with other aspect of the human experience. This album features a remarkable collection of classic songs, such as the title track "Moondance", "Crazy Love," "Brand New Day," and the virtually flawless "Into the Mystic." The album is exceptional from start to finish, a truly rare accomplishment. However, a shadow has fallen over Morrison and his music over the last few years. While expecting perfection in any human is unrealistic, demanding empathy and consideration for others is essential. In this regard, Van Morrison's actions have somewhat damaged his musical legacy and they do not reflect the spirit of the songs on this album. Even if you are unhappy about the person Van Morrison has morphed into, as he ages, you should still take the time to listen to this album. It is truly an outstanding masterpiece.

It's been a moment since I last listened The Cure's second album, "17 Seconds," and I must admit I had forgotten just how much I enjoyed it. This album showcases an early new wave and post-punk sound, hinting at the gothic rock sound that would later define their style. The lo-fi production, whether intentional or a result of the technology of the time, allows every instrument to shine in a wonderful cohesive manner. Notably, this album features a significant amount of instrumental pieces, with extended sections that have little to no vocals. The iconic track "A Forest" remains exceptional, alongside other highlights like "In Your House," "Play For Today," and "M." Overall, the album is consistently strong, without exception, from start to finish. If my teenage self could see me now, he would be quite pissed-off that I haven't been listening to this album.

The first Velvet Underground album following John Cale's departure presents a notably quieter and more minimalist sound. This transition marks a departure from the infused chaos of "White Light/White Heat," yet the band retains a degree of their signature grit and rawness. "Pale Blue Eyes" has been my favorite track from this album, and perhaps my favorite overall from the Velvet Underground. Other notable songs include "Candy Says," "What Goes On," and "Beginning to See The Light." However, the album falters with the experimental piece "The Murder Mystery." While I can appreciate the artistic intent behind it, the result is an incoherent mess that is difficult to listen to. It raises the question of how many listeners tuned out at this point, missing the final track "After Hours," which is another gem. Overall, I find the album to be uneven, but worth completely listening to at least once. The best tracks are extremely enjoyable, some of the greatest from the Velvet Underground, which makes them (at least) worth listening to on repeat.

Belle and Sebastian have consistently occupied a peripheral place in my music listening habits, often falling into the category of music I will enjoy if it happens to be playing, rather than actively seeking it out. Their debut album, "Tigermilk," presents a blend of clever, reflective, humorous, and melancholic storytelling, all set against a backdrop of catchy and jangly indie-pop melodies. The craftsmanship is evident in the mostly catchy upbeat rhythms, which are beautifully enhanced by rich melodic vocal harmonies. The album opens with what may be its finest track, "The State I am In," foreshadowing their future work. Other notable tracks include "Expectations," "You're Just A Baby," and "I Don't Love Anyone." "Electronic Renaissance" stands out as an a odd-ball track, yet it does not detract from the overall listening experience. This album is a fun listen, being bittersweet and nostalgic, while also comforting and uplifting. It ranks among the finest indie-pop records of the 1990s that I have encountered. A must listen.

Willie Nelson's "Red Headed Stranger" is a concept album that tells the story of a fugitive preacher evading the law after killing his wife and her lover. This album features a creative mix of original music alongside classic covers, including Fred Rose's "Blue Eyes Crying in the Rain," Wolfe Gilbert's "Down Yonder," and Juventino Rosas' "O'er the Waves." The album explores themes of loss, guilt, and longing, with a minimalist sound that emphasizes Nelson's signature gravelly voice, supported by acoustic guitar and harmonica. Standout tracks include "Blue Eyes Crying in the Rain," "Red Headed Stranger," "I Couldn't Believe It Was True," "Theme of the Preacher," and the somber instrumental "Bandera," which serves as the album's closing song. What distinguishes this album is its brevity; 15 tracks in approximately thirty minutes, creating an intriguing contrast between the slow, melodic nature of the songs and their swift progression. To fully appreciate this work, you need to dedicate time to immerse yourself in the story Nelson intricately weaves throughout the album. When listening, I felt I was transported into a quiet conversation with Nelson by a campfire under a starlit sky in the expansive Midwest. While Nelson has penned many remarkable songs throughout his career, for me, "Red Headed Stranger" stands out as his most complete album. This is a truly great album.

Marvin Gaye possessed the ability to convey raw emotions through his smooth vocals, captivating melodies, and lyrics while creating one of the greatest soul albums in history. Each track on the album is filled with a groove that is lush and often enhanced by a soulful horn section. Notable songs, including the title track "Let's Get It On" and "Distant Lover, remain among the best soul songs ever recorded. Despite being over 50 years since its release, the album remains relevant, feels fresh and continues to evoke an emotional responses. This album is truly timeless. While Justin Timberlake may have claimed to be bringing sexy back. He was mistaken. Sexy never left.

I can appreciate the artistry involved in the production of this album, however, as a whole, this neo soul/jazz offering feels rather uninspired and lacks any track that justifies the high praise it has received. For those who love Winehouse and enjoy her music, great. Keep on loving it. I listened to this album 3 times to make sure I was not missing anything. And I was not. I find her whiney and nasal vocals to be the weakest part of the album, and as the album progressed, they became just outright irritating. Quite frankly, I think I'd rather listen to Fran Drescher laugh over a soft music beat for 40 minutes straight. Hard pass. If you are looking for something in a similar style that is genuinely enjoyable, I recommend Macy Gray's "On How Life Is."

