There are great albums, there are legendary albums, and then there’s Purple Rain. From the moment "Let’s Go Crazy" opens with its electrifying sermon-like intro, you know you’re in for something special. The energy is frantic & raw. The fusion of rock, funk, pop, and R&B is seamless - and Prince doesn’t just play within genres, he bends them to his will. More than an album, Purple Rain is a moment in time, an artistic statement, and a revolution all at once. It’s Prince at his absolute peak.

The Smashing Pumpkins' magnum opus, this double-album is an ambitious odyssey through the sonic landscape of youth, angst, and beauty. Partly due to it's length, but also the journey it takes you on, Mellon Collie does not feel like a traditional album. This is the rare occurrence where a double-album justifies it's length by exploring the full range of human emotions. It's entire structure is intentional (everything Corgan does is). A collage of styles and tones. The progression from day to night, light to dark, hope to despair. It's the band showcasing themselves at their creative peak. The tracks work together to create something greater than the sum of it's parts. The excess isn't a flaw. If the album is about the overwhelming, contradictory, messy intensity of being alive, then it had to be this long. Mellon Collie refuses to be constrained, and the album still feels epic in scale to this day.

An explosive manifesto of audio. Tom Morello's boundary-pushing guitar riffs compliment Zack de la Rocha’s raw emotion on every track. Unapologetically political and a middle-finger to authority in every way, but certainly can be considered among the best debut albums in rock history.

Joy Division’s debut album is a haunting and atmospheric masterpiece that helped define post-punk. The stark, reverb-heavy soundscapes create an eerie and isolating mood, perfectly complementing Ian Curtis’ raw, anguished vocals. The bleakness and hopelessness are palpable on every track. Tragically, Curtis’ struggles would cut his life short before the band could fully realize its potential, but Unknown Pleasures remains a timeless and influential work.

The palpable energy of English youth.

4/10 - Have always loved the sound of the Ramones. Unfortunately they have the same beat/riffs for pretty much every song. Obviously a very influential band, but ultimately they come off too "one-note" to me.

influential folk rock album. Highlights: "Chest Fever", "The Weight"

The palpable energy of English youth.

One of the most overrated artists of all-time. The most well-known track (and only single) from this album is a poorly-executed cover of a great song.

Incredible sophomore album. Emotionally-charged vulnerability and quirky pop charm.

Groundbreakingly funky, good arrangements.

Dark, brooding album that essentially established emo/goth rock. Robert Smith's melancholic voice & The Cure's distinctive guitar sound somehow deliver a wistful sadness that carries from track-to-track.

Not the type of stuff I'd listen to normally, but I can definitely appreciate the musical talent on this album.

An explosive manifesto of audio. Tom Morello's boundary-pushing guitar riffs compliment Zack de la Rocha’s raw emotion on every track. Unapologetically political and a middle-finger to authority in every way, but certainly can be considered among the best debut albums in rock history.

Landmark album that vaulted West Coast rap into popularity across the US. I am a total sucker for the G-Funk Whistle Synth sound that's showcased so perfectly on the hip-hop albums from the early 90s. Then you add in the deep basslines, smooth melodies, and laid-back style, and you just can't help but bob your head along to the tracks. The Chronic made Snoop Doggy Dogg a household name, and also showcased several others who went on to successful careers. It was a cultural shift and elevated Dr. Dre from a producer to a visionary that set the stage for an entire generation of artists.

While many punk bands leaned into chaos and confrontation, Buzzcocks were masters of economy - delivering tight, hook-filled songs that are just as angsty as they are catchy. An album that perfectly bridges the raw power of punk with the infectious hooks of pop.

Raï music isn't really my taste.

Joy Division’s debut album is a haunting and atmospheric masterpiece that helped define post-punk. The stark, reverb-heavy soundscapes create an eerie and isolating mood, perfectly complementing Ian Curtis’ raw, anguished vocals. The bleakness and hopelessness are palpable on every track. Tragically, Curtis’ struggles would cut his life short before the band could fully realize its potential, but Unknown Pleasures remains a timeless and influential work.

Less of an album and more like unconventional poetry. Lyrically, comes off a bit immature to me. It does have some highs and clearly unique compositional choices, but not really the style of Fiona I prefer.

A raw, hook-laden debut that cemented 50 Cent as an icon of early 2000s hip-hop. Some of these songs were played to death, you heard them everywhere. Honestly, while you can't help but bop your head to many of them, I find the album as a whole to be pretty formulaic and I've heard them enough to last me a lifetime.

