1001 Albums Summary

I liked the first four songs Album tended to be interesting yet not enough to have me return to some tracks. Very atmospheric and experimental approaches, but barely anything to come back to. Best: Walk Of Life Worst: One World

Reminds me of what I was listening to during Phish Mondegreen Festival. I really mess with the kind of vibe that has. I may not understand what's being sung but the music is more than enough. Very fine-tuned stuff. It gets the head moving. Some highlights: Ponta De Lança Africano, O Filosòfo, A História De Jorge, Zumbi (Update: Originally a 4, I'm giving this a 3 now. It's good stuff, but not too crazy on it months later)

The title track builds to a great upbeat dance. The story behind this album is very fascinating. Bowie was on Coke. Golden Years continues this upbeat sound. Word On A Wing: Wow. Just wow. This is really something. I was pleasantly surprised by how great this was. The first 5 for sure.

BITCH IMMA KILL YOU! I heard a good part of this album in middle school. I am an adult now, so I can hear this album without being secretive. I think beyond the fact that Eminem is shocking with what he says, some of these songs have depth to them. Stan is one of the most captivating rap songs of all time. For that storytelling to come from someone like early Eminem was proof that he was more than a threatening misogynist asshole. There's a good reason why this album was at the forefront of the culture in the year 2000. I like the commentary angle Eminem takes on most of these songs. Kim is wild however. Realistically it’s a 7/10 album but it gets a 4 here.

Hotel California (the song) is a classic that though isn't my weapon of choice most days, still has my respect. It's by the best song on the album compared to the rest. I think the problem I have with the deep cuts on this album is that there's ideas and bits that I dig but the execution isn't for me. As a result, this tends to be a massive mixed bag of boring rock ballads that I don't care much for. I can understand why old dads eat this kind of stuff up, but as for a young college kid like myself, it's not something I would return to. The title track will always be iconic and the rest will always be the rest. This is an album meant to be commercial and it shows.

I tried listening to this in 2021 and I believe I fell asleep. I was tired, it was a 16 hour road trip. I've always liked two of the songs on this: Sleep To Dream and Criminal. The rest, I'm not as familiar with. Sullen Girl took me by surprise and I believe that the slow atmosphere is something that I can understand better at this age. Shadowboxer puts her voice front and center. For her young age, she definitely had a voice that could move mountains. I'm not saying that to be cliche or some shit, I do mean that. What I recognize about these outro sections so far is that they bring in moments of solos from these instruments with "quirks" to their sound before fading out. Just as this album begins to make more sense to me, Criminal comes in and steals the show. This is a good sign. Slow Like Honey is probably the first skip but it's a natural comedown from Criminal. The First Taste brings it back up. It's one along with Criminal where Fiona shows this more ferociously naive attractive side of her rather than just pure anger and piano. I may not even know what I'm saying. Never Is A Promise has excellent lyricism, straight up. This girl can sing, damn. It's such an engaging song that the next two songs don't matter as much to me. There's about 3 skips on this album. That doesn't discredit how impressive this is for a debut at this age, it's just that some of the songs I don't vibe with as much. At the very least, this album has a strong closer in Carrion. Why isn't When The Pawn on this list? 7/10 (but 3 stars here as I feel I enjoyed the MMLP more) (Update: It's a 4, Phil, are you insane?)

This cover always had quite the impression on me. But I had never taken the time to sit down with the music behind, so here I am now. The first track is quite good from the get go. By track four (with an open and unfatigued mind), the album proves to be satisfactory. That bassline on Out of The Blue makes the song. After that, the back-half varies with some songs that pass me by and some that I do enjoy. The arrangements on this album are ambitious which is a word I can use to describe Roxy Music as a whole. But I don't know if this record has tons of staying power besides a handful of tracks. By the end, I feel as if I could've gotten more besides the tits and bush on the cover. Prairie Rose does end well however.

Well that was an hour and three minutes I’ll never get back. This is why this list is a challenge. It exposes you to albums you wouldn’t be caught dead listening to. While I am no stranger to some well known electronica and ambient music, this album is nothing but boring to sit through. Some songs do make small impressions (the opener was promising) but today was not the day for this downtempo slug. Here’s to better music tomorrow. 2/10

Won't you look at that? The Tom Tom Club! As a big fan of the Talking Heads for a while now, this band consisting of bassist Tina Weymouth, and her husband, drummer Chris Frantz has always been known for their big hit sampled by other well-known artists years later. And without a doubt, Genius Of Love is a great song through and through even threatening to steal the show during Stop Making Sense. The rest of this album I didn't know about, so now is my chance to hear what else this band's got. I should highlight the fact that this record was put out a year after the release of Talking Heads' Remain In Light; a record which further integrated funk elements into the group's sound. So I consider this as Tina and Chris' own take on that style of music. The real perk of this album is that it lets the great Tina Weymouth be the center of attention for once. On Wordy Rappinghood, the groove builds to something you can't resist shaking your head too. The rapping (Dr Seussian?) even resembles David Byrne's brief rap on Crosseyed and Painless. The rest of the album serves as passable funk grooves with Lorelei being the highlight after the big hits. I wouldn't say it's a must-hear for the average Talking Heads fan, but if one wants to listen to more of a joyous take on Remain In Light's funky style, this exists. A better album than yesterday.

It's probably a coincidence but getting a Talking Heads album right after reviewing Chris Frantz and Tina Weymouth's band is really something. I'm already somewhat familiar with this record but I haven't heard it in five years. What I hear all these years later is a band that has something special and is slowly figuring out what it is. There's some good points and not so noteworthy points on this album, but overall they can play. The real good songs on this album are just that: really good. The opener, New Feeling, No Compassion and of course Psycho Killer are all great. It's an extremely solid debut album that pales slightly in comparison to the more ambitious works found on their subsequent music. However, it's a promising start by a band that is finding its way. When you have a song like Psycho Killer on your first record, you have something special. A fine end to the week. 7/10 (4/5 on this scale)

I'd like to view this album from a past perspective and a current perspective. In the past, Arcade Fire was one of the few bands that I obsessed over for months on end. I had first heard their debut "Funeral" in September 2019, and soon after, moved over to their sophomore effort "Neon Bible". In those late months of 2019, I had developed a hard infatuation for the string of albums the band had put out between 2004-2013 as well as for front woman Régine Chassange. At the time, Arcade Fire were a year removed from the disappointment of their 5th album "Everything Now" but it felt like the band could rebound with their next record. There was still hope for this band in my eyes. I knew that they could make another album like "Neon Bible". "Neon Bible" was to me, an outstanding work that only stood in the shadow of their phenomenal debut. A lot of these songs were my jam back then with their compositions and lively melodies. I absolutely loved this thing years ago. So at a time where the band still seemed alive after one misstep, I trusted that they could re-channel that energy and make another great album like this one. It is 2025. I am six years removed from my Arcade Fire phase, and despite a promising debut single for their next album WE, the Arcade Fire hype train has greatly declined. What was once one of the most critically beloved indie darlings that rose through the ranks of popularity through their collaborations with Neil Young, David Byrne and David Bowie. Their multiple appearances on Saturday Night Live. Their albums which would make multiple top 10 lists and earn dozens of awards including most infamously when "The Suburbs" beat Eminem, Gaga and Katy Perry for AOTY. A band that was on top of their creative game has now dissolved into something that feels forced. The allegations against Win Butler didn't help either and it lost them a lot of popularity amongst fans and critics. With the release of "Pink Elephant" earlier this month, I look to Arcade Fire now and realize that they will never reach that peak that they had during this or Funeral or The Suburbs. When I was given this album today, I knew that I would like it a lot. This album already wins in nostalgia points, but I write this as a reflection to what this band used to mean to me. When I hear such great tracks such as "Black Mirror", "Intervention", "Ocean Of Noise"and "Antichrist Television Blues", I wonder how and why this band went to shit. It's really a shame to be honest. I had to hear this album twice just to get a grip on it and that's odd because I know this album. I own it on both vinyl and CD. I know it's great, but perhaps I was searching for some kind of satisfaction again. A satisfaction that I will probably never get from this band again. And yet, this album still lives. (I'm sorry if this didn't make sense) 8/10 (4/5)

So I knew this would be good. I just hadn't listened to it all the way through until today and honestly, its greatness is something that I've had to sit with and examine. I've had to think about how significant this record is and what it's done not just for me but for hip hop. And what I've discovered is that it deserves all the praise it gets. It is without a doubt a masterpiece of its time and I have no other choice but to accept it. 9/10 (5 on this scale)

Wow. I also have watched the 2003 comedy "School of Rock" and have played the popular video game "Guitar Hero"! I can imagine hearing this at the time and thinking it was game changing, but now it's a big cliché. The title track is cool, there's some other cool riffs but it never heats up for me beyond that. I'll stick with the hits. 4/10 (2/5)

Oh man, this started off promising. I thought I was getting into this American Alt-Country record with mariachi influences and I was so in. Then the record turned into this mostly instrumental jig where some sounds turned me off and I lost interest. With the exception of a well-played jazz tune near the end, eh.