This album is not targeted towards me, and it also falls outside my usual listening habits. In fact, my engagement with rap music has been minimal since the early 1980s, specifically during the era of Grandmaster Flash and the Furious Five. I am just not a fan of the evolution and direction most mainstream rap. From a sound perspective, the album is well-crafted. The instrumentation is clear, intricate, and avoids excessive repetition. However, nothing particularly captivated me or compelled me re-listen, nor did any tracks evoke a strong dislike, although I did find the live track disruptive to the flow of the album. Also, I admit I have my own biases. I might have been more open to a higher rating for this album had it not included a self-admitted anti-semitic Nazi. But hey, maybe that is just me.

"American Idiot" is a modern rock opera about the disillusionment and hopes of American youth. Although the specific subject matter is vastly different, many themes from this album remain relevant in 2025, such as the disproportionate influence of the wealthy over government and reality television creating superficial fame. Following three underwhelming albums after "Dookie" ("Insomniac," "Nimrod," and "Warning"), along with another album that was abandoned, Green Day's "American Idiot" emerged as a bolder and more lyrically confrontational experience than its recent predecessors, channeling feelings of anger and frustration all wrapped in scathing wit. The evolution of Green Day on this album is evident by their shift in perspective. Instead of focusing on the frustrations of their own personal experiences within society, they leverage those experiences to look at broader societal issues. This approach had them largely set aside their pop sensibilities in favor of embracing more of the spirit and essence of punk. The album structure is also strong, filled with catchy hooks, powerful guitars, smashing beats all enhanced by the dynamic chord progression found in various song chapters, with "Jesus of Suburbia" serving as a prime example. I loved this album when released in 2004. And I still do. Also, it just rocks! Who doesn't love an album that rocks?

"Never Mind The Bollocks, Here's The Sex Pistols" is a chaotic blend of raw, rebellious, and rapid-fire punk. In contrast to the incoherent mess that is the Germs' "GI" album that I recently reviewed, the vocals on this album are clear because the Sex Pistols had something to say, and they wanted their message to be heard. Upon its release, this album was a shocking, rage-infused political declaration rooted in non-conformity that challenged the establishment. However, many detractors failed to recognize that beneath the surface of the angry nihilism were scornful yet cutting critiques, addressing extravagant lifestyles in "Holiday in the Sun," offering commentary on abortion in "Bodies," advocating for anarchy in response to oppression in "Anarchy in the U.K.," and the British monarchy and societal issues of the 1970s in "God Save the Queen." Musically, the album deviates from the conventional "1-2-3-4 style" typically associated with punk, allowing each track to stand out as unique and engaging, rather than monotonous and numbing. "Never Mind The Bollocks, Here's The Sex Pistols" is an essential 38 minutes and 54 seconds of frenetic energy. This album held significance in 1977. And still does today.

The monstrous success of "Rumours," coupled with the ongoing and escalating dysfunction within the band, made "Tusk" a seemingly inevitable follow-up album for Fleetwood Mac. From the initial track, "Over and Over" (McVie), followed by "The Ledge" (Buckingham), it becomes evident that this album exhibits a sonic divide, sounding more like a collection of disjointed songs by individuals, rather than a group effort. Or perhaps as three solo albums amalgamated into a double album. Buckingham's contributions are more experimental, at times reminiscent of early Talking Heads in tracks like "What Makes You Think You're The One" and "Not That Funny." Nicks continues to delve into her mystical "Rhiannon" vibe from "Rumours," while McVie serves as a bridge between the two. It is fitting that McVie both opens and closes the album, seemingly attempting to contain the all the dysfunction in between My favourite tracks include "Storms," "Sleepless Child," "Walk A Thin Line," "Sara," "The Ledge," and "Never Make Me Cry." Although "Tusk" was initially seen by many as a failure both commercially and critically, time has proven to be quite favorable to this album. It is characterized by its boldness, exploration, strong pop sensibilities, and exceptional vocals, with individual tracks far eclipsing the album as a whole. That being said, I still think I would have enjoyed the music more as three fully developed solo albums. (Not quite a 4 star, but definitely better than a 3 star.)

On first listen, I got the feeling that if Monty Python and the Beatles were to embark on an LSD-fueled trip to narrate a bedtime story, the outcome may resemble "Arthur (Or the Decline and Fall of the British Empire)." This concept album intertwines songs featuring lyrics that, while at times whimsical, are also reflective and often sharply critical. It follows the tale of Arthur and his journey through a post-war Britain, and in his relocation to Australia. The album is as scathing criticism of classism and privilege, and stands out thematically as an early forerunner of the punk movement. The album opens and closes with the lively tracks "Victoria" and "Arthur," while "Australia" showcases harmonies and "Some Mother's Son" delivers a powerful anti-war message. "Shangri-La" and "Young and Innocent Days" are also strong tracks. Although the perception is that Kinks have been eclipsed by their contemporaries, their body of work is rivaled by very few. "Arthur (Or the Decline and Fall of the British Empire)" is an fun experience, with catchy songs and compelling storytelling. My sole criticism would be that they occasionally indulge in their whimsy bit too much. However, this is also part of their unique charm.

I recall the hype surrounding the release of this album. Intrigued, I decided to buy it to hear the buzz. However, I was not particularly impressed at the time, and my opinion remains unchanged. Franz Ferdinand's blend of quasi-new wave and rock, characterized by its jangly and jerky guitar riffs, is largely unremarkable and frequently comes across as a lackluster effort to embody a snarky hipster vibe. Aside from "Dark of the Matinee," the remaining tracks fail to leave any lasting impression. Overall, it is simply loud(ish), yet boring.