Superunknown's blend of complex song structures, rich with tempo changes, dissonance, and odd time signatures, show their technical prowess while staying raw and relatable. Cornell’s powerful vocals, from soaring highs to gritty lows, resonate on every track and provide an emotional punch. Certainly one of the cornerstone albums of the 90s grunge movement.

Monk’s style can be a bit polarizing, compared to more fluid or melodic jazz pianists like Bill Evans or Dave Brubeck. The rhythmic unpredictability gives it a uniqueness for sure.

Captures the spirit of the late '60s. While not every track reaches the heights of the title song, the album is testament to The Young Rascals' ability to evolve without losing their soulful core.

Interesting folk album. I appreciated the technical guitar skills, but this has a bit too heavy of a hippie vibe for me.

This album features stripped-down versions of various cover songs. Nelson's weathered vocals add a softness to all of them...although I can't say any of them are improvements over the originals.

U2’s War (1983) is where they stop sounding like just another post-punk band and start becoming U2. Right from the start, “Sunday Bloody Sunday” sets the tone with that militaristic drumbeat and those biting, almost accusatory lyrics. It’s not just a protest song..it feels like a battle cry. “New Year’s Day” follows, and it’s easily one of their best songs, combining The Edge’s icy guitar style. This is U2 at their most intense and uncompromising, and it still holds up because it sounds like a band that actually has something to say.

Certainly not an album that demands attention from the listener - quite the opposite actually. Tracy Thorn's effortless vocals lend a sort of elegance and quiet beauty. There’s an emotional richness in the details and the arrangements are subtle but effective. It's not really my thing, and seems like something that should be playing in the background at a cocktail party. Not necessarily a bad thing, though.

ahhh, the iconic album cover. Certainly a landmark progressive rock album that blends a variety of styles into a weirdly chaotic mixture. While often hailed as a masterpiece, it's not without it's flaws. It meanders a bit too much for my taste, like an overly indulgent jam session that overstays it's welcome. That being said, it dared to push rock music into new territory, influencing countless artists along the way. It remains a fascinating and essential listen for anyone at all interested in the evolution of progressive rock.

There are great albums, there are legendary albums, and then there’s Purple Rain. From the moment "Let’s Go Crazy" opens with its electrifying sermon-like intro, you know you’re in for something special. The energy is frantic & raw. The fusion of rock, funk, pop, and R&B is seamless - and Prince doesn’t just play within genres, he bends them to his will. More than an album, Purple Rain is a moment in time, an artistic statement, and a revolution all at once. It’s Prince at his absolute peak.

Some great guitar skill on display, with some energetic riffs & passionate intensity. I enjoyed the listen, just wish I could understand the lyrics.

A sweeping, orchestral folk-pop album that serves as both a musical road trip and a historical love letter to the state of Illinois. The song titles are a bit absurd, not a huge fan of that choice. Blending intricate orchestration, folk influences, and Stevens' signature delicate vocals, the album paints a rich, sometimes surreal, portrait of the state.

I've never considered myself much of a Doors fan. Morrison's vocals have never exactly impressed me, although they do seem to compliment their untamed, blues-driven style on this album. The hallmark organ work is undeniably prominent (bordering on overpowering), but it also gives the record a unique, hypnotic energy. There's a looseness to it, like they knew it was their last ride with Morrison. And Riders on the Storm feels like an eerie, almost cinematic farewell.

Really enjoyed this album for what it is. That being said, jazz isn't really my thing. I could tap my feet to this all night though.

A sprawling collection of politically charged, groove-heavy tracks. Many feel underdeveloped, as if they were ideas rather than fully realized songs. SAULT’s secrecy and mystique are intriguing, but when the music doesn’t consistently hold up to the weight of its themes, the result is an album that feels more like a collection of rough sketches than a fully formed statement.

