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.

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".