Nice. I feel the band has a great mix of having poppy radio-ready hooks and a punky new-wave sound. Debbie Harry takes her role of front woman and runs with it. I really dig the whole style. The third album to score big with me.

From the surface, I thought of Metallica as a talented band that played music that I wasn't so interested in. Thrash metal always sacrificed depth for intensity in my opinion, but I think I've come to be fairly surprised. This album has plenty of depth in its composition which was great to hear. I hear slices of other works that I've heard in the past. King Crimson, Rush, early Phish and Slint to name a few. The real highlights of this album had me deeply engaged into what they offered. For one thing, hearing different time signatures and complex moments during songs had me interested from the get go. I'm a sucker for that showing of band chemistry. There's a mixture of impressive and beautiful moments (the tribute to Cliff Burton near the end). And then there's the lack of bass and some "ok" songs down the line, but I think the good overshadows the bad here. I don't know if I will return to this project in a full listen again but now I know that Metallica isn't all speed and fingers. There's something here to appreciate, but I haven't heard it all yet (Master, Ride). (Blackened, And Justice For All, One, The Frayed End, To Live Is To Die, Dyers Eve, 7/10)

I generally liked it. It's a record with some skips on it, but the ones that make an impression make a damn good impression. From hearing this and The Clash a few weeks ago, my preconceived notions of British punk are turning out to be false. I would only be selective with the whole project however. 7/10 (3/5).

#1 Early 2000s Starbucks Anthem right here. This started interesting enough but I found myself less amused as I kept going. A few things that ran in my head throughout this record: the acoustic guitars ring similar to the wonderful Elliott Smith's recordings. I do appreciate the diverse lineup of instruments that take a solo on this (even an accordion I think). I've already gotten another talented female pianist during my journey and I can realize why I prefer her over this. Fiona Apple uses her soul to tackle the listener with strong arrangements and heavy hitting delivery. Norah Jones lightly brushes her soul in a "lounge" atmosphere. I wouldn't hear this entire thing casually on a two mile walk again, but it would be great to sleep to. I still wonder why a lot of people went apeshit when this dropped. All hail the 2002-2003 Grammys queen. 5/10 (2/5 on this scale)

Four tracks that all have something for me to dig. It's generally a very vibe-based album. The drums in this band are essential to leading the long and winding textures present. I would call it "ambient chaos" in my book. (8/10, 5 on this scale)

I did like this one a lot. Dylan's lyrics have always captivated me but sometimes it can be hit or miss for me depending on the situation. I gotta be in the mood for some Dylan, I don't know how else to explain it. It's a very good record however and I feel that's the minimum for my rating. (8/10, 5/5 on this scale)

Very nice. Some tunes that sound simple on the surface, but if you listen closer, you begin to understand. There's depth to this and I wouldn't mind if this came up in my shuffle. Not quite up there with my favorite stuff but impressive nonetheless (8/10, 4 on this scale) (Update: Brought it down to a 3. I still like it a lot, but I think a 3 seems more appropriate for now)

A very emotional listen for me today. Halfway through Disarm, I was informed of Brian Wilson's passing. It hit for me. I just sat there and took in the loss while these blissful tones guided me through this life I still have. For the first time since I started listening to it in 2019, I can say that I understand why people hail this as their best work. I still prefer Mellon Collie and The Infinite Sadness over it but this was incredible. 9/10 (5/5 on this scale)

I think the thing with this band is that I've heard them hyped up by a lot of my favorite musicians and I can't hear what they're hearing. The singles are the only impressive thing that I come back to with this band and that's why Staring At The Sun gets a pass from me. The rest of the album feeds into these dirty loops that I feel would be better materialized into stronger ideas but then it gets paired with these layered acapella tracks and overall weirdness. The unbearable kind of weirdness. Sometimes it sounds like a complete shitpost with loud and proud falsetto storming through my ears. The only reason why it's not a 1 star is because I could see some parts of the vision, but it's not the way I would have it. It's kind of a blessing that this band has Wolf Like Me to win me over. Otherwise, I would think they were shit. (4/10, 2/5 on this scale)

Won-won-wonderful...except Student Demonstration Time. Shoutout Bruce Johnston for Disney Girls, that is absolute heat. Thank you, Brian. (8/10, 4/5 on this scale)

I think all that matters is that it has Bohemian Rhapsody. That's enough to explain my opinion on this album. (For real though: I liked a lot of the ideas but yeah Bohemian Rhapsody all day, 8/10, 4/5 on this scale) (Update: It's good, but I feel like Bohemian Rhapsody shouldn't account for the fact that I don't recall the rest of the record besides the hits and maybe Prophet's Song. A 3 is more appropriate)

I can feel the blues. I really like when they go into this country aesthetic. Solid work and great closer too. I do prefer Exile on Main St though. (8/10, 4/5 on this scale)

I was going to give this a 4 but then I realized that while this album makes plenty of impressions, it makes me feel bad. So I'm deducting one star from it because this shit is just too sad. The Kids is a phenomenal number though. Oh Jim as well. There's great songs but the ending gets me too strongly. I'm going to listen to Loaded to freshen up. (7/10, 3/5 on this scale) (Update: Bringing it down to a 2, it's just too damn sad)

Shit is ass. I wrote in my Metallica review that I always thought classic thrash metal sacrificed depth for intensity but I enjoyed that album because it had more to it. This is just straight garbage and a prime example of what I meant. I can understand liking this because of it being kickass but speedy satanic nonsense doesn't do shit for me. Good riddance.

I could’ve liked it more. A lot of the early songs were big hits but it kind of stalled near the middle. Really liked Ham N Eggs however. They have better classics after this.

This record speaks to me. For about a year, I didn't really vibe with it much and Beck was always too weird for me. But as time progressed, I became one with what Beck was laying down on this. I became a sucker for getting down and funky so to speak. The use of samples and sounds make this one of the most unique albums I've ever encountered. It's punk, it's down right dirty rhythm, it's hip hop, it's this mix that makes Beck all his very own. I love it. (8/10, 5/5 on this scale)

This was fantastic. I imagine that this was the record that proved some people wrong. Some people thought that the Beatles were nothing but a fad in '64 and yet here they are writing some of their best songs early in their career. Their ability to write hit singles as well as valuable deep cuts is set in stone. From this point, they use more mature themes and soon, experimentation will take them from a great rock band to the greatest rock band of all time. Absolutely yes. (9/10, 5/5 on this scale)

Yeah, it's great. I've heard this album like 5 billion times. It's an old favorite and it used to be a 10/10. Time does shift my opinion a bit and now it sits at a 9/10. Despite the fact that this listen was more routine than an interesting discovery, songs like Crown Of Love and In The Backseat still get me years later. One of the best albums of the 2000s (9/10, 5/5 on this scale)

I used to turn this album off after track five but now that I actually had to hear it in full, it's not that bad. It's just that it's front loaded with great singles and then the rest are either plain good or forgettable. There's a difference between a good song and Mr. Brightside. Allow me to say that my past opinions have slightly let up. Andy, you're a star! (7/10, 3/5)

I tried this 1001 albums challenge in 2020 but the chronological way. I remember somewhat digging Sinatra's Wee Hours but really loving this record when it came next. I was 13 then and now I'm almost 19. While I acknowledge that Elvis is a legend in his own right, half of these songs are just songs to me. I did enjoy when he went into a more soulful slow approach. But other than that, it's straight 50s rock and roll. It's not bad but it's nothing too mind-blowing unless you were hearing it for the first time when it released. He is the king though (5/10, 3/5 on this scale)

Yeah. Just like Funeral, I have also heard this a million times and I still think it’s great. I still owned the edited version of the CD because at the time of my peak Green Day obsession, I was 12. I should get an explicit copy now. In terms of its place in today’s society, it makes a lot more sense now. You thought Bush was bad? Oh boy. Anyways, if you hate this record: I think you’re forcing it. It’s great. (9/10, 5/5 on this scale)

Eh. I guess it’s nice to hear Elvis update his sound after last week. Some songs are cool but I wouldn’t return to it. I’d like to say that I’ve had enough Elvis lately. (6/10, 3/5 on this scale) (Update: It's going to be a 2. I don't really care for it much months later)

So these are the Virtual Insanity guys? The same dude who was moving across that floor is pumping out these Stevie Wonder-esque tracks. There's quite a bit more to it. I hear this great blend of star-showered space grooves built for small Friday night club atmospheres. It's undeniably contagious and has swagger that lifts it to great places. I'm a sucker for some great jazz fusion. Vibes all around (8/10, 4/5 on this scale)

This one started off really well. The first 5 tracks (4 if you're in the UK; Virginia Plain was a US added track) are all well done. After that, I find myself losing enthusiasm and the spark disengages for me. What I will commend it for is having Brian Eno on board for additional oddities here and there. That involvement adds to a sound that I can go for in comparison to Country Life. At a certain point though, it starts to get sluggish and less exciting (6/10, 3/5 on this scale)

Generic pop rock, mate. Inoffensive at best. Leave this one to the Australians, I'll stick to Don't Dream It's Over. Please note the attempted jumpscare hidden track at the tail end of this album (4/10, 2/5 on this scale)

Plenty of great to go around. 2 or 3 songs that I didn't care much for. Overall, nice album with a stellar opener and closer. I dug the more acoustic material rather than the orchestral or electric stuff. Thank you, Neil.