Here's the deal. i WANT to like it more than I do. Why don't I just write this review the way Le Tigre would want me to write it... Drum machines, cheap synths, riot grrrl screams. Feminist slogans, basement shows, Xerox zines. "Hot Topic is the way that we rhyme!" Old-school samples, Casio tones, DIY design. Jangly guitars, distorted hooks, radical stance. Name-checking icons, Kathleen’s dance. Feminist art, "Lesbians on Ecstasy," Julie Ruin’s energy, punk necessity. Roller-skating, megaphones, party-starting beats. “Deceptacon” explosion, kicks you off your feet. Zine-making, mixtape love, East Village streets. Glitchy noise, tambourine, electro-punk elite. Politics, protest, queer liberation. Anti-establishment, girl-powered frustration. 1999, still fresh, still loud. Le Tigre forever, screaming unbowed.

a defining album of hard rock. Plant's wailing vocals, Page's searing riffs, and of course Bonham's explosive drumming come together to blend folk, blues, and rock effortlessly. Not much more I can say that hasn't already been said.

Greatly prefer Billie Holiday's earlier work. Her voice, ravaged by years of hardship, is fragile and weary. Some may find this vulnerability moving, considering this was recorded near the end of her life, but it's a stark contrast to the youthful clarity and smoothness of her classic recordings.

Smooth

"The One I Love" is the clearly catchy standout track, as a kind of ominously cryptic, almost callous, view of relationships. "It’s the End of the World as We Know It (And I Feel Fine)" is controlled chaos, a rapid-fire fever dream of cultural references. This is the album where R.E.M. stops just hinting at bigger things and actually starts becoming one of the biggest bands in the world. It’s raw, it’s tight, and it still holds up.

Jane's Addiction remains one of the best shows I've ever seen live.. given, that was a long time ago, when Perry Farrell's brain wasn't yet scrambled. Nothing Shocking features one of their most well-known songs, "Jane Says" - a stripped-down, steel-drum-accented reflection on addiction and regret. However, other tracks capture the essence of the band at their full strength. It doesn't get much more epic than the anthem of "Mountain Song", instantly recognizable by it's iconic bassline. It feels like it's kicking off the start of some kind of ritual. Farrell is certainly a unique front-man - a quasi-cult-leader vibe with a mystical, hypnotic, and always theatric delivery. The band has always brought a sort of primal energy to all their albums, and this one is no exception. Jane's remains essential listening, as an iconic band that blended psychedelic rock, funk grooves, & punk energy in a way that jolted alt rock from the 80's into the 90's.

Great voices, no doubt. Especially Dolly's, which is instantly recognizable. I appreciate the talent and harmonies, but this style of country music is not my thing.

I don't really ever listen to Trip-Hop, but I was pleasantly surprised. Chill album for sure. Won't necessitate a re-listen though.

I was initially tempted to rate this album 4 or 5 stars based on "My Generation" alone, because it's such an iconic, raw, s...st..stuttering masterpiece. However, I like to take the entire album into account, and most of the tracks display a band that's clearly still trying to discover who they are. It does capture The Who in their most raw, explosive form - just four young musicians out to prove something.

I’ve heard this praised as a concept album masterpiece. More like a rambling diary set to mediocre beats, with a delivery that teeters between spoken word and uninspired rap.

Sounds like fleeting transmissions from a fractured mind.

No doubt Adele has a great voice & rich, soulful style. The songwriting, composition, production is all solid, however the individual tracks are a bit hit-or-miss for me. Not to mention, it seems to be a theme with Adele that every song is about being a jilted lover. Becomes a bit one-note in that sense. Also.. if her album "19" isn't on this list, but "25" is, that's a shame. Just my two cents.

Really enjoyable listen. Blends gospel, blues, soul, and rock into a sound that feels timeless. Burke's smooth voice is just icing on the cake.

If you're an English artist/band with any talent whatsoever, you apparently belong on an "albums you must listen to before you die" list. Keep in mind, it's a good album. I enjoyed it. But I can probably think of a hundred albums from the last 25 years that could just as easily replace this one. Anyways... regarding the album itself - it does have intricate songwriting and good storytelling with a very melancholic feel. Does well mixing orchestral elements with rock instrumentation, and (from my understanding), this was self-produced by the band, which may account for why it maintains a raw sound.

Widely regarded as Elton John's magnum opus. Starts off with progressive rock, transitions to glam rock, pop ballads, and even some reggae thrown in for good measure.

Exemplifies Simone’s power to turn any song into something deeply personal and profound. Not really my style, but i respect it.

have always loved Dolly's voice. But the music is not my style.

a landmark jazz-funk record, and a full-blown vibe

The album that vaulted Dylan from just a folk singer to a cultural icon. Most of the songs are basically folk poetry laid over basic chords. Effortless simplicity of song mixed with deep, thought-provoking lyrics. I've personally never been a huge fan of Dylan's voice, or his "talk-singing" delivery, but it's hard to find fault in his songwriting.