This album likely will not appeal to everyone, and certainly sits outside my usual listening preferences. "Merriweather Post Pavilion" appears to be more of an exploration into electronic sound, incorporating samplers, synthesizers, and heavy reverb. The sonic layers are arranged in such a way that, at times, it feels as though two songs are playing simultaneously in an strange yet effective musical harmony. I enjoyed the more minimalist tracks on the album, such as "No More Runnin,", while more layered songs like "My Girl" and "Summertime Clothes" were also interesting. I can recognize the artistry and craftsmanship involved in this album, however, I find its sonic complexity to be too disjointed to enjoy listening to "Merriweather Post Pavilion" on a regular basis.

This is not the best Foo Fighters' album. And cannot really be considered a true Foo Fighters album, either. Following the end of the Nirvana era, Dave Grohl embarked on a new chapter with an album he entirely recorded on his own. Stripping away most grunge elements, Grohl delves into a more pop-influenced approach ("Big Me"), along with predominantly alternative hard rock songs. This album is a billboard announcing the need move on from the sadness of Kurt Cobain's death. The opening track, "This is a Call", is an honest greeting of gratitude to the people and experiences that have shaped his life. The rest of the album is a fairly autobiographical and intimate and personal journal of the rediscovery for his passion for music, from the self-empowering "I'll Stick Around", to dealing with public perceptions and managing the absurd moments of life in "For All The Cows", to the guttural expression of anger and frustration found in "Weenie Beenie." This album highlights Grohl's ability to craft engaging songs and lays the groundwork for the more dynamic follow-up album, "The Colour and the Shape, " - an evolution likely due to Grohl's increased confidence and also engaging in the collaborative process with a full band. TLDR: The Foo Fighters' debut album is a solid entertaining effort featuring several outstanding tracks. However, as a complete work, it lacks much of the greatness of future albums.

Joni Mitchell's "The Hissing Of Summer Lawn" continues the exploration the began with "Court and Spark," venturing further by blending elements of jazz, R&B, and global music rhythms, alongside innovative use of sampling, synthesizers, and reverb. Each track from this sonically diverse album presents a distinct and compelling arrangement, ranging from the resonant horns and psychedelic Moog effects in "The Jungle Line" to the jazzy wandering of "Harry's House / Centerpiece." Other notable tracks include "In France They Kiss On The Street" and "Shades of Scarlett Conquering." The lyrical poetry remains a hallmark of Mitchell's work, this time delving into themes of suburban life, societal expectations and norms, and personal freedom. While "The Hissing Of Summer Lawn" never received the critical acclaim of "Blue" or had the commercial success of "Court and Spark", this album might be her best example of capturing the essence of what makes Joni Mitchell such a compelling and important artist.

"Rust Never Sleeps" is eclectic, featuring a live recording enhanced with studio overdubs. The album begins with an acoustic set, before transitioning to electric. Notably, the (almost) same song serves as both the opening and closing track, effectively highlighting the contrast between the acoustic and electric elements. Thematically, the album explores the inevitability of decline and the struggle to overcome it. At times it is quiet and sparse, yet it also filled with bursts of raw energy and loud reverbing guitars, "Rust Never Sleeps" effectively showcases everything Neil Young is as an artist - both sonically and lyrically.

I have never been particularly a fan of Oasis, and I must confess that I could not recall the reasons why. After several listens to "Definitely Maybe," I will admit that Oasis is capable of crafting catchy hooks and melodies. However, the excessively nasal and whiny quality of the vocals, which linger on nearly every syllable for far to long, is constantly irritating. Whether or not Oasis believe their own press by considers themselves the greatest band in the world, the reality is that they are, at best, a rather mediocre knock-off of the Beatles. Perhaps with a better vocalist, their music would be more interesting. (I mean, look at what Ryan Adams was able to do with Wonderwall)

"Pretzel Logic" is a return to a more structured, concise, and intricate song structure, contrasting with the extended instrumental jam-like pieces that characterized their previous album, "Countdown to Ecstasy." The tracks on this album are skillfully blended with jazz elements and catchy pop hooks, while maintaining a sense of cohesion throughout the album. The lyrics are a a blend of darkness, humor, and irony, while the band's signature perfectionism and meticulous attention to detail remain evident. In addition to hit track "Rikki Don't Lose That Number," notable songs include "Any Major Dude Will Tell You" and "Barrytown." "Pretzel Logic" is arguably Steely Dan's best album and appears to be a turning point for the direction of future albums. Overall, the album feels like a fun Late night FM radio experience. (Not quite a 4 star, sitting closer to a 3+)

There are albums that achieve classic status, transcending time and retaining a fresh sound even decades later, regardless of any graininess or lack of high quality production. However, Gil Scott-Heron's "Winter in America" is not one of those albums; it is firmly anchored in a specific time period marked by cultural and political turmoil. The album conveys what was then viewed as a provocative message advocating for black empowerment, envisioning a future where "the system" could be dismantled. Scott-Heron's voice is both gentle and rough, while the album itself varies in its arrangement—sometimes sparse and at other times sounding like a rough first draft. The emphasis appears to be more on the message, where parallels can be drawn to Bob Dylan's poetic roots. This is a heavy album, provoking deep thought amidst a backdrop of cultural unrest and frustration. The most poignant aspect of this album is some of what Gil Scott-Heron is raging against is still relevant today. (While the message is a 5, the construction of the album is a 3)

Although "Tuesday Night Music Club" is billed as Sheryl Crow's solo debut album, it is essentially a collaborative project of artists who created the music. The outcome is a decent, albeit somewhat inconsistent, album featuring several notable tracks. "All I Wanna Do," "Leaving Las Vegas," and "Strong Enough" are the best tracks, while the remainder of the album tends to be rather ordinary and easily forgettable. The most interesting part of the album, to me at least, is how this got on this list.