Enjoyable through and through. Though I can't remember a lot about it hours after listening to it, when I did have it on, I was always hearing something grand. A well-blended mix of jazz and psychedelic composition. (8/10, 5/5 on this scale)

Oh my wow, she cooked on this one. I grew up listening to country radio and I had to endure afternoons full of the same Florida Georgia Line bullshit. This is a game changer. I remember hearing a lot about it when it was around and it winning Grammys and all, but I wrote it off as country I wasn't going to understand. I was a bit skeptical about it when I started it this morning, but I am so glad to be wrong. Some of the tracks here are brilliant and though I am not a fan of this "big pop production" style and a lot of the songwriting cliches, I don't care. It's a well crafted album that pushes beyond the boundaries of country at a time where it was mostly beers, bros, country girls and the usual crap. The cowgirl gets it done alright. (I also drank a shit ton of caffeine during this listen and when High Horse dropped, that took me to another place. 8/10, 4/5)

Bob Dylan but if he was would more intelligible and a massive asshole. It’s alright to me, I like the end. (5/10, 2/5)

Solid record, I'm not too crazy about it. Fast Car is a phenomenal tune but now I know that Tracy Chapman has more in the bag than what I knew previously (7/10, 3/5 on this scale)

I wasn't too sure about my 5 star rating on Highway 61 but things are different this time around. Blood On The Tracks contains some of the most cohesive and hard hitting tracks that Dylan ever wrote up. When you manage to keep a mind tied to 7 minutes of Idiot Wind, you've done something right. A fantastic record through and through and this time I'm very sure (9/10, bordering on 10, 5/5 on this scale)

From a young age, Otis Redding was the guy on that one rap song that went GAH-JAH-OOO-NAH-NAH-NAH. But years later, I've gotten to know Otis Redding as a man with a voice that defined the very meaning of soul. On this record, you can hear him put everything into singing these songs. I can especially highlight the last 4 tracks which go from sunny R&B to Blues to Rock and Roll and finally a true dose of Soul. I went from expecting a record filled with singles and quick bits (like Elvis) to being able to hear something more within. Otis was a man with all the tricks up his sleeve and a voice that rang on like the wind. His loss was a great tragedy. (8/10, 4/5 on this scale)

All I can really say about this is that The Sandlot is a great movie and that's how I know the title track. It's alright, nothing too mind blowing. A record full of organ pop standards (5/10, 2/5 on this scale)

What in the Bri-ish? I have no clue what happened on the second side of this record but I'll give this one points for ambition. What I realize about the psychedelic era of rock and roll was that some bands did it right and others tried but couldn't quite catch a lucky Sgt Pepper. A few songs catch my ear but the listen goes by with a small "hmm, ok". Quite the adventurous record that I don't plan to return to. Glad I heard it though. (5/10, 3/5 on this scale) (Update: It's a 2 now since I don't think a rather amusing yet confusing British story concept thing should raise up the music so high. The songs aren't so impressive months later)

I was impressed initially. I've never quite been a big advocate for The Smiths besides the hits. Morrissey is also not the best human being, so the idea of me forcing myself to sit through a full project of his was a challenge. But there's good material here that I'm glad to at least know exists. There's that but then the rest of the album keeps going and I go back into that "Why am I listening to this, I would never listen to this" mode. What's the point sometimes? I liked the weird gnome elf psych record from Wednesday more than this but fine singles nonetheless (5/10, 2/5 on this scale)

The fact that this two track record with some really catchy afrobeat caused this man his commune, his mother and nearly his life is insane. Dissing the military and making it slap; Fela Kuti everyone (9/10, 5/5 on this scale)

Another one of the albums I heard on my brief first run of the list. Somewhere in the back of my mind, I always remembered tunes such as The Lip or Jump Jive’N’Wail. The difference now compared to me at 13 was that I couldn’t quite crack jazz. It was all a very big noise to me. Time does make a difference when it comes to this record because I absolutely enjoyed it this time around. I liked it the first time but I didn’t take much home compared to today when I have more appreciation for broader music beyond the old alternative rock favorites of middle school. It also makes a difference that I’ve visited New Orleans and I have an idea of where a record like this comes from (although from research, it lies more in Vegas). Prima and his players provide joy through jazz that emphasizes fun over anything else. A hoot if you will (8/10, 4/5 on this scale)

I like that I've finally come around to these guys. The singles (Model and Robots) are great and the overall album is pretty well done. I believe I'm a bigger fan of Trans Europe Express but this gets the job done (8/10, 4/5 on this scale)

Well, it’s nice that the generator shines a light on recently deceased artists. First up was Brian and now it’s Ozzy. Interestingly enough, I could’ve gotten the more famous records such as Paranoid and the debut, but I was given Vol. 4. From prior knowledge, I knew the song Changes (from Big Mouth, sadly), so a lot of this was new to me. Overall, I had a good time with it. The songs that are actual songs (and not odd sound effects) move me in a direction that I like for heavy metal. Early heavy metal is dark, gloomy but doesn’t go to the extreme. The lyrics are dark, the vibe is intense and the energy is incomparable. That’s something I can go for: just some great hard rock. What Ozzy did for music with Sabbath and by himself is something I have to praise. I’m glad that I got a moment to honor him today (8/10, 4/5 on this scale)

The more I hear it, the more I realize that Eno works wonders on my soul. I do think Another Green World is more my alley (I do enjoy his ambient stuff), but this is brilliant as well. (9/10, 5/5 on this scale)

Ok. I dig some reggae. I'm a fan of the vibe that a great reggae tune sets off. But to spend extended time with it, I tend to not get a lot out of what I hear. On this record, the first 2 songs are great.They Belly Full is ok but Rebel Music comes out to be my favorite song. The rest of it was mostly forgettable for me and I feel bad because Marley is a legend in this field. However, I ultimately have to give my honest opinion on the music at hand: it's fine. Some of it is cool, others are less notable (6/10, 3/5 on this scale) (Update: It hurts, but I'm bringing this down to a 2. This album just wasn't for me. I guess I was trying to respect the legend that is Bob Marley, but I have to be more honest with my ratings. After all, it's about the album and not the person)

When I was younger, the names of prominent jazz musicians kept striking my walls as paintings that I couldn't quite understand. The colors and shapes were all in front of me and yet I stayed far from names such as Coltrane, Mingus, Hancock, etc. I had an interest in wanting to understand these works of music, but I just wasn't ready for it. Another name that can fit into this category is Davis, Miles that is. I've heard about his classics for years now: Kind Of Blue, Birth of The Cool, Bitches Brew, Jack Johnson and now this one: In A Silent Way. I had never found the right time to be able to sit down and interpret his work for myself, so thankfully this project can given me the opportunity. I find that I am a much more matured individual when it comes to music and what I can conclude upon hearing this record is a better understanding of what I'm hearing. The ambient focus of the first track would have alienated me at a young age, but now I hear something greater. There's something so enticing about how light and open that track is. I find its tranquility to be endearing. The second track starts off beautifully before transitioning into a more upbeat movement. The way this record moves around is unlike anything I've heard up to this point. It has its own unique and relaxing vibration where it lets the percussion, keys, guitar and bass do the heavy lifting. The addition of Wayne Shorter's sax or Miles' trumpet is merely an added flavor to this harmonious affair. In other words, a star in the sky that hasn't faded (9/10, 5/5 on this scale)

I would write a long piece about how EVH is a very talented guitarist or how his brother kills it at drums or how I'm not a fan of a lot of 80s over the top rock bands with the exception of these guys because they do their jobs very well. However, I feel like my statement can be reduced to this clip: https://www.youtube.com/watch?v=QrFxKY6aFrQ Van Fucking Halen everybody (7/10, 4/5 on this scale)