Transformer opens with the iconic "Vicious," a snarling track that sets the tone for the rest of the record. The entire album is rebellious energy mixed with vulnerability. Bowie’s influence is undeniable. It has the flamboyance of glam rock, but with Reed’s voice & lyrics giving it a darker edge. Walk on the Wild Side & Perfect Day are both standout tracks.. and offer contrasting reflections of life through Reed's eyes. An iconic album, through & through...and one that makes you feel something different with each listen.

This album doesn’t get as much mainstream love as Pet Sounds, but it’s arguably the bridge between their surf pop sound and the more artistically diverse work that was to come. This is where Brian Wilson really came into his own, and the exquisite harmonies sound just as great today as I'm sure they did 60 years ago.

The title track is almost enough for me to give this album 3 stars. ...ALMOST

Intimate, yet grand. It’s one of those albums where every song earns its spot.

not a lot of redeemable qualities here

Deeply rooted in Americana, with threads of rock, folk, soul, and country all woven together. Adams' music always carries a tone of isolation, heartbreak, and loneliness, and this album is no different. He paints a picture of an almost deserved vulnerability. Adams has his share of critics, and probably rightfully so, however it's difficult to deny his songwriting and talent.

I am an indie rock fan. But this is one of the most sterile-sounding albums I've ever come across. It's not unpleasant to listen to, but it's like what I'd imagine elevator indie rock music would sound like. The song "Burning" also clearly imitates the song "Young Turks" by Rod Stewart... i assume that was intentional? Weird.

Lynyrd Skynyrd was just built different. The bluesy, Southern-style rock and intricate melodies set them apart from other bands in the same era. This album is Southern rock staple, and for good reason. I Ain't The One, Tuesday’s Gone, Gimme Three Steps, Simple Man, Free Bird... i mean, the hits just keep comin'.

Moments of brilliance. The fuzzy riff in Blue Orchid is a thing of beauty. The album feels theatrical, like a haunted vaudeville show. It doesn't ALL hit for me. But the highs cancel out the lows.

It's....fine? for folk rock i guess.

It's ok. Not a huge fan of the Eels sound, but overall it's a decent album.

a mix of funk & ballads (and some funky ballads), Stevie never disappoints. "Superstition" has one of the best arrangements of all-time.

A cornerstone of soul music.

Enjoyed the guitar work & album as a whole.

Such a sonically rich album, and yet another evolution from them. Also contains some of their best tracks. "All I Need" is one of Radiohead's best, even if many people aren't as familiar with it compared to their more "popular" tunes.

I'm by no means a huge GnR fan, but this debut album by them is iconic. Welcome To The Jungle, Mr. Brownstone, Paradise City, My Michelle, Sweet Child O' Mine, etc.. The energy, attitude, and bravado are on full display.

If musical legacy were based solely on how many beer-soaked college dudes screamed your lyrics, the Beastie Boys would be gods. While this album may have helped bring hip-hop into the mainstream, it honestly doesn't hold up well at all, and comes off as mostly juvenile nonsense, yelled to a beat. To call this their worst album is almost a compliment, because it did pave the way for the Beastie Boys to grow up and eventually create some genuinely good music.

Oozes mid-60s California pop, with lush harmonies, jangly guitars, a touch of folk, a bit of rock, and an undercurrent of melancholy beneath all the sunshine. California Dreamin' is still a haunting classic. Not sure about that album cover though, hah.

Not a Cat Stevens fan, but i can appreciate the songwriting.

lot of jazz on this list huh? It's...fine, but not really my thing.

Adore this album. Also just happens to have my favorite Replacements song on it - "Unsatisfied", which features Westerberg's passionate delivery and gravelly wails...almost to the point of losing his voice altogether. The entire record is a mix of punk & pop hooks, melding into an alternative rock sound that definitely feels ahead of it's time for 1984.

