1001 Albums Summary

I love the phone calls and random conversation samples. Easy listening album, no songs I really dislike and a couple of bangers towards the end (Real, Compton, also Bitch, Don't Kill My Vibe) probably 3.5/5

Britpop isn't really my cup of tea, but I do love the tone and themes of album. Even if I probably won't listen to many of these songs again, I appreciate its significance and its probably one of my favorites of a genre I don't like.

My favorite Dylan album. Both of its time, but something that resonates throughout American history. I love the strong blues backbone but each track gives a different flavor.

I don't know if I'll ever add any of the songs to a mix, but I will definitely return to listen to the album as a whole. Was really surprised by how much I enjoyed it

Eh. I like David Bowie, not a huge fan, but the album didn't do a ton for me

I enjoy a narrative album, but overall, this album gets a decent rating carried by some bangers (moonage, Starman) and then a lot of stuff that's fine. I appreciate that this was Bowie's breakthrough and what really launched him into the weird side, but outside the historical context, this album is more decent than great in my eyes.

God damn. While this was the only studio album that Notorious saw released, it might be the only thing bigger than the B.I.G. himself. The man spits bars better than a Snickers conveyor belt. While the album is often dark and dangerous, there is a range of emotions, including joy and humor. There's authenticity in what he's saying (something severely lacking in lots of later rap lyrics), and it might give the most honest representation of being a drug dealer in the 80's and 90's. He makes you feel what he felt, experience his life, which can be difficult as a white dude from rural Pennsylvania. There's so many great references and samples in here (lots of rap history here), this is truly one of the greatest hip hop albums of all time.

Not a punk fan, but the arctic monkeys have a unique style and add a slightly different flavor to each of their quick romps. Strong vibes. I don't know if I'll listen to many of these tracks again, but I enjoyed the listen.

The artist is as somber as he is talented. I love the light folk guitar mixed with more traditional orchestral instruments. I wish this man had not been so depressed. He could have made more incredible music. His music stylings fit his own sad story, an unappreciated poet in his time that ended life far too early.

experimental album, not really my cup of tea

1. Banger 2. Keep your foot on the motherfucking pedal baby. That long screech followed by that nifty lick *chef's kiss* Also, the bombast of the drums in this album so far is peak 3. slow it down, haunting duet vocals, mandolins aplenty, and we're talking LOTR; I feel like I've been transported to Middle Earth, stop I can only get so erect 4. Are you kidding me?? What?? This? This ... masterpiece? The slow build from the ethereal to the hot and heavy? Mama Mia, we got a spicy meatball here. 5. how about a little jaunt to take the edge off. And god damn, those drums 6. Driven by the rollicking main lick, I think its underrated 7. A little reprieve before the big finale; still has some edge though 8. that harmonica haunts my dreams and nightmares. Truly one of the greatest rock n roll albums of all time 0/5

Fleetwood Mac has always been a bit of a blindspot, but they put out some real yacht-rock, road trip jams mixed in with some real hard hitting bangers (The Chain, Gold Dust Woman). I need to listen to more

Definitely synergized with my morning coffee to power me through the morning. Maybe I lack a refined ear, but the problem with thrash metal is all the songs feel like the same speed and tone, so they start to blend together. I enjoy the style to an extent, but another that I probably won't return to.

Listening to this after Cuban Linx is some whiplash. They are lacking a bit in the lyrics department, but they make a good beat and have fun. It's as if as if an ivy league a capella group formed a rap group that could make a half decent beat.

The best hippy drum circle's signature album (complimentary); starts strong then kind of peters out but great nonetheless

Forget corn flakes, have this for breakfast to start your day with some *crunch*. ZZ Top adapted to survive into the 80's, and while I can frown at the lack of authenticity using loops, drum machines, and synthesizers, it's hard to argue with the end result. Don't think too much about it, just enjoy the boogie, blues, and electric sex machines. Those sheepskin guitars will haunt me (in a good way) forever

Kick snare to knock your damn head off. Not really a music period that I enjoy, but two absolute classics carry this album.

I just don't get the value of this music. I, a man of unbelievably limited musical talent, feel like I could cobble an album similar to this in like 6 months. This is the aspartame of music.

It's not my cup of tea, but they seem talented.

As the title track states, this is a party. Damn, I wish I had been invited to party with Prince, but I guess I was -10 in 1982

Just a classic Stones album, a party with dark/seedy undertones, a spine of good ole fashioned rock n roll with the draperies of other styles thrown in (gospel, country, etc.). It's the good local dive bar of music.

Punk - schmunk, Television is the best garage/indie/alternative rock band of all time and this is their best album, featuring more hooks than a coat rack and a lovely interweave of the two guitarists. mastapiece *mwah*

In a genre that is not my cup of tea, it alternates between surprisingly enjoyable (to me) and irritating (the majority);

Clearly a talented vocalist, but also kind of annoying and overdone; I initially wanted to rate it higher, but replaying some of the songs reinforced all the worst vibes (overemotional, whiny at times, dude clearly singing every line with his eyes closed)

God Bono is fucking annoying and he's not that talented (not every note needs to held to orgasm moan threshold). I don't know what's more unbelievable: that these assholes thought it was so important to listen to their crap music that they forced it onto every iPod, or that they were at one point the most popular "rock'n'roll" band on earth (humanity is fucked). At least two members didn't give themselves dipshit nicknames, I hope no more of their albums are on this list, but I know I won't get so lucky. Rant aside, this album has a couple of decent tracks, and the otherwise is ... completely unremarkable

I can't think of a more appropriate title for the album. Zach is a lyrical master and Morello rips.

I appreciate the cinematic style and the influence this album had on future albums, but from a listening perspective, it's a couple of bangers and then mostly not my cup of tea

Love the creepy goth vibes, an authentically miserable album. Glad Robert Smith didn't use the Cure for depression.

An album that alternates between party and real shit. But it's funky goodness all throughout.

What a death march. It is a somber album, but that sax keeps it Bowie-dacious. So very different from his early work, but I really like it.

These are terrible, inconsistent soundscapes with slam poetry vocals sprinkled in. I stopped listening and had to come back because it was such a frustrating and tedious experience. Hard pass.

A strange album, that goes from background elevator to poppy jazz. There are some decent tracks, but it mostly doesn't move me much.

Weird witchy vibes. Not irritating but not something I want to listen to either

Jack White's talent shines through a diverse set with plenty of crunch. I really enjoyed coming back to this album

A blend of groovy jazz, folk, blue, and rock. Neat

I enjoyed it in parts, but too often it faded to the background. It was nice working music though

There's more variety than I expected for a modern pop album and I think Adele is a talented vocalist at least (although she could cut her note-wavering by like 50%). But it's still a modern pop album (read=shit)

Simple, complex, the music seems to flow rather than have composition, but there's not a single honk, hat tap, or key strike out of place

I always thought the Talking Heads were kind of irritating, but I really liked this album. Positive & poppy, there's some other influences in here. The rhythm provides a reliably steady foundation, allowing everything else to dance around a bit.

