Funky, bold and simply great music. Excellent.

A beautifully progressive mixture of just enough rock, contemplative atmosphere and striking lyrics.

Cohesive, soulful and thematically bold. Aretha's voice and her chorus are beyond excellent and the instrumentation complements it perfectly. Starting with a song as powerful as Respect makes it fizzle out a bit after that song. Great closer.

This album is a mood perfectly distilled into a musical project. Atmospheric and innovative, it can feel monotonous at times.

A landmark record, perfectly weaves stories and concepts into creative lyricism. Never dull and filled with catchy rock-and-roll tracks that complement Dylan's unmistakable voice.

Great vocal work by Cooke, you can feel the rawness of his singing and his ability to connect with the crows. That being said, beyond Cooke's exceptional singing, not much else was a standout.

A great Blues Rock album, Clapton's guitar playing is simply amazing and Layla is one of the great rock songs of all time.

I didn't actively dislike it but it just felt very derivative and unpolished at times (although that might be part of the point with Ska). Stereotype is a stand-out, but several other songs could've used some polishing (eg. I can't stand it). Overall, just not my cup of tea.

I love Hip-Hop and this album's influence is undeniable. It remains a bold and hard-hitting blend of Rap Rock, but it hasn't aged perfectly. The obvious example is "Girls", which is lyrically very poor, the production is frankly appalling and it essentially cuts the album in half as some sort of low-quality interlude. "The new style" and "Posse in effect" remain great.

A bold, innovative piece of rock that remains interesting and very weird at times. It might be too strange at times, and Iggy's singing, while unmistakable, is also very imperfect. But on the good side, it just works when leaning into rocks weird side, with instrumentation that would clearly influence a lot of the future of the genre. "Mass production" is the standout track for me.

It's a nice album, very fitting of the UK postpunk sound, mixed with some touches of funk. "That's entertainment" is obviously the most popular song, but it also contains a couple of "hidden gems", like "Set the house ablaze" (which would later be sampled by Bloc Party) or "Scrape away", which was my personal favourite. While I found it a good album, it didn't blow me away.

It's 80s pop in a very distilled, focused way. Love the instrumentation and the vocals, but for me it doesn't stand out from the sea of 80s pop out there.

I really liked this album, it has lovely guitar passages, great singing by Beck, and it just feels so personal and vulnerable. I also loved the production, mixing folk with more experimental sounds finding a great balance. "Lost Cause" is the obvious standout.

The production is simply amazing, the innovative mix of hip-hop and jazz, the sampling and the small musical moments like the ending of "Freaks of the Industry" are really good. Musically, this album is simply flawless. Shock G is great, charismatic and creates an interesting character in Humpty. The lyrics and flows are also very well crafted, and the group's talent, particularly Shock G's are undeniable. The biggest flaw I find with the album is the execution of the concept. The concept in itself is interesting enough, and the album cohesively builds around varied commentary about sex. But not all of it has aged too well. While the parody and exaggeration are certainly a big part of the concept, I feel like they miss the mark with the tone in some parts, for example, the women in cages in "Gutfest '89". There is relevant commentary about safe sex for example, and it's an interesting exploration of sexuality through a concept album, which is far ahead of its time in my opinion. To do this in an album that's musically so good should merit 5 stars. But I can't take away from the fact that what was an forward look on sex in the 80/90s, today just feels outdated in places that are too relevant to ignore.

While Mike Ladd can certainly write good lyrics, and can create very ambitious and moving music (To the moon's contractor or Wipe Out on the wave of Armageddon), the album wasn't really that enjoyable. I get the experimental spirit, but the production felt lacking to me. The flows of Ladd also weren't my cup of tea, and there slightly off tune singing moments felt so jarring (Takes more than 41) that I just couldn't really get into the album. The best track for me is Airwave Hysteria, with ambitious but tight production, great verses from Ladd and just enough experimentation to push the genre but at the same time create a good song.

Dirt is truly a great album, one of the hallmarks of Grunge and Hard Rock, and has stood the test of time flawlessly. The vocals are crisp, well delivered and hard hitting. Remarkably, the vocal range allows for catchy rock choruses like "Rain when I die" and mellow moments like the beginning of "Down in a hole". The instrumentals are also great, with a powerful guitar with an exquisite distinctive Grunge tone. Drums, bass and the mix work perfectly too. There are a couple of moments that take away from the album. The singing on the "God Smack" verses doesn't fully stick the landing with that vibrato-y delivery. After that, we get "Untitled", a weirdly placed interlude that feels a bit out of place and mostly breaks the momentum towards the end. The standout tracks for me are the excellent "Would?" and "Rain When I Die".