After leaving Wham!, Michael's debut solo album clearly made a statement, and solidified him as a legitimate solo artist going forward. He produced and wrote the majority of the album himself, which was rare at the time. It displays his talent as a complete musician, also being able to play piano/keyboard, drums, bass, and various other instruments to compliment his vocals. Speaking of which, his persona often seems to steal attention away from the fact that he is actually an exceptional vocalist. He delivers technically challenging songs with ease and a rich, soulful passion. He had many duets and collaborations with legendary singers over the years, and was more than able to hold his own. As soon as the organ starts playing during the beginning of "Faith", you get the feeling this won't be your typical pop album. In fact, the first few tracks (Faith, Father Figure, I Want Your Sex, and One More Try) showcase entirely different styles, while still fitting perfectly with the tone of the record. Michael has his share of critics, but it's difficult to discredit this album, which won the Grammy for Album of the Year and produced four number 1 singles. It was both a critical and commercial juggernaut.

Feels like I should be listening to this in a dimly lit trattoria eating spaghetti & sippin' Cabernet Sauvignon.

Gaye tackles a variety of social, political, and racial topics throughout this record. You can hear the anguish in his voice. Timeless, in a somewhat chilling way.

Rich harmonies & sharp songwriting showcase each member’s distinct voice and songwriting style.

I'm a fan of the genre, and enjoy a lot of stuff from The Chemical Brothers. That being said, I feel a lot of these tracks need a little more substance. They lean heavily on repetition, so the listener is left with the same beat for sometimes minutes on end. The tracks that incorporate lyrics seem to provide additional depth, which helps. The Chemical Brothers would refine their approach on later records, but this one still tastes like it needed a little more time in the oven.

I suppose it was difficult to follow up Rumours. In this case, pretty blatantly obvious. Were they influenced by Talking Heads, or was it drugs? Probably both. As an album that is considered experimental, it definitely succeeded, as it's all over the place. There are some tracks I really like, and some I really dislike. Averages out to a 3/5 for me.

This electro-pop-whatever version of Madonna is...not good. I remember when this came out, and it wasn't good then either. "Ray of Light" was also played to death. The song "Frozen" is passable, the rest of it I'd be fine never hearing again.

I respect this album a lot. Dig the sound. Only a handful of memorable tracks, however.

I've always considered Cohen more of a poet than a musician. I can appreciate it. I just don't particularly love it.

Often considered one of the greatest hip-hop albums of all time. Tight, focused, no filler. Just good rhymes and beats. An icon of East Coast rap.

Depending on the day & mood I'm in, I either love The Smiths, or don't care for them at all. May be a metaphor for the band in general. It's definitely not my favorite Smiths album. That being said, this album is pretty divisive, even among hardcore fans.

Although I'd be perfectly happy never hearing "Blister In The Sun" again, the rest of the album is actually pretty great.

"Love and Affection" - wow. Enjoyable listen.

Definitely an interesting one. No doubt the song compositions are great. Just not a style that will warrant a second listen.

Recorded in just under two weeks using vintage equipment, the album is a deliberate rejection of digital polish and a callback to analog grit. Jack & Meg White have always been a unique duo. The minimalistic drumming combined with the raw, bluesy guitar works really well. The fact that just two people can produce this sound is an achievement. Less is more, some might say. In this case, that saying proves true.

Bowie was a weird guy. Leaning into the strange and theatrical, like he's not part of this world, he's just trying his best to understand it. Life On Mars? is the standout track for me, unsurprisingly. Such a great song. Never gets old. Changes is maybe a tad overrated, also doesn't help that I've heard it a thousand times. Oh You Pretty Things & Queen Bitch are pretty great also. To me, this album marks the point where Bowie showed a clear path to stardom.

The Smashing Pumpkins' magnum opus, this double-album is an ambitious odyssey through the sonic landscape of youth, angst, and beauty. Partly due to it's length, but also the journey it takes you on, Mellon Collie does not feel like a traditional album. This is the rare occurrence where a double-album justifies it's length by exploring the full range of human emotions. It's entire structure is intentional (everything Corgan does is). A collage of styles and tones. The progression from day to night, light to dark, hope to despair. It's the band showcasing themselves at their creative peak. The tracks work together to create something greater than the sum of it's parts. The excess isn't a flaw. If the album is about the overwhelming, contradictory, messy intensity of being alive, then it had to be this long. Mellon Collie refuses to be constrained, and the album still feels epic in scale to this day.

A brash, confident debut. Has the sound of a band convinced they’re going to change the world...and for a while, they did.

Only reason I didn't give this a 1 is because some of the arrangements are decent. Some may describe this as "poetic" or "meditative" (aka often code words for boring). Well, there’s a fine line between minimalism and monotony. The talk/singing varies between passable and horrible. Obvious Leonard Cohen vibes. I understand the appeal of somber folk albums like this, but this one doesn't jive with me.