A couple of monster hits and the finest bayou muddy rock in between. mastapeece

Out of left field, I enjoyed this modern opera. I don't know that many songs stood out in particular, but the flow through different genres was well done and I think I'll come to appreciate this album more when I come back to it

I understand why this is such a tremendous musical achievement, but it just didn't click all the way for me. RIP Brian Wilson

I think Neil Young gives Bob Dylan real run for his money for best American musician/poet. His lyrics are less creative, but I think are truer to the American experience (especially since they are dumbed down) and he's definitely a more talented musician. damn

God damn, this album is two plates heavy. Sure, plenty of blues and some soft tones mixed in, but god damn

It's good, but if this is peak Rush, I get why I don't listen to them very often

I liked this album, but I think it's because it feels like a grunge album for people who don't like grunge.

I like a couple of songs on here, but it just doesn't amount to much for me and blends in with a lot of alternative/pop that's out now (it's probably more of a 2.5)

While the white nationalist nostalgia for the 50's is mostly terrifying, Fats Domino still bangs.

Usually not a pop rock fan, I really liked a few songs on this album, and the rest was fine, not irritating. I really liked the variety of instruments and seasoning of other styles. Solid

Strong 60's rock backbone with some of trippy, experimentation mixed in, this album goes by in a breeze, and really captures the desire for escape in the late 60s. No one will mistake this for Rubber Soul, but the Byrds (Version 1.0) ended on a strong note. 3.5

While I respect what Zappa accomplished and the lyrics are fun and message poignant, from a pure listening perspective, it's pretty rough. I like Zappa a lot, and a lot of his other parody, satirical songs have a lot of musical talent in them, but this feels more like a bunch of musicians fucking around in the studio and laughing at hippies, which while fair, doesn't make for a good audio experience.

What a blindingly talented musician. He can inject such genuine emotion into his music; he knows when to blast with his vocals and horns and when to keep it soft and simple. Any one can see this is a fantastic album

Get it on, the quintessential fuck song, puts the album at a 3 by itself (plus have a sequel that's message is "keep fuckin'", pure genius). But I really should say making love, because although the topic is base, Marvin's sultry, emotional voice caresses the topic and the musical composition is such vulvety perfection.

Doomy-gloomy but ultimately didn't leave much of a mark. Only on the third playthrough did it really start to leave an impression. The lead sounds like the Boss really straining for extra emotion. (probably a 2.5)

It starts really strong, stalls out in the middle, and then finishes on a stronger note. Al Green's vocal style is unique, but also sometimes a little grating.

This was a staple of road trips with my family for some reason that I have no regrets about because the music is phenomenal (also all the fucked up stuff went over my head). And the story is incredible.

My view on this album mostly aligns with my musical taste, which I think tells me how to review it as a whole. Stills is a talented musician and makes great music, but he doesn't elevate the sum of its parts in a way that CSNY rarely fell short of.

Otis is uber talented, but it's hard for me to rate an album full of covers too high, especially when I like the originals better

It is understandably overshadowed by the his subsequent album, this is when we really start to see MJ's signature style appear and there's a lot of range here too

I don't know what I disliked more, looking at the album cover or listening to the actual music. At least it was quick. Ultimately, Costello tries to blend a bunch of different rock styles and wrap it in faux punk anger/angst which matches his fake blended image.

I love the phone skits. Some songs are a little long for my taste, but there are some jams in here. Probably a 3.5

It's jaunty and upbeat, but I don't like ska. Surprised this came out all the way back in 79 though

The hits on this song are top-notch, but the in-between are much better and much more diverse stylistically than I expected for an 80's pop rock band. Happily surprised

Modern American classic, epitomizes the vibe of the American west. 3.5

You know what makes for good listening, going from a coherent song to just having all the musicians play over each other for 15 minutes. I am grateful their music careers are largely dead.

The true Ace of Bass. 4.5

I had per-conceived notions coming in that were largely correct, but there is more variety here than I expected. It was fine background music to me catching up on work

I was blown away. The hits were obvious, but there's a lot of deeper cuts here that are jams too. After a 2nd listen, this bumped from a 4 --> 5, (maybe a 4.5 in the end)

I'm sure Dizzee's style gives voice to many people's experiences and emotions, but all I fucking hear are nails on a chalkboard laid over repeatedly punched-in-the-head stupid fucking blast beats. My mental image association with this album listening experience was watching the dollar store aftermarket parts of a 2001 Honda Civic R being shaken free from the body by the incessant booming of a sub worth more than the rest of the build put together.

RIP to a king. You're classic heavy metal with some surprise changeups (Changes, Laguna Sunrise) that highlights their collective talent.

internet-thumbs-up-kid.gif

Message in a Bottle - no notes; raises the floor of this album, otherwise it's mediocre except for Copeland masterfully mashing the skins and cymbals

A 3.5. This is chock full of classics (RIP Mariano Rivera), and decent range for a heavy metal album. Although it doesn't do a lot for me, this album oozes pure Metallica sound

I like this era, and experimental stuff, but all this spaghetti on my tympanic membrane is starting to stink.

https://www.youtube.com/watch?v=Y-XXbYb5hx0 ^this skit, except it's jazz and funk, but equally as tasty

Solid hard rock, would be otherwise indistinct if not for a little Cooper flair and some added horns and theatrical bits.

I mean, it's fun, but not really my cup of tequila. The pianist is quite good

This goes harder than I expected.

This is a tough grade, I was really torn between 2 and 3. The best Oasis hits are here (Wonderwall and Champagne Suprenova are underrated), but the filler is rough, just a lot of noise.

Joni steps a little out of her comfort zone and shows a real spark. Damn, she's a talented vocalist.

Cry on my shoulder is a bop So is Real Man & Love Letter I think I might like Bonnie Raitt

Vibes

My favorite Dylan album. Both of its time, but something that resonates throughout American history. I love the strong blues backbone but each track gives a different flavor.

More of a 2.5, but I stand by that the Doors are the most overrated band of this era. Nothing on here is bad (and Riders on the Storm is awesome), but it doesn't stand out at all compared to contemporary bands.

What strange ride, but it was fun (for the most part) and funky. I don't know how often I'll come back in whole, but it'll be fun when a song or two mixes in

I was taken aback at how much I liked this album. There's a lot of variety here, but while the instruments and styles differ, the quality maintains. He may have left the band, but this album marks the genesis of a special solo career.