As a teenager in the 1980s, I found it difficult to access The Smiths' music; their songs were absent from top-40 radio stations, and their albums were not featured in record stores. It wasn't until several years later, during my time at university, that I was truly introduced to their music, although by then it was overshadowed by the grunge and alternative rock bands, which caught most of my attention. In retrospect, "Strangeways, Here We Come" is more approachable and pop-oriented compared to their earlier work. The production quality is exceptional, and the overall sound is more ambitious. The album often showcases jangly guitars, robust rhythm sections, and powerful emotive vocals, with memorable tracks such as "I Started Something I Couldn't Finish," "Girlfriend in a Coma," "A Rush and a Push and the Land Is Ours," and "Last Night I Dreamt That Somebody Loved Me." However, there are a few songs, like "Unhappy Birthday" and "Paint a Vulgar Picture," that detract from its overall greatness. Ultimately, I wonder if both Morrissey and Johnny Marr were consciously trying to leave a significant final impression, knowing that this would be their final album. This music continues to feel vibrant, fresh and engaging. Hot take - "Strangeways, Here We Come" has become my favourite, and the best, album by The Smiths.

If you enjoy feedback, extreme distortion, and noise layered over a traditional pop melody structure, then "Psychocandy" by The Jesus And Mary Chain is an album that fulfills those expectations. The more pop-friendly tracks, such as "Just Like Honey," "Sowing Seeds," and "Something's Wrong," are likely to resonate with a broader audience. While I do not dislike the brief, chaotic bursts of distortion of other tracks, I find the transitions between songs often abrupt and jarring, particularly from "Cut Dead" to "In A Hole" — though this may be the point. As a pioneer of the shoegaze sub-genre, the album is generally decent and has very solid moments. My challenge with this album lies in trying to figure out when I would choose to listen to it. I typically have either background music, tunes for car rides, for fun gatherings with friends, mellow contemplative moods or tied to many other events. However, I struggle to find a place or time where this music could fit into my life.

The Roots' "Phrenology" is a bold exploration into the size and shape of music, featuring an eclectic mix primarily rooted in hip hop, while also incorporating elements of rock, jazz, neo-soul, and even touches of EDM and shoegaze. The album's standout feature is the band's exceptional musical talent and their ability to play various styles and genres. Notably, all percussion and beats are performed live, while avoiding excessive sampling. The tracks I enjoyed most are "The Seed 2.0," "Sacrifice," and "Rolling With Heat." While the album's musical exploration is largely successful, there are moments when it seems to hinder creating a fully cohesive listening experience.

Boston's self titled first album is a wall of layered guitars, supported by powerful vocal harmonies and irresistibly catchy hooks. The band's founder, Tom Scholz, was known for his perfectionism and innovation in the studio, created devices that allowed him to define a new sound that seemed fuller and more dynamic, described as being violin-like without the use of synthesizers. Few pairings in rock history rival the electrifying synergy of Brad Delp's extraordinary vocals intertwined with Scholz's guitar riffs. Growing up, this was the sound coming out of the cool kids' car windows as they drove around town. Also, who hasn't played air guitar to these tracks? This is just a fun classic rock album.

I made an effort. I listened to the entire 37 minutes and 52 seconds of this album on twice. Unfortunately, I do not find it engaging in the least. Kudos to those who appreciate it and are fans. However, I do not count myself among them.

The debut album by Siouxsie And The Banshees, "The Scream," is a pioneering example of the post-punk movement that paved the way for the emergence of new wave and alternative music from the British music scene in the late 70s and early 80s. Laced with poetically twisted lyrics, set against a backdrop heavy guitar sounds, thumping drums, and even the occasional saxophone, the album conveys an apocalyptic atmosphere. Their rendition of "Helter Skelter" is somewhat insane, likely the point, while tracks like "Jigsaw Feeling" and "Carcass" stand out as some of the album's highlights. This is another example of an album that has a lot of disjointed sonic complexities, which likely does not make it accessible to a broader audience. Nonetheless, I can appreciate the raw artistic ambition of this album.

This self-titled debut from the Tom Tom Club, a side project of Talking Heads members Chris Frantz and Tina Weymouth, showcases a unique blend of sounds. Musically, it represents a funky and adventurous meeting place of new wave alternative and the burgeoning hip hop scene in New York during the early 1980s. Lyrically, the album draws parallels to the artistic style of Andy Warhol, brimming with references to pop culture and their various musical influences. The highlight tracks, "Genius of Love" and "Wordy Rappinghood," remain lively and energetic, while the remainder of the album may feel somewhat dated yet continues to be enjoyable. Overall, this just a fun listen.

The Doors are known for their blend of Psychedelic and Blues music; however, "Morrison Hotel" mostly showcases their blues influences, evident in both Morrison's vocal delivery and the band's instrumentation, particularly in the opening track, "Roadhouse Blues." Although the album experiences a dip in quality in the middle section, it features a strong selection of tracks, such as "Waiting for the Sun," "Peace Frog," "You Make Me Real," and I have always enjoyed the simplicity of "Indian Summer." While this may not be the best album of The Doors' discography, it certainly is enjoyable.