Country music is not my favourite, and while this record isn't bad, it certainly isn't my favourite. It feels like the soundtrack you'd play wandering around rural United States. It's not too dense and doesn't overstay its welcome, so it's definitely an accessible record. Earle's songwriting isn't bad, and the instrumentals are exactly what you'd expect out of a country record. In terms of songs, my favourite was "Think It Over", it made me feel like listening to the Fallout New Vegas country radio again. The worst one by far for me was "Little Rock n' Roller", super boring, sappy and overlong.

This is a good album, no doubt about it. The instrumentation is great, balancing catchiness and boldness. The sax and keys are very good too. My only drawback, but in occasion a big one, is the singing. I like Ferry's lyrics, but the vibrato-y singing gets a bit too much, in "Strictly Confidential" it's just excessive. My favourites were "In Every Dream Home a Heartache" and "The Bogus Man", bonus points for being in succession and just for how well they blend calm moments with grandiose instrumentation, the ending of both songs are very well executed. The delays in "For Your Pleasure" are also so well done.

Eno is just super talented and his vision for this project is so interesting, particularly the second half. Instrumentally, this album is impeccable. It starts as more upbeat, and slowly transitions towards more laid back and more experimental songs, which is where the album shines the most. In this second half, I also appreciated much more how Eno's voice worked with the instrumentation. My favourite song was "Julie With", a delicate song where the synthesizers and Eno's voice mix perfectly, with a beautiful guitar towards the end. Overall, I found it a very good album, specially thanks to it's second half.

While I'm not a super fan of Iron Maiden or this record in specific, I can see why it's one of the most influential albums for Heavy Metal. The songs are well composed and it's a very consistent album. I liked McBrain's drumming, and while Dickinson's singing isn't my favourite, it works very well and remains iconic. In terms of themes, I liked how varied they are and how much commentary they offer, although they could be connected a bit better between each other. Also, the patronizing take in "22 Acacia Avenue" hasn't aged very well in my opinion, which is kinda sad because the song in itself is very good. My favourite song was "Run for the hills", which remains a classic, hard-hitting heavy metal with interesting (and critical) lyrics about colonialism.

This record hit me like a ton of bricks, what a beautiful album. It's my favourite record so far that I've discovered here. Almost the entirety of the album is just pure pop bliss, the songwriting is so beautiful and their singing and lyrics hit just right. I loved the synths and the mixes too, they set the ambience perfectly. Honestly, from "Bonny" to "Desire As" is just an unskippable run of great songs. My 2 absolute favourites were "Bonny" and "When Love Breaks Down". My only criticism is that neither the opener nor the closer are as good as the rest of the album, which takes away from it just a bit. Overall, it's a great album, a criminally underrated pop gem.

Bowie is a great songwriter, I liked the Rock vibe and how he manages to still keep it experimental even in his 25th record. I didn't find it a landmark record, but it's certainly not a bad one. The lyrics are bold and interesting takes on varied topic, going from Love to The Fall of the Berlin Wall, passing through School Shootings and War. My favourites were "How Does The Grass Grow?" and "The Stars (Are Out Tonight)".

This album is a masterpiece. It's been said a thousand times before, and it's still true. The songwriting is great. He touches topics ranging from sex to loneliness, mixed with some mysterious cosmic imagery at times. For all of these, he writes and delivers with a distinctive style that works just great with the instrumentation. And the most important part, the music. Hendrix's guitar ability is legendary, and it's on full display in this album, gracing the different songs with varied solos, mixing styles and effects, always to great effect. The other instruments are all on par too, excellent drumming and the organ playing is also top-tier. The album is filled with great songs (and some short interludes). My favourite was "Voodoo Chile", a 15-minute masterpiece that displays all of Hendrix's talent, and is also one hell of a song. "1983" and "All Along the Watchtower" are amazing too. If I had to pick a least favourite, I'd say "Little Miss Strange" wasn't as good as the rest (or maybe it's because it comes right after "Voodoo Chile"). A bit too light, pop-oriented when compared to the rest of the record. Also, I didn't like Redding's singing too much. Hendrix's style and musicality are just top tier, and this album showcases it throughout the whole record. A testament to Hendrix's talents.

I found it a very short and simple record, a very consistent 80s UK indie rock/pop sound, instrumentation and vocals just on par for the genre. It's not bad, but it's certainly not outstanding either. It's very stripped down, a bit minimal even. My favourite song was probably Darklands.

Want One is a bit dramatic and grandiose, it's ambitious and bold, and feels personal too. It does feel a bit too much at times, and at other times, it felt a bit boring. "Go or Go Ahead" was pretty interesting, a very powerful song about addiction, Wainwright delivers it well with his distinctive singing style and the backing vocals are pretty good, specially during the chorus. "14th street" was nice too.