As much as I shit on the Doors, this feels like a real album rather than just a distillation of generic late 60's hippy rock. There's actually variety in the types of music. It's a decent listen, probably a 3.5 (but I'll dock them .5 cause they're the damn Doors)

A dark horse for one of the great American music albums. Probably a 4.5, but who cares

This album is fine, and very British in its baroque-pop style. But as someone who really likes the Kinks, I get why this album sold poorly. Waterloo Sunset redeems what is a lot of meh

At least Nick Drake was a talented sad boy musician. Probably a 1.5, but I penalize this album as it apparently paved the way for other trash like Ed Sheeran and James Blunt (at least "You're Beautiful" is objectively funny)

the most distilled Aerosmith album. The first two tracks are killer, the rest of the album is more fine than good. But it lives up to its namesake probably a 3.75, but I'll give it a bump since lord knows they did plenty

If you could distill the transition of rock n roll from blues to the more psychedelic era to follow, you'd get this album. I don't think it's the CREAM of the crop, but it's damned good

Fun album filled to the brim with bops. Catchy punk vibes, with good emotional range

Smooth, almost understated but technically impressive guitar in a mix of West African and more traditional blues influences. Good, easy listening

This is the more annoying electronic whiny stuff I have come to associate with Radiohead. There is some neat experimental stuff here (lullabies, shanties, etc.), but it's also depressing and grating at times. Credit I suppose for melding child-like fantasy and the political era, and also seeing the future rise of fascism, if unintentionally. I'll give it a 3, but it's really more of a 2.5

This album stands in contrast to a lot of similar works in the genre in that it isn't one note, there's a lot of variety in tone and emotion here that compliment Amy Winehouse's incredible pipes. RIP RIP. Also, shout out to Mark Ronson, that man can produce music.

Sultry vocals tried to entice me, but ultimately, the smouldering tones failed to light a fire in me.

Starting off with a UFO skit using guitar feedback is pure genius; then you get to the actual songs. I can't be unbiased, Hendrix is my favorite guitarist of all time, so this was always going to be a 5. Probably the most diverse Experience album in terms of style and story telling. There's existential ballads about space and life, Romeo & Juliet dramas, and songs about hot ladies. And Hendrix just tearing ass on guitar throughout; it's not just fingers-on-fire solos, he lays out these wonderful progressions of weird chords. What a King. P.S. I don't care what MDDK says, this version of Little Wing is far superior to Stevie Ray Vaughan's (who is also a king)

It's a good background listen, but all the songs kind of blend together, except for kiss me on my neck, which was really annoying and I had to skip halfway through. The instrumentation is great, but it falters a bit in the back half of the album

I don't know what's happening but it's fun. 2.5 stars

As someone who hates this type of music, I didn't hate it! Although she does some yodeling, the emotion she injects feels mostly genuine. And the backing instrumentals feel well-composed, not just background for her vocals.

There is a lot of layer of instrumentation and vocals for each song, but they weave together well rather than as an overwhelming wall of sound. And got damn is there some incredible stanky funk guitar

A tale of two halves, starts really strong, and then is all downhill after Once in a Lifetime. I enjoyed some of the spacier, experimental elements; this list is slowly converting me from hater to a light fan of the Talking Heads

This is basically a softer Boards of Canada. It's nice to fall asleep to or mellow out with after tripping balls, but I don't know if it merits much air time beyond that.

It's a pretty good example of a modern jazz album, but I don't know that it really stands out as an all timer

This is a Brit cosplaying as Bruce Springsteen, and like the British, it's kind of charming, but ultimately falls well short of the original. More of a 2.5 but I'm feeling harsh

A jumping party throughout, a good listen with a lot of cuica, which is awesome

Yeah, she's pretty good.

Come for the Cash, stay for the crowd work

This is the gold standard of hardcore gangsta hip hop albums. The shit that had white moms calling their congressman in hysterics, terrified of their innocent teenage son joining the Crips. I don't know what's more impressive, the lyrical skill or the intensity. I'm pretty sure if Stephen Miller listened to 3 tracks on this album, his face would melt like the end of the Lost Ark, fucking nazi.

I wish the vocals matched the standard of the backing instrumentals. This is what if punk filtered through other genres. It's decent, I guess. 2.5 The Jack-ass theme randomly appearing was fun, also much different once you get past the initial riffs.

I really dislike the 80's commercial pop sound and therefore a lot of Peter Gabriel, but I gave it a chance and did enjoy the composition, even if the end result is .... unsatisfying. Ultimately, though, this is representative of an era of pop I struggle with so it's gonna get a low score (2.5)

Impressive sound for a duo, has a retro feel and really was the revival of bluesy garage rock. Thumbs up

Definitely a turn the amps up to 11 kind of vibe. Cheap Trick is ultimately held back by their talent ceiling, but it's a fun live album

Listening to this, all I see is some mash-up of Jeff Bridges as the Dude and as Flynn from Tron breaking it down in a Tron-verse discotheque, and it fills with me an indomitable desire to rip some molly and tear it up with him (4.5 stars)

I guess for it's era this was groundbreaking, but to me it sounds like the recordings of a bunch of amateur high-schoolers rocking out in a garage, which I guess is the point? The grunge scene that would come to be inspired by this offers better, and I don't like grunge either

I don't know what it is about this band, but I can't say no. Even with their too long songs that could be reasonably broken-up, I still Yes to more music, especially this era of the band. This is probably their tightest album, although Fragile is also pretty great.

ELO might has mastered the mash-up of orchestral strings and rock n roll; they also are the perfect musical companion to the 60's/70's retro space aesthetic. I think I always smile listening to them, regardless of the tone of the song (4.5)

This album makes me want to see Big Brother and the Holding Company live, not listen to the album again. It's solid late 60's pop/rock, but outside of general bombast, especially Joplin's vocals, doesn't stand out. Speaking of, I appreciate Janis' energy and unique voice, but you know what? Not for me.