Another largely inoffensive record although I'll give it points for having this sound that I can dig. Irishmen posing as "OC" Californians. What a world. (5/10, 3/5 on this scale) (Update: It's a 2 now. It's not terrible, just irrelevant months later)

Upon researching the powerful effect of this music, I was intrigued at what I was hearing during the first song. Tropicália is a neat tune that aims to enlighten the listener and I was hoping that there was more of that on this record. The rest had 3 great songs and a handful of noticeable but fast passing tunes. I wasn’t going to get much from the lyrics since I don’t speak Portuguese, so my main focus was in the melody and the instrumentals around it. When the two elements both hit a catchy mark, that’s when I liked the record the most. When they seemed to stall for too long or lacked much power, the song went right through. This isn’t my first album from Brazil (that would be Jorge Ben Jor), but it’s one that I can respect for what it did against a dictatorship. I get down a little bit, not too much. Viva Brasil (6/10, 3/5 on this scale)

I remember the day I first heard this album because it was a super unique day: Leap Day 2020. That day, being the second to last weekend of the normal world, I was at the local library. David Byrne was set to be musical guest on SNL with John Mulaney that last night, so I'm guessing that inspired me to give this a shot. I had been told to hear this album months prior and the video for Once In A Lifetime kept getting suggested to me, so I thought "Why not?". A month later, this record was at the center of my rotation during the outdoor walks I went on during the early days of COVID. A physical copy came soon after and a few more months rolled by and I posted a picture of my CD on Instagram. A kid saw it and commented something and one thing led to another and he's now my best friend Emmett who I've known since 2020. The more I listen to this record, the more I fall in love with it. Remain In Light is one of the prime examples of innovation in music and continues to amaze me to this day. For all the reasons above, I believe it meets the criteria to hit a mark that no other record has hit (10/10, 5/5 on this scale)

It's hard to believe that I got into Zeppelin's entire discography last Fall. It felt so weird to have waited so long to hear the most CLASSIC of all rock bands (these or The Beatles), but thankfully, I've now dabbled in all of their main-line studio albums. Number 3, from months ago, I remember being extremely solid and the surprise runaway #2 favorite in the quad of albums behind the monster that is IV. It starts off extremely familiar with the Immigrant Song, goes into some noticeable waters with the acoustically tinged "Friends" and some head-bopping on "Celebration Day". "Since I've Been Loving You" gets the blues flavor that they were going for on the first album perfectly and even better than before. 7 minutes of runtime and they're all worth it. Then back to the head-bopping on "Out On The Tiles". The first side is just Zeppelin being Zeppelin doing what they do best. Side Two is where they take the more acoustic route and it results in a more unique full record. I think my most surprising take about Zeppelin's discography is that I don't care much for Tangerine which a lot of people seem to enjoy. I'm a bigger fan of That's The Way which I think is very underrated. Seriously, that's one of Zeppelin's best tracks. It's no "Going To California" in terms of acoustic Zeppelin, but man, it hits. This record while I believe is deserving to be recognized for its legacy pales in comparison to what they would do next. The next 3 albums are what turned Led Zeppelin from one of the best rock bands to straight geniuses. It's still pretty good (except the last song, it's pretty weird)(8/10, 4/5 on this scale)

Let’s just vibe, man. Let’s do that. (7/10, 4/5 on this scale)

This is an album that is made to be loud. It's a very forceful listen. The beats are kickass and very sample heavy. That doesn't mean that all the songs are memorable though. I think that this is a solid project with a selection of notable tracks. That's about all for today. Thanks for being my plane album (7/10, 3/5 on this scale)

“Olden times-ah music” (4/10, 2/5 on this scale)

“Bangers McGee” (9/10, 5/5 on this scale)

In 2017, I looked out the window of my car and saw a billboard mourning the loss of Chris Cornell. I was 10 at the time and I had no clue who this person was. But that sudden discovery only fueled a sense of curiosity within me. I can't say that I immediately googled him, but eventually I found out who he was and what band he was in. Years later, here I am being given this record knowing a bit more about "grunge". I turn on the first song and I hear what I would expect: brutal and cut-throat guitar riffs and a beat to match. Then here comes Chris Cornell with something different: a voice built for what you would expect out of '80s hair metal bands. More a soaring Axl Rose than a quiet Cobain-esque voice. That flavor added to top-tier grunge tracks is a wonder to hear. There's a sweet run of tracks that goes from the title track, Head Down, Black Hole Sun and Spoonman. Those 4 songs are all great (props to My Wave and Black Days too). All the songs I've mentioned so far are all enjoyable, but after Spoonman, the album's length starts to run slow. The songs sound less surprising and intriguing albeit for maybe The Day I Tried To Live and 4th Of July but those also got stale. There's a thing about some bands in the 90s offering really long albums bordering on 65-70 minutes. Especially with a band like Soundgarden that is obviously loud, that's going to make my ears tired. Bottomline: the album is too long for me to fully enjoy it, but it has Black Hole Sun which is one of the best songs ever written. I say that's a major win. RIP Chris Cornell (7/10, 3/5 on this scale)

You know at the very least, I know Nick Cave has something good in him because some of the songs here are noteworthy. I just don’t find myself coming back to this, but hey, discovery is always worth my time (5/10, 2/5 on this scale)

I’m quite satisfied with today’s pick. This record does something that is difficult which is make me enjoy a country record. They’re not the first of their kind (Kacey Musgraves) but there’s something that makes this better. It’s probably the outer influences acting upon the twangy base of the sauce. Not every song hits, but the ones that do make a good impression. Welcome back to Houston, Phil (6/10, 3/5 on this scale)

I'm a sucker for long double albums. They're like musical journeys for me that ensure that I'm going to go into a series of emotions within the next however many tracks. Examples of this would be The White Album (one of the greatest records ever) and Mellon Collie And The Infinite Sadness (TWO FUCKIN HOURS!!!). So when I heard that Prince had a double album a few years back, I was sold. I recall trying to get into this in the Fall of 2022 but without much to note. I didn't pay attention to a number of songs and a lot of great details were lost on me. Now that I'm a better listener, I can now share my honest opinion on this record between both discs. Disc 1: It starts off really well with the first four tracks. "It" is the first skip but Starfish and Coffee has a catchy hook. Slow Love makes a short impression, Hot Thing is kind of cringe-worthy but grows on me and then the last song is ok. Disc 1 is a mixed bag between great tunes that prove Prince's musicianship and tunes that sound too minimal to overstay their welcome. I was wondering "Man, is this going to end up dragging to the finish line?" Disc 2: Then I remembered that it's fucking Prince! Out of nowhere, the rest of the album after "Forever In My Life" manages to hit very well. U Got The Look starts off the disc with a standard good pop tune (I love the World Series of Love theme) before the real fun begins with If I Was Your Girlfriend. Oh man, that song is fantastic and it builds to this spoken word climax where Prince (as Camille) goes off on his partner for her not letting him see her undress. After that, it's fair game where every hook catches me and keeps me feeling real fine. I Could Never Take The Place Of Your Man falls into this minute of separation where the guitar and beat change up from the regular progression. It's a sweet diversion in the middle of a song that was a single. The Cross is a very interesting track here because it sounds very different and personal. It's more rock-oriented and the lyrics appear to be about Prince's religious beliefs. On an album full of songs about sexuality, life and having fun, that's quite the different story to hear late into this record. The second to last song is an edited live song that runs for 8 minutes and grooves before finally the album settles on Adore where Prince says yes to more falsetto. It's a very strong Disc 2 that in my opinion gives the record a very hard extra boost. It's no Purple Rain and it's no White Album, but it sure makes a great impression on me. I think it might grow on me if I keep coming back to it, but for now with some skips, I think I'm satisfied with the current score (8/10, 4/5 on this scale)

The second Sabbath record I get and quite the noticeable improvement. First listen and I get the hype around this release. It has all the hits of course but it makes out to be a well balanced release. Overall, it wins at kicking ass and lots of it too. (9/10, bordering on 10, 5/5 on this scale)

My first album from this list was the other far popular Dire Straits album. I got that during one of my final days of spring semester, so how fitting that I get them again on the one of the first days back. My opinion on Brothers In Arms was that it had good songs but I didn't think I would return to a lot of it. That album had a more atmospheric 80s guitar driven sound which made for more hits. I thought it was alright; this record is different. I'm not saying I'm crazy for it cause I'm not, but this to me has more of what I like. It didn't hit me completely until Sultans Of Swing which I can't say I knew very well before but I'm glad I do now. It's a fantastic tune and as for the other tracks on this album, they all range from passable to very nice. I found the run between Sultans, In The Gallery and Wild West End to be the sweet spot. There's no 80s cliche or experimental approach here. All there is is some well-played guitar songs by a guitar band. Mark Knopfler, you got it, man. (7/10, 4/5 on this scale)