I love Rap and I really like Rock, but Rap Rock has always been a genre I don't really like. With this in mind, I had mostly avoided Linkin Park, as I had already heard a couple of songs by them and never really liked them. This is my first time listening to a Linkin Park record front to back. I gotta say that I expected worse, but I wasn't converted. The instrumentals aren't bad, they manage to get pretty heavy guitar lines going and the drums aren't bad either. The little electronic touches and the scratching didn't really add much for me. In terms of the singing, I found Shinoda to be really lacking. His delivery is very flat, and he's repetitive and very simple in his lyricism. I don't think he's good as a singer, a rapper, or a writter (at least in this record). Bennington, on the other hand, while not my favourite vocalist, has a much higher level, more varied delivery, and really brings the songs alive. I liked how open about their struggles the band is throughout the lyrics and topics of the songs, although the lyrics are a bit simple. I think my favourite song was "Points of Authority", I felt like Shinoda's contribution didn't break up the flow of the songs that much, the chorus is pretty good and the metallic snare during the chorus was a pretty cool detail. Dislike the scratches but they're all over the album so not much to do about that. While I understand that part of the appeal at the moment was the whole rapping over a metal-ish track, I think that this record would've been much better if they just went full nu-metal with only Bennington as a vocalist. For what it is, I think there are better records I'd rather revisit than this one.

Ellington and Company are simply spectacularly jazzy in this record, the performances and compositions here are excellent. Ellington is obviously great, but many others shine as well in different songs. My favourite was "Festival Junction" and "I Got It Bad" was also excellent, loved the slower vibe and the sax playing by Hodges is perfect, same with "Jeep's Blues". Gonsalves is also excellent in "Diminuendo in Blue". My least favourite moments where when the record gets more "swing-y", like in "Newport Up". It's not bad, just not my favourite. As an album, it's a bit different than most other records, it's more than 2 hours long, and being a live record, it has a lot of interludes in the form of talking, presentations and crowd interaction. The complete edition also has a fair amount of repetition in the second disc. Having this in mind, I think you have to have at least some taste for jazz and a bit of patience to enjoy the record cover to cover. I also found opening with "The Star Spangled Banner" was a bit too much. Overall, this is a historic piece of jazz, and justifiably so. But as an album, it still has a bit of room for improvement in terms of flow and removing some of the repetition.

Looking back, it's hard to grasp the change Coldplay have had, and it's a bit difficult to separate their work from the image they've built over the years (not too loved by music fans, I'm no exception). That being said, I tried to be as objective as possible. Parachutes is a very 2000s mix of folk, pop and a bit of rock at times. I have to say that I expected to dislike this record more than I did. I feel the record works best when it leans into more simple compositions. Martin has some good vocal performances, especially when he sounds a bit more raw (like in "Shiver" or "We Never Change"). This, coupled with the acoustic guitar, is the strong point of the album for me, when it turns almost into folk, feeling more personal and almost vulnerable. I think my favourite song was "Shiver", good performance from Martin, good chorus and a nice guitar riff. "Trouble" was good too. Starting with a simple piano ballad, the song remains almost minimalist until we reach the chorus, where it's a bit crammed but still not bad. "Yellow" is a very difficult song to judge, as it has been overplayed until it developed a life of its own. Within the record, it's one of the most energetic tracks. The chorus is as catchy and memorable as ever, although the lyrics are overly simple for my taste (as in most of the songs, being honest). Most of the other songs, I didn't particularly care for. I didn't actively dislike them (besides maybe "Spies" and "Everything's Not Lost"), but I found them bland and forgettable. Overall, it's a pretty tight record, a consistent sort of folk-pop with not too deep lyrics. Besides having pretty big radio hits that remain catchy, I don't think it's a particularly remarkable record, but it's also not as bad as Coldplay's fame would suggest. I think this record, while not spectacular, does suggest Coldplay could've had a life beyond the often overproduced and saccharine pop they chose in later projects.

I liked it but I didn't love it. I didn't find it particularly outstanding, but not bad at all. Its a mix of rock/americana, with some interesting choices from time to time. Looking at it now, it's nothing you haven't heard before. But, I think an important part of the value of this record is its moment in time, in 1968 this was innovative songwriting and composition. Clapton mentions this album as inspiration for "Leila", and several other bands were deeply influenced by it. By far my favourite song was "This Wheel's on Fire". Great songwriting and storytelling, and the instrumentation is so innovative and ahead of its time, the use of the Rocksichord is so weird and interesting. "The Weight" is also outstanding, a classic track. "Tears of Rage" is also good. I also liked Dylan's influence in the songwriting.