It's a very average hard rock album, which is a fat meatball over the plate for me, but wasn't a notable listening experience. 2.75

Siouxsie's vocals, the guitarist and drummer combine to make one the best and least kitschy dark albums ever. There's only a couple of really stand-out bangers, but the tone and talent is present throughout. There's also some pretty sweet experimental guitar techniques/sounds

This felt Fleetwood-lite with a little more funk. I'll be coming back to this album

When I imagine jazz in my head, it comes out sounding like Duke Ellington. It's structured but free-flowing, it's loud and soft, it's the ultimate mix. I don't know that this is my favorite jazz album, but it is an exceptional embodiment of that era of jazz

This feels like a long-form, Grateful Dead version of psychedelic/garage rock with boring musicians. I don't think this band wanted anyone to hear their vocalist, which is a choice. I kind of dig the spacey, ominous sound, and I can see how it was influential in good ways and bad. Some of it is a rough listen outside of haunted houses and frat hazings. Ultimately, I don't think I'll come back and listen to this unless I want some really trippy experience when I'm stoned out of my god damned gourd

Malik of Tribe being featured on the first song really set the tone in a way I did not expect (my knowledge of their discography extends to ... Waterfalls). There was more diversity in music style than I expected, although the lyrics are fairly one-note

This was a very boring, bordering at times annoying, punk album, a genre I will rarely enjoy. Some of the lead guitar was cool I guess, and I like Peter and the Pets. Next

The positives of this album are entirely buoyed by Enjoy the Silence and Policy of Truth. For the rest, I know I should grade them on a curve because this was as advanced as techno music could get at the time, the same way you grade old movie special effects when comparing to today's VFX. However, then I think about how well the Thing and LOTR trilogy hold up, and you know what, this just isn't that good. 2.5 (Also realizing I hate a lot of British pop outside the 60's-70's)

This is probably his 3rd best album and would be the greatest album of pretty much any other artist. The singles do more work than usual, but even the filler songs have their moments. The whiplash from "I Just Can't Stop Loving You" to "Dirty Diana" has permanently damaged my cervical vertebrae. The ultimate king of pop and example of separate the art and artist. Also, hats off to Quincy Jones, the produced for MJ's best albums. 4.5

I understand how the mournful, soulful country rock that Parsons makes so well can pull at the heart strings, my heart just ain't tuned that way (or I don't have one, either way)

You ever been on the outside of an inside joke? I wanna get this, and I see that others enjoy it, but I only feel envy of others having a good time. Shane was right though, Knopfler is a helluva guitarist

It's the weird Who album I never knew I wanted. Bizarre but clear signs of things to come (Rael 1), I don't know how that any individual song stood out (except for "I Can See For Miles", that shit rocks), but the whole is a treat and the prank nature helps Keith Moon stand out. Fuckin' Brits

Much of this album blends perfectly well with other pop albums of the era, but there's little bits that stick out, the opening chord and closing arpeggio of the title track, "And I Love Her", that hint there might be something more to this otherwise all too common looking quartet of British ruffians

You ever go to an amazing steak restaurant and order fish? That's this album, a blues rock band trying out different stuff, and it's good, but it's not what you came for. Also, their darkest album. I'm glad I went back, there are some toe-tappers on here, but far from my favorite album by the keys.

Picture a trim late 50's-early 60's spinster looking out her midtown Manhattan apartment window at a dreary gray afternoon with a martini in hand. This is the musical distillation of that nostalgic reminiscing (complimentary)

He may not be the same caliber of musician as his brother, but this was a damn good album

Sam Cooke knows how to party and make the ladies swoon.

This has all the hits and is a solid new wave rock/pop album, but when it comes to the Cars, I'm more of a sitting in the wayback than a driver seat kind of fan

Blasting drums, teenage angst (at least the vocals aren't annoying), and simple power chord progressions. Appealing to some, the album title is more an accurate label than a snarky joke to me.

This feels like an album for snobs who know better than you, explaining this is Cope's breakout album. But who the fuck is Cope and why should I care about his breakout if this is the result. It wasn't bad, just long, and felt like an artsy-fartsy grunge album. I guess 1001 albums leaves a lot of room for filler too ...

From a listening perspective, this is a 2.5 for me, but you can see the influence this had on a lot of later rappers I love (Childish Gambino, Tyler the Creator) and there's quite an eclectic collection here, with a lot of fun interludes.

The difference in enjoyment between Buried Alive in the Blues and Mercedes Benz told me everything: I love the Janis Joplin backing band, I do not like Janis Joplin's vocals. Unique for sure, not for me.

A standard early 60's bop rock album with a little edge, a glimpse to the hard rock the Who would be more famous for. It's fine

Sunshine Superman and Season of the Witch are the shining towers of this album, but the filler is mostly good too. As opposed to anything the Doors produced, I think this album really represents the peak flower-power music scene, with a rock spine and then folk, sitar, and medieval influences. Also fun fact: this would have beat the contemporary, similar, and much better Revolver and Pet Sounds to the shelves, but alas, business disputes

This album puts strong foot forward and then stumbles; the opening 10 minute guitar solo may be the most emotional guitar ever recorded. There's a lot of good funkiness here, but also the first time I ever thought a song needed less cowbell.

How could you not bump along to this album? The vocal transitions are on point. It's not my favorite listen, but it gets a star bump for its place in history and cultural importance

Come for the bangers up front, stay for the vocal harmonies and ballads that reflect the tribulations of being an American. Probably a 4.5, but I'll give it the bump

Way more of a banger than I expected and had any right to be. The songs aren't just loud and simple, there is depth, variety, and fun throughout. Will definitely return to this, and I hate pop-punk

I think the inoffensive nature of Arcade Fire makes them offensive to me. There are some samples and hints of other instruments and ideas, but they take a backseat to quiet vocals and simple guitar. I tried listening to this album multiple times, and I honestly couldn't really tell one song from another.

Fatboy has an excellent sense of when to throw a hook in before a sample becomes too repetitive. Beats so big, you gonna be banging your head on the ceiling.

Started off pretty strong, spacey but there was some variety, and then it got too drawn out. Probably a 2.5, but I'll give it a bump since this wasn't on my radar at all.

This might be the most horse drawing meme album ever. Starts strong with their dance-pop singles, then really peters out. Still a good, nostalgic listen

I tweak this .5 for Bob Dylan voice. His most emotional album, it also feels the most relatable.

Maybe the strongest contrast between the dark subject matter and music I've heard. Flows better than hot syrup. Marvin's voice is up there as an all time great.

This is a solid alt rock album that is a good representative of the 2000's era. But ultimately, this album doesn't stand out relative to any others, which is fitting as 2000's alt rock in general just kind of exists, is enjoyable, but won't be more than a footnote of "this happened" in the history of music. 2.5

I always wrote this album off for the songs being too long. I don't think you could fairly say I was too wrong. Banger

It's a fine album musically, but I think it gets a bump for what it represents: an aging rocker, trying to re-create his past music, but coming up a little short. It's a bleak album, and a little long, but there's some funhouse mirrorness to his earlier works.

I waffled for a bit, then 3 things: 1.) Number of the Beast solo 2.) Number of the Beast Screeachm 3.) seeing them live is the only way to listen. I really appreciated the guitar a lot more. Also, Run to the Hills is a bop.

This entertainment for some, just not me. There’s talent, I just never would put this on to enjoy.

This is a 1.5, but didn’t have the heart to give it a 1. It’s the annoying protest singer that got a major record deal. And she would be a talented vocalist, but she wavers so much. Sounds like they recorded her singing while on an overpowered massage chair.