Something slow and subtle. I can appreciate it for some parts and it definitely has an indie Pitchfork sounding edge to it. There's nothing else I can really say to describe it (6/10, 3/5 on this scale) (Update: It's a 2 now. I think it's just alright)

My definition of post rock was always influenced by Godspeed! You Black Emperor's euphoric highs. So on my first listen of this, I was wondering why this was characterized as post rock. It was all over the place and though some melodies caught me, they never built to a climax. I'm a person that is infamously into a band that jams on a repeating phrase over and over again and yet it didn't stick the first time. That's when I researched the genre of post rock in general and what I read was that post rock is supposed to be music built on texture and without structure. There's the build up of course, but when I thought of the word "texture", I decided to give it a second listen. It's nothing spectacular, but I can at least give it some respect. This is not an album meant for conventional listening, but rather, light background music that makes some sort of impression. Maybe it's my Stereolab senses tingling. (5/10, 3/5 on this scale)

Ugh. Ok, I like DJ Premier and I think his work and his impact on hip hop is important. I just wanted to say that, but despite some great beats and storytelling on some of the songs, I found this to be a massive drag near the end. It's all a basic formula: sample based beat, Guru raps and ends each verse with the song title, Premier scratches during the chorus. It's not anything new and I'm not saying it's a bad formula, but I feel like this album is more full of "hobby cuts" than a true statement. I define a "hobby cut" as just making a beat one day, writing lyrics to it, recording vocals, adding scratches and calling it a day. I imagine Guru and Premier did this plenty of times, picked a bunch of them and put it together to make this record. The producer-rapper group method was very popular during this time and while it produced some great records (Eric B and Rakim), it feels very basic compared to some greater known records from this time. As a single tune, it makes a good impression. As an entire project, the schtick begins to run dry. (5/10, 2/5 on this scale)

In my review for Davis' In A Silent Way, I noted how jazz no longer felt like a giant noise, but rather, contained audible meaning. I was impressed by the atmosphere it set forward between two tracks. About three weeks later, I'm handed this record. In the past, Kind Of Blue was another folk hero that I had long heard the praises of. Accolades such as multi-platinum sales numbers and being called "the greatest jazz record of all time" paraded around my younger ears. With all that hype, I took my shot at a date with the record, but my younger mind couldn't put a finger on why this was held so high. It may have been how So What began quietly and didn't contain anything too dramatic. It's all a cool run built on a modal structure. Middle School me wasn't ready for that. Nowadays, I feel grateful to have somewhat familiarized myself with the essence of jazz. The fact that this album is based on a series of themes surrounded by modal structures and soloing brought something fascinating to my attention. This song structure is very alike to what I hear in my favorite jam band recordings. When I solo on my guitar and am not relying on a pentatonic scale, I'm using the musical modes to my advantage. When Phish or The Grateful Dead play through some of their songs, they use modes to keep the groove moving and the audience engaged. That's when I realized that I owe a lot to this record. It is a truly powerful statement recorded by some of the brightest names in all of jazz history. Now, I can proudly say that I understand this now. Think of it this way: what Nas' Illmatic was for hip hop, Davis' Kind Of Blue was for jazz. I rest my case (10/10, 5/5 on this scale)

All I can think of this: https://youtu.be/1PvJNbdPqSA?si=86r5EBMZs44UVhRC (6/10, 3/5 on this scale) (Update: 2/5 now)

This album cover used to frighten me when I was 12. I couldn't pronounce the name of the record back then. The combination of the words Exile and Guyville (which isn't even a word) clashed too harshly on my tongue. I didn't realize it was a rather explicit cover until years later, but here I am now. The only thing left to judge is the music and I have to say: I'm overall impressed. I read that Liz said that it was a direct response to The Stones' Exile On Main Street, and while I don't think it compares from direct track to track, the pacing feels similar. Maybe that's why I enjoy it. While it may not be explosive all the time, its relaxed lo-fi style takes clever shape. The real explosiveness is in the lyrics which ring honesty and humor alike. How did Matador have GBV, Pavement and Liz Phair at the same time? That's insane. Long Live Matador, this is great (8/10, 5/5 on this scale)

What fascinates me about this band is how much of an impact they had establishing a base between a hard rock sound and an alternative energy. With only two albums, they made a huge mark on the scene and then dipped. Jane's Addiction's first record is a true testament to electricity in performance. While I don't enjoy every bit of this, I hear something big happening throughout. This record is a mess, but one that isn't afraid to swing its big dick around and scream a little louder. I have my respects. Perry Farrell needs help (7/10, 4/5 on this scale)

Very briefly, I'll say that I don't think folks like Perry Farrell could have come up so big without Iggy Pop. Iggy and The Stooges produce some of the most "out and loud" material I've heard thus far and I can only imagine how an average John/Jane Doe listener would have reacted to it in 1970. This record takes you on a ride that only goes lower and lower beginning with straight punk and ending with Eric Andre levels of music. (https://youtu.be/6SQHgEzxbBI?si=SIHB4DnKQU_5ZQPq). It's oozing with raw insanity, but that's what punk rock is all about. It's free, ferocious but true to the spirit of rock and roll. Extra shoutout to the saxophone guy for coming in randomly in the middle of 1970 as if he walked in late, and then raging that horn for the rest of the record (7/10, 4/5 on this scale)

This album is very near and dear to me. Not only was I super obsessed with it six years ago and fascinated with its Grammy triumph, but this album's theme quite literally hits close to home. Win and Will Butler both grew up in The Woodlands, a suburb of Houston, TX. I also grew up near Houston, not really in the suburbs, but you get what I mean. This album is a collection of tunes that yearn for nostalgia and a time where days felt pure rather than washed with fear. They're honestly crafted numbers that shout proudly again and again. They're anthems for the youth; fireworks that strike a chord in my heart. There's life in these songs and I like to think that they gave me hope as a young and socially challenged Texas boy. Oh, how have the times passed since then (9/10, 5/5 on this scale)

Dolly Parton is one of those artists that you never want to criticize because she’s so lovely and honorable as a figure in music. With this being said, this album is OK. I believe that Mrs. Parton has a commanding presence throughout this record, but as a whole, I’m not struck by much of it. Still though, she’s nice (6/10, 3/5 on this scale) (Update: 2/5 now)

There's not much else to say that hasn't been said about this one. I will say that I don't view this record as some massively important recording, but I see it as something relaxing. Hearing a band like Nirvana and a frontman like Kurt tone down the distortion and provide these raw passages is great. While I'm not head over heels for it, I highly respect it. (9/10, 5/5 on this scale)

I was absolutely taken aback at how much I liked this. It's not anything too big of a liking, but it's a liking indeed. Very cool stuff (7/10, 4/5 on this scale)

Elvis Costello has some great tunes and the really great ones become earworms. He had a great presence within the early MTV new wavy scene, but as a full project, I don't think it's entirely strong. Side A offers up the strongest that this record has and Side B sort of lies low. I'll always love him for the SNL incident though (6/10, 3/5 on this scale)

As a full record, this is not really a cohesive piece. The reason I give it this rating however is because I feel relaxed while listening to it. Every song passes me with a slight warm impression and that's enough. Sinatra sails through the night and gets the job done. That is enough for an honorable man (7/10, 4/5 on this scale)

I guess there's a different approach to the blues that I didn't know about. Muddy Waters at Newport presented the blues in a more straightforward fashion that emphasized rhythm and the harmonica. BB King, on the other hand, injects a bit more soul into the medium. His guitar is more front and center, powering through each number with passion. His backing band add on to a sum of brilliance. Finally, add on how he talks to the audience to serve as a guide to the music and I'm convinced that King is one of the greatest showmen to ever do it. A stellar live recording; my kind of blues (8/10, 5/5 on this scale)

Another one of those albums where I’m sure when it came out, people thought they were hearing alien noises and freaked out. Years later (besides a few standouts), it sounds dated and doesn’t offer up much to make for a 39 minute record. “Well, I’m a peanut bar and I’m here to say: your checks will arrive on another day” (5/10, 2/5 on this scale)

There's some good songs here but most of amounts to a pop album that overstays its welcome. Beautiful and Dirrty go off though. Please enjoy this presentation: https://youtu.be/FCwOViH_a24?si=YxE-secOsCKxVrnq (5/10, 2/5 on this scale)

I did not hate this. It's not incomprehensible bullshit, it's just some British dudes being loud and dark but still kicking ass. I can see how this paved the way for other sub genres of metal. I also can't hate on an album that has a song about having sex with a slutty teacher in the middle of a record about death and darkness. This is alright (6/10, 3/5 on this scale)

I love The Beatles, but this isn't one of their best records. It has some classics on it however. Very textbook early mop-top Ed Sullivan Beatles here though I prefer Please Please Me. Not to mention they're still doing a majority of covers rather than originals, and let me tell you, the Lennon-McCartney originals are superior (6/10, 3/5 on this scale)