Groovy, enjoyed it quite a bit. We'll conveniently ignore the fact that it has one of the worst versions of "I Heard It Through The Grapevine" I've come across.

Apparently they were frequently compared to Nirvana. Guess I'm not really seeing it. Although I still think The Vines and The Hives are the same band sometimes...so maybe that is a more accurate comparison. Their style is right up my alley though, and Highly Evolved is a really good debut album.

This record is like a time-capsule transporting you to the early 80's. Inventive arrangements. Cryptic lyrics. Peculiar song structures. Flamboyance dialed up to theatrical levels. New wave mixed with experimental pop and clearly a fair dosage of drugs. While it doesn't exactly hit with me, I respect the ambition and creativity.

This was a lot of funk dealt out while having my coffee this morning.

Even on Steely Dan's debut album, they were smooth as hell.

One thing can be certain - whoever curated this list loves jazz. This one was chaotically uninteresting to me.

Hypnotic ambience

not sure if this would even make my Top 10 Bowie albums. That being said, that's pretty stiff competition.

sounds like Marilyn Manson took over as the lead singer of Jane's Addiction, and they took away almost all of the song structure. I listened to this album 2-3 times to see if I was missing something. Turns out, I was not.

an obscure art-pop album that hardly anyone knows about from 2017 makes this list. Ahhhh, she's from Liverpool, ok that explains it. Apart from a couple tracks, this album didn't land with me. I don't hear anything that similar artists haven't done significantly better. I could easily think of hundreds of albums that aren't on this list that deserve a spot over this one.

This album may define 70's classic rock. Maybe a bit of listener fatigue since I've heard most of these songs countless times.

I'd consider myself a "big beat" fan. I remember how huge this album was when it came out, and it has some great tunes for sure. "Right Here Right Now", "The Rockafeller Skank", "Gangster Trippin", and "Praise You" are the standout tracks. While looped beats are a trademark of the style, I do think it gets a little too repetitive a few times, when not enough has been added to keep the sounds "evolving" so-to-speak. All-in-all, great album though.

Over 90 minutes of jam sessions cluttered by so many instruments that is borders on incoherence. More of an endurance test than anything. Excess just for the sake of excess is not innovative.

Solid album through & through

Unmistakably unique, Steely Dan brings it again.

Iconic.

Now THIS is my type of country.

Interesting album for sure. A mix of covers & originals, with various styles showcased. Nilsson's version of "Without You" is a prime example of a cover song that is considered better than the original. His composition of it has basically become the version most people are familiar with. "Coconut" is just absurd playfulness, but obviously a fun & catchy tune. "Jump into the Fire" is the standout track for me, personally. Nilsson's talent on full display.

Stevie Wonder's only double album - full of great tracks.

gotta admit, more stuff I liked here than i disliked.

Sometimes the joke just doesn't land.

A masterpiece that redefined music. Brian Wilson's lush orchestration, innovative studio techniques, and the intricate harmonies create a soundscape that broke all kinds of ground at the time, yet still feels timeless today.

a step forward in the sonic evolution of Radiohead, and a preview of the brilliance yet to come.

Progressive rock is not really my thing, but there were enough positives to keep me interested. Crazy how different 70's Genesis was from 80's-90's Genesis.

I knew this was going to be a British album as soon as I didn't recognize the artist. Exceptionally mediocre.

Enjoyed it for sure. They don't all hit, but there are enough that do. Fav track: North American Scum

A haunting elegy. Certainly not an album everyone's going to enjoy, but the bleak beauty it delivers is hard to ignore.

At the heart of this, there are some good blues tunes. Unfortunately (intentionally) it is if they are mocking music and embracing weirdness. Which wouldn't necessarily a bad thing, IF it was done in a progressive or interesting way. I'm also not a fan of the gravelly vocals used on a good number of the tracks. There is some deranged genius here, but I guess this is the result you get when you let the drugs do the talking.

Seems the UK bias is on display again. If someone told me this was royalty-free music, I'd believe them. I enjoy electronic music, but apart from 1 or 2 tracks, this did nothing for me.

This album was huge in 1996. Stylistic & rhythmic personification of cool. Their rendition/cover of "Killing Me Softly" received a ton of attention and was played...everywhere. "Ready or Not" is the best song on the album though.