I have no idea what’s being said and it ‘s loud, but I kind of like it. Based on some of my other recent reviews, I guess I’m a cultureless slob, fuck yeah

Not my favorite Bowie, it’s a little faux in the soul department. I like the cover, and there is some good material here, but it doesn’t shine like his glam rock.

A person can only dream to possess the creativity necessary to imagine such an album, let alone the musical talent to execute the vision.

It’s all background music, it just transitions between up-tempo work lo-fi to the “I know kung fu” scene in the Matrix, to video game grotto adventure. It’s fine.

I guess it’s funky and Gin n Juice is a certified heater, but if this is Snoop’s best, I don’t understand how such a mediocre rapper got so popular. His syrupy relaxed cadence is attractive to some, but it’s too sweet and simple for my taste.

It’s not offensive, but like a foggy drizzle, I don’t particularly enjoy it either.

I will definitely maybe not listen to this album again. Except Married with Children, that slaps a bit.

Funky and more controversial than some of their other work, but there are some soft, sultry tracks later on. Crunchy PB and oh so sweet jam.

What a way to kickoff a band. Good Times has so many licks, every tootsie pop in town is running scared. Then you think it’s slowing down with some sultry Spanish guitar, a little heat from Robert Plant, a trippy bridge, and then a full force finish. Damn it Led, I didn’t even make it to song 3 before You Shook Me. Track 3: Heavy, harmonica, honk, *chef’s kiss*. Then the low down scoundrel of Dazed and Confused (alright, alright, alright) before Bonham blasts your damn head off going into the solo. I kind of forgot about Your Time is Gonna Come, but it’s a Certified BangerTM. Then the smoothest transition into Black Mountain Slide, which I don’t know where it came from, but let’s get more of that, stat. Communication Breakdown also a Certified BangerTM, but also feels out of left field after the last few tracks. A little blues wind down, and then the grand finale. Despite its long run time, How Many More Times has so much going on, so many different parts, each as good as the last, tied together by that groovy bass riff, that you barely notice that 8.5 minutes have passed. In general, probably the greatest debut album of all time. P.S. I forgot about all the back and forth between Plant and Page’s guitar, what a great bit

Maybe a 4.5, this album marks the transition from the pop Beatles to the mature Beatles. More exotic instrumentation, more creative lyrics, there are a couple of highlights (Norwegian Wood, Michelle, Nowhere Man, I’m Looking Through You) but this album is more high floor than ceiling.

I am in no way qualified to review this rumba album. I liked the percussion throughout, but really only jammed out with a couple of the songs.

On first listen, it felt like background music at work, especially the second half. But I came around with a second listen. It’s probably a 2.5. There’s a melancholy to the album but there’s variety in the sampling and the drum lines are great.

I don’t know what’s more forceful, the message or the presentation. A sample smorgasbord itself, I recognized so many future samples here.

For a genre characterized by repetitive samples and drum beats, this stands out in a good way. It's as fun as how we remember a heavily nostalgia-tinted 90's being

I can pretend to appreciate what this album accomplishes, but this is a no for me dawg.

It was neat. Love the interplay between the stringed instruments and the flute. still probably never going to listen to it again. 2.5

What the fuck is this? I can't tell if it's satire or just glazing Southern life (good and bad). The composition is nice and Randy's the perfect voice for this. But my god

Definitely at it's best when Pete Townsend and Keith Moon take the lead. The crunch of Pete Townsend live makes a decent difference. Overall, not the strongest live concert though, maybe more of a statement on the Who's catalogue than the talent/stage presence.

MJ is the star, but the musical composition is incredible. There is every pitch in here, all energy levels, and there's not a single miss. This is the best pop album of all time, MJ is at his vocal best, there's a Van Halen solo, there's Vincent Price, there's Paul freaking McCartney. What are you doing, go listen to this album right now!

Eric Clapton put the team on his back. This is fairly mid blues album, but god damn is he good.

I don't know what's been a worse export, post 70's British pop or their food.

I think to earn a high rating, your frontman has to sound like he gives a shit. It's not all dreck, but I don't expect to come back to this one much

This man is angry. He's a talented lyricist, and I like the inclusion of sound effects. But it's a little abrasive, which is I guess is the point, and one note for me. I also believed Stan was real for a hot minute when I was a teenager, thanks Mike. Also, way more homophobia than I remember

A little bit of everything from CCR, take me to that swamp. Probably a 4.5

I've always been pretty whelmed Elton John and this album did nothing to sway me. It's got some highs (the start and Rotten Peaches) and some lows, but I don't feel like I came to a new spot. 3.5

This feels like an amalgamation of the Beatles and early psychedelic rock, and in no way is that an insult. Moby Grape gives a lovely and talented tour through the genre.

Despite the sharp drop-off of the second half, the first 5 songs are so incredible. The perfect melding of rock, jazz, folk, all wrapped in Van's wonderful voice

There are a couple of slow songs, but a true country masterpiece, with several covers better than the original.

Great music with an interesting background and influence. Not only a toe-tapper, but a finger drummer too.

They found the perfect balance of swagger, campiness, and talent. A new wave album that I actually like!

I wish my life was half as good as the quality of this album. 4.5

I appreciate it the grungy/pop punk take on a California album, and it does a good job of melding glitz and glamour with seedy underbelly, but I just don't love grunge or pop punk. 2.5

Maybe I've matured a bit and left behind some of my contrarian ways, but as a historic Bruce hater, this was ... decent. There were some lows (mids?) but to steal term from my groupmate, there were also some solid toe-tappers

Not my favorite Neil Young, but it feels very authentic and underproduced, in a good way. Solid, if a wee bit long in parts

The funkier jams are great, otherwise it's what you would expect from a Temptations album. The vocal talent is great, but all the songs start to feel the same 3.5

Audio experience: listening to talented musicians armed with their instruments being tossed down the stairs of the World Trade Center. I started clock watching ~ halfway through the album, continually adjusting the volume down to fight the oncoming migraine, a feat that not even the Bjork or Dizzee Rascal albums managed to accomplish. Exhausting.

It's a bopping album, but I fail to understand what makes it special relative to the myriad of groovy late 60s albums of the same era. Sure, there's a nice sample of different genres featuring fun instruments, but I don't think I could pick out any of these songs from a lineup. Whatever, a good time is a good time I guess

Some of my favorite harmonies in rock. Maybe my favorite intimate (?) rock album. If someone shot your dog and whole family in front of you and then Suite: Judy Blue Eyes immediately came on the radio, I don't think you could be sad for that 7:24

I am exhausted and hungover today, this album was one of the best cures I could have asked for.

There's so little here to even critique. It's not unpleasant, and they nail the ethereal, quiet vulnerable vibe quite well, but this is like a serious version of Cattelan's Comedian

They do some kooky style flair and instrument additions, but ultimately this is a Brit ska band, so how good could it be (2.5)

Maybe those pseudo-intellectual socially conscious lyrics would have led to real change if the music didn't suck

This album rips from beginning to end, a true classic. Remarkable riffs, more hooks than a tackle box, and a howling Hammond. Should have kept their original name (Mother's Milk). But it still falls short of the absolute best (4.5).