What I like about this live recording is that it displays the raw feeling of the Man In Black. So raw in fact that it feels like an edited bootleg with songs mixed together to make 33 minutes of a historical snapshot. Bits spliced and words censored by that jarring bleep. Not to mention the songs are good too and he invited the whole gang with him. I love to hear June Carter Cash on vocals; she was the original country diva before Dolly, Tammy or anyone else. The banter may be too much, but what am I gonna do about it? *middle finger* (8/10, 5/5 on this scale) (Update: More like a 4 now, but still real good)

(The) Yeah Yeah Yeahs adapt graciously with It's Blitz. The band's peak in my opinion will always be with the self titled EP and Fever To Tell. But the general "Pitchfork" historian consensus says that the band's follow-up "Show Your Bones" was a step back. I disagree since I ate that album up during the pandemic, but that's besides the point. Once a band gets big off a distinct image or sound, they must adapt to keep people interested. By their third record, the band decide to lean more towards synth-pop while still relying on some old tricks. The result is something worthwhile, though not every song hits for me. That's alright though, I feel like there's always something ear-grabbing going on. It's a feel-good kick-ass dance-punk record and that's sick. It's Blitz is bliss (8/10, 4/5 on this scale)

WAR are always going to be the Low Rider/Why Can’t Be Friends guys to me, but I am very impressed by this record. I feel that it’s not an over-the-top fusion record but one that hangs out and keeps it cool. It has that California sunset sweetness in its soul. My regards go to George Lopez (9/10, 5/5 on this scale)

This is a fun hip hop record that maybe gets a bit too gimmicky at a certain point (there's a song based on yo mama jokes). I don't think it gets too corny though. I can tell that there's something genuine about the chemistry that these four exhibit. I love how Passin' Me By went from a sick tune that I first heard while playing NBA2K9 to a song that captures my struggles so vividly. The skits are also entertaining unlike a lot of other 90s hip hop albums (too many sex scenes). In a landscape of hip hop where the main idea was guns and bitches, The Pharcyde come along to give us a playful alternative (8/10, 4/5 on this scale)

These guys can sing, that's for sure. The Mamas/Papas are a group that are of their time. One can put on California Dreamin' and instantly get a feeling for the time period. The fabulous mid-60s; the year 1966. The year before the psychedelic rush hit the world. This record is stuck in that transitionary period where the early 60s turned into the late 60s. The voices of the Mamas and Papas come together in great unison. Monday, Monday, Straight Shooter, Got A Feelin' and I Call Your Name (a Lennon/McCartney song?) are all great. But at a certain point, the record hits some insignificant points that bring down by rating by a smidge. Still, for the joy and talent that I hear within the music, I do believe what I see and hear (7/10, 4/5 on this scale)

This is an album full of life. This past year, these songs have guided me through moments of love, heartbreak and despair. It has kept me on my feet throughout the seasons. It was with me during the winter when my part of town got snowed on in a rare occurrence. It was there in the days when I enrolled in counseling after my depressive episode. It was there in the summer time when I was somewhat getting my life back together. Now it's here again when I'm experiencing a whirlwind of feelings for someone beautiful. No matter what, there's always been a song or two that has spoken to me at some time. This is why it's one of the most thrilling pieces of music and art ever assembled. I mainly say this about the two discs (the Apple Jam doesn't count as part of the bunch for me). It is so good that it brings me to tears most times I listen to it. The number of songs that capture a feeling so vibrant are finite but it feels endless. Songs about a loved one, songs about dysfunction, songs about spirituality; these are all things I've felt in the past year! All in all, All Things Must Pass is an album that I needed to hear in this stage of my life. There's so much, maybe even too much, color for a record with a black and white cover. Bottomline: it is perfect to me. While John and Paul were throwing jabs at each other, George formed an army of spiritual bliss and made one of the greatest albums of all time. All things must pass, but this album lives on. Let it roll (10/10, 5/5 on this scale)

I can't say I love this entire album. I love the concept of the White Stripes and their overall look, feel and sound. But in terms of this album, their foot in the door commercially, it becomes a bit stale near the end. It starts off really good, stays that way for a while, and then after I Think I Smell A Rat, it drops off for me. Elephant is the greater effort in my opinion, but this is still good (7/10, 4/5 on this scale)

Snoop D-O-DOUBLE G from THE LBC biatch. The singles are great, I can understand why it's a classic. Not every song does it for me and I feel that it drags to the end. It is truly G funk, but that's about it for me. My respect goes to the Dogg Pound (7/10, 3/5 on this scale)

One of the most interesting album listens so far. There's plenty of depth to this album's sound, but I feel that there's a curve here. It begins just fine...but just fine. Then in the middle, it gets really experimental and good before falling back to the end. Suddenly I went from listening to an avant garde hip hop album to falling asleep as a man read me poetry. In addition to this, the random dives into punk, rave and musique-concrete baffled me. A respectable effort as a person that thrives on experimentation, but as a complete album, I leave confused (6/10, 3/5 on this scale)

There is a generation of people that recognize Buddy Holly as one of the most iconic rock and roll stars of his time. This is also a generation of people that recognize Buddy Holly as the guy Rivers Cuomo of Weezer looks just like. I'm both of those people. Anyways, sweet stuff; not too crazy about it but it's cool. I respect a fellow Texan making a mark on rock and roll history (7/10, 3/5 on this scale)

Jeez, this is long. That's the main thing to say right off the bat. While I was listening to the second side, I had a feeling that the rest of this album was going to be a drag, but then Side 3 came up and most every song for the rest of the duration hit. The Concerto For A Rainy Day segment is perfect and of course ends with one of the greatest songs ever composed in Mr. Blue Sky. Everyone knows that song rightfully so, but for the rest of the 16 songs on this album, more than half of them are worthy of being heard. I will say that the overall sound of the record feels a bit same-y at times while also being too extra. But when it finds its emotional center in the core of the spaceship heart, I can't help but float and shed a tear. In other words: We get it, Jeff! You like The Beatles! (7/10, 4/5 on this scale)

The Kinks are interesting because most people know of them for their British Invasion hit "You Really Got Me" and really truly remember them for just that. But further research finds that The Kinks became more experimental as the years flew by. By 1969, they had already made a mark in the studio with their ability to paint concepts all their own. Here we have Arthur, an album that has a character at the center of it along with songs about said character. As a listener, I wasn't entirely paying attention for any signs of a progression within the story. I'm pretty sure that the concept within the record revolves around a character and his life but there's not a beginning, middle and end. I might be wrong but what I'm saying is that these songs are about Arthur and what his situation is like. Now the songs here are well-made and display loads of creativity although they may feel too loose structurally. There's a peak between the 3 track run of Australia, Shangri-La and Mr. Churchill Says; those 3 songs are 14-15 minutes of magic. I will highlight Australia for serving as a sonic precursor to The Strokes 30+ years earlier. The overall game changer about this record is that it lets me know that The Kinks are more than what I know them for. There's other records by them that broke them out stylistically and this is the first one that I got from them. I am looking forward to their other work, but as for this one, it's not one that I can give the full star treatment. By the end, I'm a bit jaded by the listening experience, but that might change in the future. The moral of the story today is that I learned that The Kinks have somewhat got me (7/10, 3/5 on this scale)

I am a fan of how relaxed this makes me feel. When the sax hits for the first time in The Girl From Ipanema, it rattles me. The rest of the album is pretty good too and I had a feeling that this was going to be higher up on my ratings, but some middle tracks lose me out a bit. It ends strong enough for me to say that I had a great time with it. Great vibes for high times (8/10, 4/5 on this scale)

I think it's funny how Alright, a nostalgic banger of a track that's only really known for its use in Clueless and other commercials in America, comes to me at a time when I'm depressed out of my mind. But with that fact notwithstanding, Supergrass' debut is well worth the time. There's some weird tracks with high pitched Cockneys running wild. It sort of takes away from those songs, but most of the other songs aim to kick ass. They do it well too. It's English punk with the alternative/Britpop flavoring. Also I learned that Spielberg saw the video for Alright and wanted to make a Monkees type TV show out of the band, true story (7/10, 3/5 on this scale)

The words to describe this record are leaving me by the second. The fingertips that write those words on the keyboard want to give out. My soul may have been relocated at various points. This is the result of what this record does to me. There's good art, great art and then something as flattering, as bold and as original as The Black Saint and The Sinner Lady. The multiple themes coming in and out, the speed picking up and down, the absolute reward of a full listen. With this record, Charles Mingus cements himself as one of the most vibrant and brash jazz composers of all time. My heart is in my head, my mind's in the freezer and my soul is with the cleaners. Praise the soul (10/10, 5/5 on this scale)