"Cee-Lo Green... Is The Soul Machine" is a mixed bag: bizarre, freaky, fragmented, frenetic, and inconsistent readily come to mind. The album features some noteworthy songs, including "Art of Noise," "I'll Be Around," and "Living Again." However, it is marred by mostly lackluster tracks like "Childz Play," "Scrap Metal," and "Glockapella." What I find particularly puzzling is Green's vocal performance throughout the album, which often comes across as irritating, strained, and off-key, given he has shown he can do better such as on Gnarls Barkley's "St Elsewhere" or even on he own singles like "Fuck You". Additionally, I find it ironic that Green critiques the commercialization of music and the entertainment industry in "I Am Selling Soul," given the trajectory of his own career. TLDR: There are a few decent tracks, but overall, not a great album.

"Smokers Delight" by Nightmares on Wax may lack lyrical content, as it is entirely instrumental, but this does not detract from its enjoyment. The album features a rich blend of electro, hip-hop, reggae, and soul, complemented by hints of Latin percussion and a touch of low-tempo funk. This is far from typical elevator or hold music. Instead, it serves as a musical backdrop, providing a soothing atmosphere while also offering enough rhythmic energy to keep you engaged. This album is an enjoyable and relaxing experience.

"Palo Congo" by Sabu showcases an Afro-Cuban sound that primarily focused on the use of percussion. Although it was recorded in 1957, resulting in less than optimal audio quality, this does add charm to the album. However, the audio panning between the left and right channels can be distracting, particularly when using headphones. The album captures the vibrant energy of a live event or party, rather than just a studio recording. The instrumentation is masterful, though at times the drum beats become overly repetitive, and some solos may extend for too long. The music feels very authentic and effectively transports listeners to a different era. This album was an interesting new discovery for me and an enjoyable listen.

"A Rush of Blood to the Head" stands out as arguably Coldplay's best album. At this point in their career, they had not fully transitioned to a full pop sound; instead, some tracks, such as "Politik," retain a certain rawness, and the album overall is full of memorable hooks and lively rhythms. The track "Clocks" is not only the highlight of the album, but is also my favourite song they ever recorded. Other solid tracks include "God Put A Smile On Your Face," "Green Eyes," and "Amsterdam." I understand the criticism directed at Coldplay given their subsequent albums have struggled to reach the quality of this one, as they moved closer toward a more manufactured pop sound. Nevertheless, this album is objectively good, brimming with vibrant musical energy. Is this music revolutionary? Certainly not. Should it be included on this list? Perhaps not. However, that does not make it a bad an album, either.

Is psychedelic-trip-hip-hop recognized as an official genre? This is the impression I get from "Welcome to the Afterfuture," particularly in tracks such as "5000 Mile West of the Future" and "I Feel Like $100," which are blended with more conventional hip-hop pieces like "Bladerunners" and "No 1St." The songs that impressed me the most were the techno-infused funk and jazz of "The Animist" and the otherworldly experimental nature of "Planet 10." In general, I admire Mike Ladd's incorporation of unconventional instrumentation and sampling alongside his socially aware lyrics, which lend a fresh and unique quality to the album's tracks (at least from my listening experience). However, I do find the album occasionally lacks consistency and may be too sonically diverse or experimental to provide a complete cohesive listening experience. This album was an interesting discovery, but it is not something I would listen to again.

In the early 1970s, Elton John was at his creative peak and released a staggering volume of music that makes it difficult to recall which songs belong to which albums. So, I was eager to revisit "Madman Across the Water," a pop-rock album filled with a variety of orchestral arrangements. Although listeners often gravitate towards the well-loved tracks "Tiny Dancer" and "Levon," the true strength of the album lies in its title track, "Madman Across the Water." This song highlights John's powerful vocals set against intricate and experimental musical arrangements, complemented by Bernie Taupin's lyrics. I have also always found the social justice themes in "Indian Sunset" to be particularly moving, even if the passage of time has affected its cultural sensitivity and historical context. The song features a compelling build-up of musical elements that transition with subtle vocals. The somber and quiet "Goodbye" is a perfect way to close the album. The album overall remains impressive, despite a few weaker tracks, such as "Razor Face" and "Rotten Peaches," that prevents it from achieving greatness. (Much better than a 3, not quite a 4, but rounding up).

As the 1990s came thundering in with the rise of grunge and punk alternative rock, I never connected with The Offspring. Aside from their more well-known radio-friendly songs like "Come Out and Play," "Self Esteem," and "Gotta Get Away," the remainder of the album not very memorable or engaging. On re-listen, I pretty much feel the same. "Smash" is a reasonably well-produced album, featuring tracks that blend pop sensibilities with loud guitars and a punk-inspired attitude. However, it does not offer anything particularly innovative. For a more better representation of that period, consider "Dookie" by Green Day.

D'Angelo's first album, "Brown Sugar", is a precursor what would become known as neo-soul. The album showcases high production quality, with exceptional vocals and harmonies, featuring a collection of songs that seamlessly flow well together. The cover of Smokey Robinson's "Cruisin'" was my first introduction to D'Angelo in 1995; it remains true to the original while offering a richer and more expansive sound. Additionally, I enjoyed “When We Get By,” which honors the strength of love, as well as “Shit, Damn, Motherfucker,” which delves into themes of violence and infidelity. The album's strength is rooted in its ability to blend the essence of classic R&B from the 60s and 70s with modern instrumentation and production techniques, while also drawing inspiration from hip hop. Overall, it is an enjoyable record, especially if you are into neo-soul.