I'm torn: as an audio experience, not great. But I do appreciate what Trent was going for and he executed his vision very well. At the same time, it feels very try hard, even if it is sincere. Like, it's hard to know what to make of "What if Hot Topic, but sincere?" The original is good, but the Hurt cover by Cash is a dark horse candidate for HOF of covers

A very average album is carried by 2-3 hits. I doubt I'll revisit this much outside of The Passenger, Tonight, and Lust for Life

This is some hippy Wicker Man shit, and I am here for it. 3.5

What a fun little album! I'm not much for country, but I was bouncing right along with this

The highs are high, the lows are drawn out and boring. Layla and Bell Bottom Blues are all timers, and there are pieces of other songs that highlight the talent, but there's too much dreck, it's not tight enough to contend with the best rock albums of all time. I also think Clapton is a wee bit overrated.

A lot of my love for AC/DC faded as I matured, but this album holds up. Sure, it can be a little one note, but I credit them with coming up with 1001 metaphors fer fuckin' and for distilling hard rock to its essence

It's an album about drugs, musicians on the road, and death, subjects never discussed in music. Stripped of that, it's a perfectly mediocre Neil Young album

It's an easy listen, and there's nothing wrong with that, but people who love this album also have vanilla as their favorite flavor of ice cream. (2.5)

Old man yells at cloud: "what happened to pop music??" But seriously: Taylor is a talented vocalist but the lyrics and backing tracks are garbage. Also, why is every chorus shouted at me, louder is not better

Love the tempo and the harmonies followed by back-and-forth solos for each instrument. Cool 3.5

This might be the most impressive sample collage I've ever heard.

It's a fun listen, but I don't know if I'll come back for anything except Eileen

It's fine, but I feel like I could walk into a dive bar open mic down the street and find a band doing something similar, they just didn't get a $100K album advance and honored with 1001 entry.

I'm not a big reggae listener, but I really enjoyed bopping along to this spacey album. Fuck Margaret Thatcher

It's not my favorite style of blues, but it's a party with BB King, what could be bad?

This album is like a lot of drug experiences, there are times where it hits perfect dreaminess, but a lot of it is also just kind of nice feeling airiness, but you'll forget it within a few hours. It's good, but not anything life-changing

I was expecting more of a nostalgia bump for this album, but it is pretty weak in between the hits. There's more instrumental/style variety than a typical pop-punk album, but it's still underwhelming.

Caveat that I historically been a Springsteen hater: there is an element to this that feels a little phony, the "artist becomes too famous and has to return to their roots" bit is kind of hack (and good lord that Johnny 99 wail, spare me). All that being said, this was a really enjoyable listen and I will definitely be coming back. I can't call it some "true artist masterpiece" but it's good

All the respect to Missy, and from a history perspective, this was a very important album. But from a listening perspective, this is very boring and one note.

Wow. I am a big fan of the tongue-in-cheek Beach Boys. As insane as it is to say, I might like the other Wilson bros songs more.

You can see the shades of the Beatles in here, but it never becomes more than the sum of its parts in the same way. It has a BIG sound to it, but it's more above average than great (3.5)

Starts strong and then tapers pretty quickly. A lot of catchy hooks and riffs; it's a fun mash-up of styles.

"I don't know if I'll ever add any of the songs to a mix, but I will definitely return to listen to the album as a whole. Was really surprised by how much I enjoyed it" - my album review April 17, 2025 Well I came back and it was better than I remembered. (4.5)

This album rides a knife's edge between whiny sad boy and entertaining. It mostly does it well, and there's some fun solos and instrumental work

This is commercial folk. It's pretty, with lovely harmonies, but there is little substance in the instrumentation and each note is too perfectly placed. It's wannabe pastoral, the anthem of every millionaire family that opens a gentleman farm to connect with nature. It's inoffensive, and if you like it, that's fine, but not for me

One of the other reviewers said "CCR is like a good pair of jeans. Reliable, comfortable, enjoyable." I couldn't agree more. Green River, Commotion, and Bad Moon Rising are your hits, but Lodi and Wrote a Song for Everyone are dark horse hits, but the highs fall just short of a 5 for me

It ain't my cuppa whiskey, but I do sure like the mash up of ole guard Nashville and more hippy country rock. 2 hours though ... it's a bit much and then some (2.5)

This is a layer cake of synth with surprisingly sad/dark lyrics for pop. But ultimately, this is the fun dip of music, pure crystal sugar, no substance, and more than a little one note.

Even if it's hard to differentiate one from another, I'll always have a soft spot for a bit of good skate punk.

It's too bad he's such a crazy asshole, because Kanye could create excellent music (although his free-styling is dogshit, see Breathe In, Breathe Out). The backing tracks are incredible, and his lyrics are accessible to a wide audience. You can draw a straight line from this debut to Kid Cudi, Kendrick Lamar, Chance the Rapper, Childish Gambino, Tyler the Creator, etc. But then he lost his got damn mind, so minus 1 star

A land of contrasts, walls of sound but each brick of the wall is carefully placed, dark lyrics surrounded by twinkling instrumentals. Sure it's whiny in spots and more than a little melancholy, but it's creative and a decent listen

Even as a fan of psychedelic late 60's rock, this is disgustingly indulgent. I guess it's cool they riffed on a simple pop rock song for 25 minutes, but not cool enough for me to come back to this album again

This album is the British food of pop: it's not offensive but is terribly bland. I guess if you have 1001 albums, you need one album to represent music from a given era, but I will never listen to this again unless it comes on in a pub (it'll be too quite and forgettable for me to notice).

It's fine, very British. It was fun to trace elements of this album to what would become the Gorillaz (2.5)

Modern pop music is the lite beer of music, it's easy to crush a whole album/sixer but it won't leave the least impression on you. This is the Natty Bo/Rainier/Lionshead/etc. of pop, it's definitely different but the consumption is just the same.

Rare is the album that has this much diversity but feels tied together. If you can't find a song you love on this album, you are a sad husk of a person who couldn't identify art if it bit you on the nose. The non-hits on this album might be my favorite Beatles songs (Fixin' A Hole, Lovely Rita, With A Little Help From My Friends, 64). It might not be the album I blast the most, but it probably evokes the most emotion, and I'm a dude. One of the finest pieces of art I've ever had the pleasure to listen to.

I don't get why this is on the list and generally popular. Any arsehole can talk over basic backing tracks pretending to be a scum bag. Sure, you can make some statement about how pop songs focus on celebrity and fail to connect with the daily lives of their audience, but you can make that statement in a talented way (see large swaths of country, rock, blues, etc.) Fit but you know it and Dry Your Eyes are decent, but like once in a blue moon. Britain should sink into the ocean.