This record is a huge reason for why I do multiple listens of an album. I need to wrap my head around each track completely to give it a fair rating that I’m happy with. In this case, I heard this record in the afternoon and I thought it was OK with some great songs in between. Then I heard again at night and it hit for me completely. Harry Nilsson, with his overall mystique and talent, strikes me as someone that a lot of my favorite songwriters and artists know and admire. Now that I have jumped into the fire properly, I completely get why. This utter nuance this record provides mos really something. Good job, Monday (8/10, 5/5 on this scale)

While I do find the overall melodies and approach on this record to be noteworthy, I don't feel much purpose from this release. I hear sounds, I identify those sounds as belonging to their time, but I don't hear anything too surprising or innovative. Orange Juice squeeze themselves out just fine but the taste is nothing to write home about (5/10, 2/5 on this scale)

Isscomenup, Isscomenup, ISSCCUMENUP, ISSCUMMENUP, EHHHHH DEERRRRRRRRRR!!!!! EHHH DERRRRRRR!!! Swagged out in Madchester (7/10, 3/5 on this scale)

XTC, man. I find their older stuff appealing, so why did this have to be in here? This, the penultimate album in their discography, came at a time where the band was not the same XTC most people know of. My question today is that out of all other albums, why was this put in the list for the 1001 albums you must hear before you kick the can? Is it because of the complete leap into orchestral and acoustic pop songs? Maybe it is. It's a big change from the angular guitar tunes of then. But for me, what makes an album get a low rating is if that album is a complete slog to get through. During the entirety of this project, I wondered what was the point. Almost none of the songs left an impression on me and lacked something to dig. There's parts that I think interested me; certain melodies and such. But as it went on, it felt like there was nothing spectacular about what I was getting myself into. An orchestra in music tells me that what I'm hearing is meant to be grandiose. There's supposed to be something climatic or wondrous about the song to have an additional arrangement attached to it. This wasn't that. What was the point today? (3/10, 1/5 on this scale)

Oh my, what a bounce back! I was able to listen to Tribe’s debut earlier this year as part of this challenge and I was surprised to find that it was very different from the Tribe I was used to. There’s the singles for sure, but I didn’t get why a lot of the record was Q Tip and Jairobi. Where was Phife? I love Phife! Enter: The Low End Theory, a record which establishes the core of what Tribe does best. Using jazz as a primary basis underneath boom-bap beats and hot rhymes emphasizing unity, friendship, the ladies, da bizness! Q Tip is still manning the ship, but Phife comes in as the co-captain and absolutely heats up the mic. We can’t forget Ali on the deck too. The number of classics, rhymes, beats and just the overall thesis of what The Low End Theory is about makes this one more and more special. To cap it off is Scenario, a song that I have mostly memorized out of hearing it hundreds of times as a 9 year old playing 2K15. Everyone talks about Busta’s verse, but I feel like everyone killed it on that joint. There’s one-liner after one-liner on that song and it still blows me away about 10 years later. Moral of the story: the quest has been founded and the tribe is as booming than ever. Observe the vibe (10/10, 5/5 on this scale)

In February 2025, I thought about throwing it all away. I got the help I needed and I stand relatively better than what I was at that time. I think a big reason for why I held on was because of Everybody Hurts. I found out something heartbreaking and the way I let out my emotions was by locking myself in a recording studio and singing that song at the top of my lungs. For some reason, those words rang true that day and something was felt. I didn’t throw it away that day. Months later, I had the idea of finally the code with R.E.M. I had tried getting into them years earlier but my younger self couldn’t quite understand what was so special about this band. But sometimes taste changes with age. Some things that sounded dull to me years earlier will make sense, and if there’s an example of this, it’s with this record. Automatic For The People, if not for All Things Must Pas, would be my favorite record that I’ve gotten into this year. It’s not a perfect record to me; Star Me Kitten is the only song I don’t return to often. However, it is a phenomenally meaningful record to me. These songs are what I needed at this time. These songs are my voice for when I fear to speak. They’re my grief and anxiety tackled into one hug that I haven’t felt in ages. In other words, I have been healed but also damaged by this record. Such intense emotions have been felt from songs such as Nightswimming, Try Not To Breathe, Sweetness Follows and the aforementioned Everybody Hurts. It’s honest, a fantastic listen, and to me, R.E.M.’s best. We’ve got a boogie, boogie move on this one (9/10, 5/5 on this scale) Additional Statement:
 If you are struggling, please call your loved ones or the crisis hotline at 988. Please further contact a professional for help. “You are not alone” This song saved my life.

The Stones establish their late 60s focus on blues and roots rock with Beggars Banquet. I have already covered another Stones album from this period (Let It Bleed) and have dug into Exile On Main Street plenty of times (I love it), so this was a new one. Compared to the record before this, Banquet redraws the lines back from psychedelic color to rusty gold. You can't go wrong with Sympathy For The Devil as the opener of course, but other songs deserve as much recognition. Those being Jigsaw Puzzle, Street Fighting Man and No Expectations. This record presents a nice jump into the style that the Stones would go on and perfect on Exile 4 years later. My opinion is that their later work is superior, but this begins a great journey for the Stones. The licks are only going to get louder from here (8/10, 4/5 on this scale)

The Who, like a lot of famous 60s rock bands’ debut, prove that they can play and look good at the same time. That’s the main gist of a lot of the British Invasion bands you can think of when they started out. The early Stones, Beatles, Who, Kinks, etc. all with attractive men and good rockers. Of course, all these bands would find their own speciality later down the line. As for the Who’s debut, it produces a blueprint for a band that ran on LOUD. Their tunes are engaged with this harder edge shown in their overall playing style. Distortion and (especially) feedback is present in an album from ’65! How cool is that! Some songs do real well for me such as My Generation, The Kids Are Alright, A Legal Matter (with Townshend on vocals), The Good’s Gone and I Don’t Mind. But as for the rest, they come off as unspectacular to me. They’re either covers of blues and RNB songs, just fine originals or an improvised instrumental piece. These combined with the highlights make for an overall mixed bag of an album but it does prove that The Who had something good going. The chemistry between Daltrey, Townshend, Entwistle and Moon is there and it would only expand to more anthemic and creative heights from there on. Until then, the kids are “alright” (6/10, 3/5 on this scale)

So yes, it is that good. Purple Rain is among the likes of those classic albums that you hear about everywhere (ex: Dark Side Of The Moon, Abbey Road, Thriller). Once you take the time to listen, you realize why they’re held up so high. Purple Rain is effectively close to a greatest hits album for Prince. If you’ve got Let’s Go Crazy, When Doves Cry, I Would Die 4 U and Purple Rain on the same album, then you are a genius. There’s no other way of saying it. And even beyond the 4 songs I just mentioned, the rest of the record flourishes with not only great production but plenty of impressive musicality. Every arrangement is done so well that it makes me sit there the whole time thinking WOW. Everything I’ve heard or read on the record is true; this is a sure classic through and through. So the only question left to answer:
This or Thriller? I can’t decide for the life of me right now (10/10, 5/5 on this scale)

I think I do prefer Neil Young in this way. The folky bits on Harvest made some sort of impression on me, but this is more my jam. Straight rock tunes played by Neil and Crazy Horse; now that’s the spirit. There’s plenty of good to go around here and I think I mean that more this time than with Harvest. Cinnamon Girl is a classic opener, the title track flourishes with these satisfying harmonies in the chorus. Round And Round is a warm third-piece that feels like a cool winter’s breeze. A handshake of the mind if I may say. Then of course: Down By The River. It’s 9 minutes of some verses, a killer chorus and a canvas of guitar sketches. To the man who doesn’t like aimlessness, they may not enjoy this tune (or the closer Cowgirl In The Sand), but I personally do like the momentum they build. Besides the jam, they are greatly written songs. There is one song I don’t care about and it’s Running Dry, but the rest is cool for me. It's a project that I feel more at home with. 
 (8/10, 5/5 on this scale)

What’s most apparent upon hearing “The Score” (one of the most popular albums listed in my mom’s 1997 high school yearbook) is that Lauryn Hill is a star. Wyclef and Pras deliver too, but there’s nothing more impressive than Lauryn’s performance on this album. Her ability to rhyme and sing well is a highlight throughout the hour long runtime. No wonder Miseducation was as big as it was. But anywho, another reason for why The Score is a good time is the samples. There’s strong melodic ideas anchoring these songs to satisfaction especially on Zealots, Ready Or Not, Fu-Gee-La and The Beast. The three “refugees” ebb and flow with much staying power on these beats. I do like how the album is structured with recurring themes and callbacks like a movie. There’s even a spoken word intro and outro with proper credits as well. I will say that after the mega-hit Killing Me Softly (the climax), the album goes into a falling action where the rest of the songs aren’t as memorable. But that cover of No Woman No Cry makes a worthwhile impression leading into a strong closer. I totally understand why this was popular at a time like 1996. It was something fresh, meaningful and it introduced the world to three forces with their own unique voice. “Oh-La-La-La” (8/10, 4/5 on this scale)