While "Water from an Ancient Well" may not possess the frenetic energy of Louis Prima's "The Wildest" or the innovation of Miles Davis' "Birth of Cool," Abdullah Ibrahim has crafted a remarkable collection of jazz pieces infused with some South African rhythms, resulting in a distinctive sound. Ibrahim's piano often takes a supportive role, allowing other musicians to shine and contribute a rich array of melodies and sounds, which range from vibrant big band swing to more subdued and reflective tunes. This is no more apparent than on the highlight of the album, "Sameeda," a winding slow build into an upbeat big band track that serves as a fitting closing to the album. What I appreciated most about this album is its catchy and rhythmic quality, offering a diverse range of sounds without becoming sonically disjointed or jarring. "Water from an Ancient Well" was a fun discovery.

The opening chords of "Down To The Waterline" showcase the unmistakable blues pub rock sound that has characterized Dire Straits for decades. Mark Knopfler's unique fingerstyle technique, combined with his smooth yet occasionally rough baritone vocals, mesh beautifully with the band's harmonization, tight rhythms, and powerful percussion. This album features a rich blend of musical styles, including folk, country, reggae, jazz, and particularly blues rock, reminiscent of J.J. Cale. This eclectic mix creates a distinct sound that stands in contrast to the punk and disco movements that were gaining popularity at the time. The production quality of this album is remarkable; the recording is clear, the sound is rich, and the songs are organized in a cohesive arrangement. Notable tracks include the opening number "Down To The Waterline," the enduring hit "Sultans of Swing," as well as "Water of Love" and "Wild West End." This album remains fresh and enjoyable, without feeling outdated. It is truly a great listen.

"The Yes Album" is a schizophrenic orchestrated collection of song that explore the essence of sound and music. This is particularly demonstrated in the opening track, "Yours Is No Disgrace," which begins with a post-punk vibe before transitioning into an extended, synthesizer-driven progressive rock segment, and then closing with a melody reminiscent of a Mario Brothers sound bite. This music is adventurous, it breaks down songs into their components and arranges them in remarkably unique ways. Most tracks are quite complex, lengthy, and consist of several "suites" or parts. I find myself questioning whether this music still holds up today or if my enjoyment stems from nostalgic memories of my youth in the early 1980s, when I would listen to late-night FM radio and could hear the entire album played from front to back. For me, this continues to be an enjoyable listen, but it is definitely an acquired taste.

"Myths of the Near Future" is loud. And noisy. Yet it does have a few hooks and shows some aspects of decent song writing. I will give them credit for their ability to generate energy and movement in a somewhat sonically coherent landscape, but at the end of the day, this comes across as bad video game music based on Klaxons' favourite literature. I found this to be unengaging and, at times, quite irritating. My disinterest was so deep that it made me long for the disappointing Franz Ferdinand album I reviewed a few weeks ago, which, in comparison, feels superior to this album. For something much more enjoyable in this genre, try Of Montreal (or even Bloc Party). (Better than a 1, but not quite a 2... rounding up.)

Calexico's "Feast of Wire" presents a captivating blend of indie rock, mariachi, jazz, Americana, and other country influences, all underpinned by a pop sensibility. Despite the diverse musical styles, the album showcases consistently well-crafted songwriting and maintains a cohesive atmosphere. The themes explored in the album include the divide between the affluent and the less fortunate, separation of people, societal evolution, and the effects of technology. While I appreciated all the tracks, including the instrumental interludes, "Black Heart" stands out as the highlight, rich with cinematic metaphors and featuring the strings of the Tucson Symphony Orchestra. Overall, it is a remarkably strong album from start to finish.

At first glance, "Tea for the Tillerman" may appear to be a simple album. However, it is in fact, a masterclass of storytelling and folk-pop, exploring the intricacies of love, life and the world around us. From the opening track "Where Do the Children Play?" to the final song, the album showcases incredible guitar performances alongside Cat Stevens/Yusuf's moving vocals. This album also stands out for me due to its cohesive yet diverse nature, featuring a range of songs from contemplative ballads to more lively and intense pieces. While "Wild World," arguably his most famous song, along with "Heard Headed Woman" and "Sad Lisa," are exceptional, the pinnacle of this album undoubtedly "Father and Son." Additionally, I appreciate that the questions posed in this album in 1970 remain relevant in 2025, and are worth the time to reflect and consider. Overall, this is a beautiful album.

Heaven 17's "Penthouse and Pavement" can best be described as having a flat sound, which is somewhat ironic considering the multitude of sounds and instruments featured throughout on the album. I anticipated the use of newer technologies would result in a richer sound experience, similar to what was achieved by peers like The Human League, Ultravox, or OMD. Instead, "Penthouse and Pavement" gives the impression that its musical layers have been compressed into a monotonous and unengaging sound by a steamroller. The album appears to be divided into two distinct sections: the first side is marked by synth-heavy R&B and funky riffs, while the second side leans more towards electronic synth sounds. Although I enjoy the 80s New Wave music scene, this album lacks a crucial element — memorable pop hooks that inspire to sing along, encourage movement and dance, or just make you want to listen over and over. While there are a few interesting moments on this album, there are many finer examples of 80s New Wave and Synth Pop out there to enjoy. I would not waste your time on this album.