Despite her resurgence, I'm not familiar with Kate Bush's game, but I like it so far. Her voice is phenomenal, and there's enough going on in the supporting instrumentals to keep me interested (3.5)

Early dance hip hop albums just don't move me. I'd rather listen to the other '89 Queen album. That being said, the beats are pretty good.

This is an album of fun, light bops putting modern twists on pop/punk of the 80's. Are the songs a little long and repetitive? Sure, but such is the nature of electro-dance rock, and there's just enough change-up in the backing track to keep you hooked. Better than I remember

People will call this dad rock (derogatory), but there's fun solos, harmonies, and ensembles here. Not their best, but Steely Dan deserves more praise. (3.5)

Overall, it's a good quirky listen, but there are some artistic decisions where a noise comes from the speakers that straight pisses me off. To an extent, I appreciate the artistic intention of experimentation, but sometimes it's good to have an outside party come in and just say "nah". It sucks for this album to come right after Sgt. Pepper's, because the contrast in results of a similar process can not be more stark. Sgt. Pepper's expertly weaves disparate ideas into a cohesive whole, both within songs and across the album. Here comes the warm jets hits this mark sometimes, but at others wildly misses the mark and it grates the ears.

Pop is the appropriate genre name, it's so sweet and engineered it makes my teeth hurt. Some 80's nostalgia keeps this from the basement

This album is the auditory equivalent of the soft, fuzzy feeling of being just a little high (complimentary), which describes a lot of people in '66 (especially with that shitty shwag weed). (3.5) Everyone knows Monday Monday and California Dreaming, which are still great, but Somebody Groove is a jam too.

The blue print for hardcore hip hop Nothing can top the opening sketch to Method Man

Funky from start to end, a melancholy album with a quick beats

Nir-vanilla; it sounds fine, but the instrumentals are less creative than contemporaries. And my god, hire a fucking lyricist, every song is a jilted lover complaining and the lyrics just keep on repeating repeating repeating repea ...

the absolute distillation of 80's pop. Maybe I'm an old man yelling at clouds, but this pop sound doesn't ring as hollow, syrupy sweet, and overproduced as modern pop. If one song could lift an entire album, Take On Me is fucking Mr. Universe.

So much edge, I almost came in my pants. In all seriousness, this sucked. It's so fake and gratuitous, even Pamela Anderson's tits blushed (sorry for the stray Pam, you're so much better than this). I was actually angry that I was upping Kid Rock's listens count. Knowing this was popular helps me understand why we elected Trump a 2nd time. In a non-cursed universe, the record exec tazes Kid Rock and his producer rather than putting this into production. I fucking hate it here

the T Rex PB&J: A solid PB foundation of bluesy rock smothered with the sugary glitz of glam rock jelly (3.5)

"Eh. I like David Bowie, not a huge fan, but the album didn't do a ton for me" - 4/20/2025 A year later and my feelings are the same. It's not a particularly special glam rock album, and where it has more diversity, I like Electric Warriors bluesy core far more. There's way too much Bowie on this list.

The album equivalent of Top Thrill at Cedar Point: all the excitement at the front and then a long flat coast to the finish. There is some variety in flavors and the smooth transitions are neat, but that second 3/4 is pretty unremarkable.

Refreshingly honest and vulnerable, and I love most of the backing tracks. There's always something a wee bit off to keep from this from being really good, but I enjoyed listening.

If they didn't have a wiki page, I would have assumed this was the AI generated output for the prompt "make an album of energetic riff-driven hard rock"

Probably the best balance of high energy and more mellow RHCP works. Californiacation is the perfect epitome of RHCP: tons of talent and glitz, but with ugliness (Anthony Kiedis can be rouggghhh) and somehow less than its sum. High highs amid a bunch of mid. I came into this with nostalgia lenses, but on merit, the further I got the more I knocked it from a 4 -> 3.5. Still a good listen though.

The blasting funky beats with the soft vocals of Curtis are a combo on par with PB and chocolate

Even if this album isn't brimming with bangers, it's just a damned solid collection of songs.

The two things I can really say about this are: 1) I was able to identify this as music, and 2) it wasn't the most irritating album I've listened to. (1.5)

The music is boring and the vocals are an irritating whine. I did not need *5* albums to confirm that Elvis Costello is not talented and I do not like him. What a fucking crime

One of the best rock albums of all time, it's unique and all the more powerful in that it didn't lead to any seismic shifts in music (maybe because no one can do what Eddie can, the man is on Mt. Rushmore of guitarists).

I never got the Elvis love. He's a talented vocalist with great range, and I have come to appreciate his curation of other obscure songs by black musicians, but he just doesn't do it for me. Love the fits though.

The audio version of a shitty, annoying nightmare but at least I can turn this off. A lot droning with some songs in there, I guess. An appropriate album title, they just forgot to add "Close to An Enjoyable Experience" (1.5)

Bono is whiny and warbly, and there's just one problem, he's not any good. And what the fuck are these lyrics All the rest feels like set dressing, and it's fine, but no band member stands as particularly talented. Maybe just one more effects pedal will fix it. Even the hits landed softer punches than I remember. To quote another reviewer: "as annoying as it is forgettable"

As comfy as a cheap beer and a porch swing on muggy summer night

This is probably the best and most consistent funk, hard rock, rap (sigh) mashup by RHCP. The instrumentals are on point, but it too often is less than the sum of its parts. And it's definitely too long. (3.5)

It might lack some of the greatest songs of all time, but it's just a kick ass album through and through and probably my favorite Queen album as a result. A divine, unbroken blend of heavy rock and roll guitar, theatrical thespian vocals, and melodious piano. It's hard to square this album with the Queen making Under Pressure but god damn, they have more range than the Andes. (4.5)

Credit to them, they nailed the spacey, at times slightly menacing, delicate sense of tripping. This is the definition of psychedelic rock. The jug was a a fun novelty ... for one song. (3.5)

The peaks are sky high, but the rest of the album is more fine than good. (3.5)

This started super funky but ultimately suffers quite a bit from the dime-store white Stevie Wonder wannabe as the frontman.