Shocker, another British album that really has no reason being on this list. As a horror fan, I certainly can respect that the music was used in The Exorcist...but this doesn't even seem like an album - it's essentially just a long progressive-instrumental recording. And one that gets weirder (and worse) the longer it goes on, mind you.

More British bias. No reason for inclusion on this list. Pretty sure most of the stock beats were included on Casio keyboards you could buy in 1993.

Simon is a great lyricist & poet, but apart from a few songs in their catalog, their folky music has never really grabbed me. Best track: Homeward Bound

For the record, I like this album a lot. I remember listening to it quite a bit when it came out. That being said, I don't really understand why it is is included on this list, as I don't see it as particularly significant culturally or musically. More British Isles bias, in my opinion.

Tainted Love is a certainly a classic, although we've all heard it a billion times. Say Hello, Wave Goodbye is also pretty great. The majority of the rest of the album though...yikes. Guess you had to be there.

the album that made Karen Carpenter into a household name. It's a dreamy, soft-pop album that doesn't resonate with me at all, but I can appreciate the talent to a degree.

ah yes, the songwriting genius that is Paul Simon brings us classics such as.. "Cars are cars, all over the world You can drive 'em on the left, drive 'em on the right Susceptible to theft in the middle of the night" maybe if there were 10,001 albums on this list, I'd consider including it.

I'm starting to think that every band to ever come out of the UK is on this list.

Sometimes I love The Smiths, sometimes I hate The Smiths. Averages out to a 3 for me.

Not among my favorite Beatles albums - there are a few timeless hits though.

unique, funky, punky.

Iconic

Brash, raw, and redefined music.

This is a little too "new wavy" even for me.

"Fast Car" is one of those truly great songs. Even though Chapman was only 23 when this album was recorded, her voice has a weariness to it, that perfectly fits the tone of the record.

Why? The UK bias on this list is actually wild. It's not that it's bad. In fact, I'd rather listen to something bad/different. It's just that it's a pretty mediocre example of the genre.

Rubber Soul veered away from the pop flavor of their previous records, and was a bit more genre-blending.. mixing folk, soul, and rock. Songs like "In My Life" show a musical maturity that would become more apparent in future albums.

People must have been really polite in the 1970s, because apparently nobody explained to Marianne that her voice was absolutely shot. She was 32 when this album was recorded...she sounds like she's at least in her late 60's. Don't do drugs, kids. Faithfull herself described it as her masterpiece. Yeah, it's a piece of something alright.

Classic. Iconic. Hypnotic. Psychedelic. Listened to this album quite a bit growing up, it had been awhile since I have heard it again in full. It's considered one of the greats for a reason.

"Wordy Rappinghood" may be one of the most annoying songs ever created, and that's saying a lot. "Genius of Love", with it's catchy hook, is really the only redeemable track on this album - and even on that, the vocals are questionable at best. The rest of the album ranges from just weird to awful.

A lo-fi, minimalist album that feels truly authentic. Has a raw and timeless quality to it. Just a man, his guitar, and his stories. And I'm all about that.

As uncompromising and provocative as ever, The Smiths' second album lays it all out on the table. Interesting that one of their most well-known & beloved songs "How Soon Is Now?" was only included on the US release and not the UK version.

Listening to this is like jumping into a time machine. Obviously an influential hip-hop album. Some of the beats can get a bit tiresome, but the energy of this record is on another level.

Aguilera has an incredible voice, that's never been in question. This is a blatantly rebellious album that incorporates R&B, hip-hop, and completely shreds the teen pop image she had prior to this. I am clearly not the target audience, but I can appreciate it for what it is.

Hey, this is proof that Faith No More has more than one song. "Epic" is the song everyone familiar with rock music knows, and has probably heard hundreds of times... but exposure/airplay for other tracks was virtually nil. They do blend styles into what is essentially a funk-rock sound. "Epic" is the standout track for a reason, but the rest of the album holds together decent enough as well.

Wilco fits the mold of a band I SHOULD really be into...but they always come off so milquetoast to me. They're inoffensive, approachable, relatable indie rock. I've actually listened to them quite a bit over the years. But I can't say I've ever been particularly into them.

Musically actually pretty solid & well-produced. Would probably help if I understood French. Although maybe not, considering the subject matter.

There are times i can tolerate, even enjoy, some MBV. Overall though, this album ain't it.