"Youth and Young Manhood" by Kings of Leon combines elements of Southern rock and garage rock blues, infused with pinch of The Strokes and a hint of punk energy. While the recipe is there for something interesting, the outcome is rather mediocre. I found the vocals to be grating, and the repetitive nature of the lyrics on nearly every track quickly becomes tiresome. There are a couple of interesting songs on the album, such as "Joe's Head" and "Happy Alone," but overall, it largely represents a typical 2000s rock sound, lacking any significant sonic variety. It is a decent album, but not a great one.

Laibach's "Opus Dei" is an album that embodies a striking sense of militaristic precision, characterized by its operatic, theatrical, and dramatic elements. Although it likely falls within the industrial music genre, the album surprisingly features some engaging hooks. While maintaining a consistent sonic tone, the album remains diverse enough to not be monotonous or overly repetitive. The cover of Opus' "Live is Life" ("Opus Dei") was an unexpected delight, as was "Trans-National," which incorporates New Wave synths and a danceable beat. The album concludes with a dramatic horn outro, the perfect punctuation for such a dramatic set of recordings. This album was a new experience for me, though it likely will not appeal to everyone's tastes. Would I listen to it again? Likely not. However, that does not take away form his being an enjoyable discovery.

The opening line of Nas' debut album, Illmatic is "I don't know how to start this shit." What then follows is the delivery of a series of vivid tales reflecting his experiences on the streets of New York City. Lyrically, the album is intense, raw, and authentic. The production is solid, with beats that blend elements of R&B and Jazz, featuring distinctive touches such as the piano in "N.Y State of Mind," the horns in "Halftime," and the xylophone in "One Love." I appreciate the contrast between the anger and frustration expressed in the lyrics and the calmness of the beats, creating an atmosphere that feels more like a rational discussion than one completely driven by angst. However, one aspect I found lacking is the diversity of sound. The beats across the tracks tend to be too similar in tempo and rhythm, and at times, the lyrics can feel somewhat repetitive. While this is not the type of music on my regular playlists, I still felt this was a fascinating listening experience

Mariah Carey's "Butterfly" is a reasonably appealing R&B album, though it occasionally feels overly polished, using a set formula aimed at creating a pop hit album. Despite Carey's undeniably remarkable vocal talent, I have consistently felt that she tends to showcase her entire octave range in nearly every track. That gets old fast. Overall, this album comes across as rather generic and unmemorable. It is not terrible, but it also fails to be interesting. Also, I find it perplexing that this album made it onto the 1001 list.

Django Django's self-titled debut album is a interesting blend of jangly rhythms and folk-pop riffs, interspersed with some 60s psychedelic melodies, early 70s New Wave synths, and electronic beeps reminiscent of 80s video games. The album showcases a sonic diversity, yet still maintains a coherence. While there are decent tracks ("Hail Bop," "Firewater," "Silver Rays", and "Hand of Man,"), some songs like "Zumm Zumm" may become irritatingly overly repetitive. Additionally, the album suffers from track bloat, and its overall quality could have been improved by omitting some tracks, such as "Wor" and the instrumental piece "Skies Over Cairo." Overall, the album's notable strength lies in the band's willingness to explore different sounds. The album is certainly worth a listen, though its replay value may be questionable for most people. (Better than a 2, not quite a 3, rounding up)

The Kinks' "The Village Green Preservation Society" serves as a quasi-concept album that explores characters and narratives evoking a sense of nostalgia for a more idyllic time in England. Interestingly, nostalgia often leads us to idealize the best aspects of the past while overlooking the struggles. It remains unclear to me whether Ray Davies intends to convey irony through this concept or if he genuinely yearns for a simpler, idealized era that may never have truly existed. Musically, the album is characterized by its gentle rhythms rather than harsh or jarring sounds, featuring strong harmonies and intricate layers of instrumentation and lyrics. Aside from "All Of My Friends Were There," which stands out as the weakest track on the album, each song is a well crafted pop song lasting about two or three minutes. After listening this album, I find it difficult to understand why The Kinks do not receive the same level of acclaim as their peers from the 1960s British Invasion, especially considering their impressive body of work. Once again, as in my review of "Arthur (Or the Decline and Fall of the British Empire)", my sole criticism would be that they occasionally indulge in their whimsy bit too much. However, this is also part of their unique charm

"Veckatimest" is an album characterized by its intricate and layered compositions, often using a string quartet approach and choral-like vocal arrangements. Grizzly Bear appears to intentionally fill every minute moment of this album with a sound or musical accent, maintaining a relentless pace until halfway through the album, where they allow "Dory" to take the album's first breath. The songs do not follow traditional pop structures, the album begins with "Southern Pont," a somewhat disorienting psychedelic acoustic guitar piece that establishes the album's overall tempo. Notable tracks include "Two Weeks," "While You Wait For The Others," and the nearly operatic "I Will Live For You." The album concludes with "Foreground," a softer, gentler piece that explores striving to escape the mundane aspects of life, which likely reflects the overarching sound and theme of the album. This is a grand album, meticulously crafted and sonically diverse, yet it presents a challenge for listeners to fully grasp its rhythm and grooves in a single listen, potentially leading some to pass on a second try.