There are couple of recognizable decent jams on here ("Gotta Get Up", Coconut"), but this album feels like a pale imitation of a variety of better acts (2.5)

If you're looking for a certified reggae album to jam to, this is it. Musicians are tight, and it's a fine listen, but not much beyond what it says on the cover

The A-side came out as a haymaker, the B-side landed like a gentle toot (no surprise that's the Eno side ...). I was going to give this a 4, but the B-side and horrible British warbly vocals knock it .5 (3.5)

Great, sleazy, trance-inducing stoner rock with a bit of grunge. It gets old to a point, but Queens brings enough variation to the table to keep their albums from feeling too stale. I would have picked any of their next 6 albums instead, but I guess this is their debut. I'll give the album a bump for their later work, but this is solidly a 3.5

I'm a fan of the more elaborate production of this album, but for me, this is a solid reggae album and little more. (3.5)

I don't mind the high energy simple approach, and I'm sure it was wild to hear at the time. But it's so one note I was halfway through the album without even realizing I'd listened to half a dozen songs instead of 2. It's goofy fun, but I'm not gonna pretend like it's a masterpiece either

It straddles a line between fun synth pop and a little too weird. It kind of feels like a Flaming Lips show I went to where they were playing out a rock opera on stage but everyone was too confused/high to understand

Ice Cube is a good writer, but his first solo venture is flat, the backing tracks and lack of rotation hurt. A little long too and the lyrics are egregious, even if that's the point.

I guess it starts strong (like a solid 4.5% American lager) and then just drones for another 50 minutes. I appreciate the attempt at experimentation, but it's way less than the sum of its parts. Miss me with this whole era of non-hip hop music

Probably my favorite grunge era album, Billy Corgan is one of the few whinier vocalists I actually like. This album has more Crunch than the Cap'n and I'm here for it

I was ready to make trash jokes, but the album has its merits. They find a nice balance of pop, rock, and sleaze without feeling overproduced. It was decent (2.5+)

Solomon has a voice for the ages. The window dressing is fine, standard early rock and soul; rather than brand name, it feels more kroger brand

I get the appeal in theory of high energy industrial rave but this does nothing for me. I like other rave music, but I did not want to rip molly and tear up the dance floor with this on. I just wanted to turn it off. (1.5)

What if Daft Punk but more chill and airy? I'm down

I'm not sure what sets this apart from the myriad American folk albums of the same era, but that's not to say I didn't enjoy it

Neat. There are some great melodies and some neat guitar work too. Beatles-esque 60's pop rock with some sad boy mixed in works better than I would have thought. A wee bit long in the tooth at points (3.5)

This was ... disappointing. I suppose I appreciate the more tender approach, but it was kind of bland. I'm hammering this on failed expectations given how much I like the other songs I know by them. Miss me with the come to Jesus moments of musicians, I want that hardcore raw sound only drugs, sex, and hedonism can produce

The album cover is fun, if a bit blinding, that's all I can say about this one note, too long album. There was a fun song (Ice Cold Ice), there was some xylophone, and it was otherwise inoffensive but poor production and soooo long: skip it

Oops, forgot to toast my white bread. The most interesting part is the involvement of Phil Spector, who is a world-class piece of shit.

Smooth as peanut butter soul album. A little slow for my taste, but otherwise no complaints

I don't care if it's a little pretentious, I really like this album. Radiohead managed to effectively strike a balance between ethereal soundscapes and actual songs.

There was more to this than just being loud and repetitive, there was some actual talent. Cheers to anarchy in the UK (3.5)

When you blend disparate items together, sometimes you bless the world with a phantasmagorical concoction that betters human civilization. Sometimes, you get a brown sludge that tastes like charred battery acid. This falls into the latter category.

Outside of the title track, this album pulls its punches. It tries to sit in the uncanny valley between Young MC and NWA. Bump to a 2.5 just because of Momma Said Knock You Out

Sure Alanis's voice is a little jagged pill on the ears sometimes, but as much as I wanted to mock this, it's a good listen and a time capsule to the mid-90's. Also, some of the lyrics, chef's kiss.

The collapse of Fleetwood Mac memorialized as an album, it's disjointed, long, and a bit dark. It's still good, but it doesn't come close to the heights of Rumors, which would have been nigh impossible

Smooth and simple. I'll give it a bump for it's place in history (3.5)

I do not like punk, and I do not like being shrieked/wailed at for 30 minutes straight. I guess the guitar work/sound is solid. But this is a no for me dawg.

This started as a decent pop punk album, but became mushy and one-note after the first few songs. Still fun, but dropped to a 2.5

weird, but not bad

I think the most surprising part of the album was the overwhelmingly positive critical reception. It's definitely not offensive, but it feels like on the see saw of creative vs safe, they leaned more heavily on the safe side. It's a fucking crime that we have 3 of these albums and only 1 for contemporaries like Gorillaz, the Black Keys or Queens of the Stone Age or 0 for Tame Impala or Tyler the Creator

Probably the smoothest hip hop album I've ever listened to, but it just didn't click for me for some reason. (2.5)

Sometimes a light shandy on a hot summer day hits the spot

The talent and quality of composition are evident, it just doesn't register with me at all. Maybe I need more of REM of both kinds

There's a hint that this album is a compilation of Kid A cast-offs, but it stands up well enough on its own. A lot of songs are post-rock Radiohead interpretations of old styles, and while it can get a little up-its-own-ass snobby, it still is a good listen

Frank is a talented vocalist, and his chill, electro-soul hip hop always makes me think of sitting in a pool on hot summer day with a tropical drink, all chill vibes. I don't get why he's so polarizing, his music is good, not spectacular but worth a listen now and again (3.5)

I get that this album probably has more cultural cache, but Midnight Marauders is a much better listen (5/5). Still Tribe is a Vibe, and the vibes are all gooooood.

I never quite know what to do with this genre: it's easy to listen to, but also feels like it sacrifices creativity to be safe and inoffensive. This was certainly more adventurous, fun, and higher quality than things like the XX or Arcade Fire, so I guess it gets bump

If you can look past the mopey attitude for a second, there is some really solid music in here. Your experience will vary based on your ability to do so

Sure is some psychedelic rock. (2.5) Not the first, certainly not the best, why is it on this list? It's anyone's guess!

Trading the highest hard rock highs for diversity really doesn't dilute the overall products. There are some duds, but you can't have a masterpiece omelet like Bohemian Rhapsody without cracking a few eggs (fucking dudes and their cars). (4.5)

Odelay's breakthrough into the main stream would launch a thousand great experimental indie songs down the line. Sure, it's haphazard at times, but Beck pulls off the genre melding pretty well. He's one of my favorite weird indie artists, and even if he's not to everyone's taste, I think his random instrument/sample inserts (mostly) work, and his witty lyrics are entertaining

Back around 2009, my friends managed to get a pirated copy of FL Studios, and it was fun to mess around and try to build a song out of a bunch of heavily modded synth loops layered on top of each other. What we made was trash. This is not much better, I guess when you're geeked out on molly at a club in the 90's, this was peak. At least the album art gives a warning of what's to come. (1.5)

All the credit in the world to K.D. Lang the singer, she is a truly special talent. But sadly, her voice is like a few gold flakes scattered across a massive turd of an album.