"Justice evolves only after injustice is defeated" Public Enemy's "Apocalypse 91… The Enemy Strikes Black" is an unyielding and forceful album that showcases high production quality. However, the musical sound and beats take a backseat, much like punk music from the 1970s, as the value lies in its message. The album's real power comes from the unflinching reality conveyed through Chuck D's social and political commentaries. All the other voices, including guest artists, fail to rise to his purposeful command of storytelling. Overall, the album is cohesively crafted. Although it features similar beats and tempos throughout, these are mixed with various samples and musical injections to prevent it from becoming monotonous. While I lack the background or expertise in hip-hop to fully explain the relevance, I enjoyed this record, The message alone warrants this album a rating of 4 and is something that everyone needs to listen to, at least once.

Sonic Youth's "E.V.O.L." is an album in search of its identity, with elements of new wave, post-punk, and goth within tracks that flirt with conventional pop structures. The record is characterized by a noise, featuring thrashing guitars and heavy, yet precise, drumming, particularly evident in songs like "Death to Our Friend" and "Tom's Violence." In contrast, "Secret Girl" provides a more subdued, albeit haunting, moment on the album. You can also see how this album borrows from early Joy Division, while also being an influence on many 90s artists (Nirvana come to mind), particularly in tracks like "Starpower" and "Bubblegum." Overall, "E.V.O.L." is an intersting album that showcases a band striving to redefine itself and transition into a new phase. However, I do not think this album holds up as well as their next few albums "Sister" or "Daydream Nation"

Paul Simon's self-titled debut solo album represents a significant departure in both lyrics and sonic exploration compared to the folk-rock works he created with his former partner, Art Garfunkel. His strong songwriting skills continue to shine as he delves into a variety of global musical styles, incorporating elements of jazz, blues, reggae, and South America and Africa rhythms. Simon's impressive guitar work and vocals are complemented by a diverse array of musicians, resulting in a collection of songs that are both varied and engaging. The album opens with "Mother and Child Reunion," a reggae-infused track that clearly demonstrates Simon's desire to broaden his musical palate. Other notable songs include "Me and Julio Down by the Schoolyard," which features playful whistling, the gentle acoustic piece "Duncan" with its flute solo, and the jazz saxophone "Run That Body Down." The songs are a blend of whimsy and melancholy, featuring both tranquil melodies and upbeat, tie-tapping tunes. This album is clearly a precursor to his later critically acclaimed album "Graceland" (1986). Overall, it is a highly enjoyable album.

"The Downward Spiral" by Nine Inch Nails is a journey into the exploration of despair and self-destruction. The album features ambient industrial rock, showcasing a wide range of sounds from intense rage distortion to somber melancholy. The standout track is undoubtedly "Hurt," especially considering the later interpretation by the collaboration of Johnny Cash and Rick Rubin, which elevated it to classic status. Other notable songs include "Closer," "Piggy," "Heresy," and "March of the Pigs," though the remaining tracks are hit and miss. It has been several years since I last listened to this album. While I hold respect Trent Reznor as an artist, revisiting it evoked feelings of claustrophobia, isolation, and disconnection - emotions reminiscent of anxieties I experienced during the COVID lockdown. This album, once intriguing, has lost some of its appeal to me as I have grown older and my understanding of my place in the world has changed. Worth a listen.

Deerhunter's "Halcyon Digest" is a blend conventional indie rock with influences from 1960s pop, predominantly leaning towards the former while significantly drawing from the latter such as on tracks like "Basement Scene" and "Fountain Stairs." The album features several decent songs, including "Memory Boy," and "Desire Lines." In general, the album is filled with decent, yet unremarkable, tracks, however, the vocalist's delivery often comes across as bored or disinterested, Overall, the album is decent, but not exceptional.

"Pink Moon" may initially appear to be a simple album, characterized by Nick Drake's vocals, his guitar, and sporadic piano chords. However, the guitar work is rich and impressive, while the lyrics exemplify a vulnerability, with a reminder that beauty can still emerge even in the bleakest moments. In essence, this album is more than just a listening experience; it offers an introspective journey that resonates deeply. There is an honest and emotional depth on this album, almost like a quiet resignation or confession, that sticks with you even after the album is over. This review may come across as corny. Yet, it is the undeniable truth.

The thing about soundtrack albums is that they sound like soundtrack albums. "Shaft" is no exception in this regard, as its music aims to serves cinematic moments from the film. However, the 'Theme from Shaft' has evolved beyond the film itself, emerging as an anthem that surpasses the movie's popularity. Aside from 'Soulville,' a slow ballad, and the nearly 20-minute track 'Do Your Thing,' the remainder of the album consists of instrumental pieces that vary from jazzy to funky to soulful. The musicianship displayed on the album is both tight and exceptional. However, despite its sonic diversity and standout moments, the album lacks radio appeal and engagement. I appreciated discovering the album as a whole, especially considering the context as a defining sound of the 1970s blaxploitation film era. (I would have rated this as a 2, if not for the cultural significance and masterpiece of "The Theme From Shaft".)

Jerry Lee Lewis is a figure surrounded by controversy, known for his racist views and inappropriate pseudo-pedo marriage to his 13-year-old first cousin (and alleged murder of one of his other wives). Generally speaking, he is/was a terrible human being. "Live At The Star Club, Hamburg" features a blend of original songs and covers, opening with "High School Confidential," which seems creepy in hindsight. The recording quality is somewhat rough sounding, which might be expected for a live performance from 1964. Despite the album's energetic vibe and Lewis' bravado and showmanship, I still felt a sense of revulsion towards this man while listening. Thankfully, the entire album is a brief 22 minutes. As a personal preference, I would choose Little Richard, a more accomplished and influential artist, over Lewis.