Bob Dylan’s Freewheelin’ is where his ethos first took the world by storm. He had already established himself as a folk musician on his debut, but this was where the anthems first appeared. This is where the era defining “protest” master Bob Dylan came from. I’ve only heard his later works delving into more elaborate arrangements, so hearing stripped back Dylan was quite the change. This isn’t my first go-around with this record though. During my junior year dual credit history class, I was tasked with writing a profile on a historical figure. I chose Dylan mainly because I was unfamiliar with his work despite hearing about it many times. To get an idea of what his music was like, I listened to the first three songs of Freewheelin’. I believe that’s when I first discovered the appeal of Dylan’s music. The lyrics are at the front and center of my attention often captivating me with a warm emotion and focus. This is the most present with Blowin’ In The Wind and Masters Of War; both songs that spoke to me clearly then and still talk now. This was, however, my first time listening to the entire record front and back. My initial observation is that the “hits” everyone knows are hits for good reason; they’re incredible songs. Along with Blowin’, A-Hard Rain and Don’t Think Twice are masterful numbers. The rest of the album can range from really good to a simple ramble that doesn’t bother me too much. The lead-up to the end isn’t so spectacular, but I did think Corinna Corinna presented a slight shift from the textbook “Dylan folk”. It’s a fine introduction to what this period of Dylan was about: a man with some words and an acoustic guitar/harmonica. His later works mean so much more to me, but to the world, some of these songs are greater shadows. Don’t think twice…(7/10, 4/5 on this scale)

Ozomatli is a band that I only knew about from the fact that they once played a Phish festival in 1999. With that being said, I'm glad that I at least knew what I was getting myself into here. This is a record that is primarily latin and has hip hop and rock influences layered throughout. I'm Mexican-American, so I think it's a little pleasant to hear Spanish vocals though I don't seek them out. I spent a lot of my early life exposed to Spanish-language music so much that I got tired of it. But now I hear someone speak the language (cada día yo veo la destrucion) and I think it's cool to have that on a list like this. As for the record, I wouldn't return to it but it has nice stuff that prevents it from being a 2. There's potential in the material presented and I'm all for it, but not diehard if that makes any sense. It's a clever mixture of a variety of styles and that's good enough for the rating (6/10, 3/5 on this scale)

This is my favorite album ever made. It has been for 5 years now. I've heard it perhaps a hundred times since I first found it in 2020. I've laughed and cried so much and I love this more than Kid A, The White Album and a thousand other records. I don't think I need to type much about how incredible and beautiful this is to me. This is a record where I truly believe that once I marry and have children, I'm going to struggle deciding who I love more: my wife, my kids or Since I Left You. Can my wife and kids love me unconditionally? Yes, but can they make "Close To You"? Absolutely fucking not. Move over Steve Irwin, Crowded House, Kylie Minogue, INXS Tame Impala, etc.; this is Australia's greatest import. If you are able to make a song as humorous as "Frontier Psychiatrist" followed by a song sequence as tranquil yet colorful as "Etoh/Summer Crane", you deserve the world (10/10 (if there was an option, it would be an 11) 5/5 on this scale)

The second I realized that Janis Joplin sounds like Marge Simpson, I could never go back to how things were before. The nice thing to note is that Janis is from Port Arthur, TX which is very close to where I am currently attending college. She even briefly attended the school before she went to UT in Austin and then I think she went to San Fran after that. She has a commanding presence that shines throughout this record, so of course she went solo. Besides the vocals, guitar work is also noteworthy. It's a shame that she flew on as Jerry Garcia put it (8/10, 4/5 on this scale)

Yeah, I gotta give this one props. The way Wikipedia describes it as foregoing the punk power chords of the time for more interplay between instruments. It's a spot-on description of what this album is like. The first side alone is outstanding, though the second side takes a small backseat for me quality. But when I say small, I mean "very small". This album as a whole is very innovative in what it does. One just has to hear the entirety of the title track to get the main idea behind this record. Television turns on and turns up on high volume (9/10, 5/5 on this scale)

Fishbone is a band that I first found through a video game: NBA2K8 on the Xbox 360. The song "Skankin' To The Beat" was featured on that game and from that, my knowledge was Fishbone was that they were a ska band. Roughly 10 years later, I was right but Fishbone is more than strictly ska. They have a punk attitude which gives them a fun edge to what they're about. I looked up clips of them live and their performance can be entirely defined by the word: loose. Everybody's jumping, everybody's really going for it. That's a great spirit to have in a band. In addition to their energy, they're also a socially conscious band. There's a few songs on this record that notably speak on serious topics and give some commentary. But all the seriousness is matched up with this deep funk groove punk setting that makes it work. I like this band, I like what they stand for and I like that they're going at it in 2025. This one has the potential to grow on me (7/10, 4/5 on this scale) (Update: 3/5 now)

Finally, an album that isn't available on Spotify as of writing this (10/30/25). My Bloody Valentine's debut record sets the stage for the shoe gaze sound that would define their next record, but on this record, the approach is slightly different. I can certainly hear Bliinda and Kevin's vocals clearer and even decipher words. I never thought I would see the day. I don't care for the opener too much, but afterwards, the rest of the album after two listens serves a good purpose. It gets refreshing after some time and I could start to jam my head more and more through each hard chord and breezy soundscape. I was struck especially by the noise rock direction the band goes into beginning with Feed Me With Your Kiss and onto Sueisfine. I've only ever known MBV from their songs that sound like To Here Knows When, so hearing more Only Shallow-like stuff was amusing. Not every track hits on this record, and if we're comparing it to Loveless, there's nothing too close to that record besides its sound. But I do hear the band brewing up their soup like the witches and wizards they are. It's only right at this time of the season (7/10, 4/5 on this scale)

Just in time for the Springsteen movie (that focuses on the creation of Nebraska), I am given the album after it. Undoubtedly his most iconic record, Born In The USA sees Bruce go full superstar mode without sacrificing what made his music appealing. The record strives on nostalgia and catchiness. The band's all there and they sound happy. I can especially point out when Bruce yells out "BIG MAN" to signal Clarence Clemons to a solo on Darlington County. But while Bruce may sound as confident and electrifying than ever, I know that he was going through hard times between the end of The River's cycle and the release of this album. Dancing In The Dark highlights that frustration with himself along with an instrumental that makes you want to move side to side. I hear a lot of purpose in these songs and I feel that the mega-success it got was well deserved. It's a shame that people still misinterpret the title track to be a patriotic anthem when it's not, but hey, it's a great song and a damn great album (8/10, 5/5 on this scale)

I hear the appeal of Creedence right on the first track which immediately introduces John Fogerty as having one of the most striking voices of his time. Born On The Bayou is a slow ride taken through smooth and easy (years before Foghat). From what I hear, a part of these tracks are based on repetitive themes that may work but wear off if repeated for too long. There's a difference between Graveyard Train and Keep On Chogglin' where the former gets annoying at some point and the latter ups the sonic intensity a bit. Proud Mary is a classic of course, but the rest tends to pass me by with a good impression. Just not a great impression. I do enjoy this album in general, but I sense that there's better work by this group later on. This was only their second record and they would follow this up with 3 other highly acclaimed albums in the months following. I will give this the score I think it gets on the star rating, but it's going to go on the mid 7 range for me (7/10, 4/5 on this scale) (Update: 3/5 now, but Proud Mary keep on turnin')

This record made more sense to me as a ninth grader. I remember having these songs on repeat and being attracted to how different they were compared to what I had listened to by that point. Even before, the singles were around in my younger years and that's why I feel that those are the strongest tracks here. However, today I put this on and some of my opinions have changed 5 years down the line. Besides the singles, I don't find myself as drawn to the other batch of songs besides a few good ones. I was never really a fan of Rehash and 5/4 anyway, so those opinions were not surprising. Though it's the fact that I am less drawn to Man Research and Punk that surprises me because I did like those songs more back then. The non-singles I feel are highlights are Gravity, Latin Simone, New Genius, Slow Country and Double Bass but the overall album feels like an experiment that's too unpolished for my taste. That's not an unfair judgment since this was Damon Albarn's new direction after years of fronting Blur. While the vision and the appeal is there, I feel that this is too much of a mixed bag between great singles, minor album tracks and less impressive bits. It's nice to know that the best idea of what Gorillaz could become came next. But hey, get the cool shoeshine still (6/10, 3/5 on this scale)

Sonic Youth and I have an odd, admirable history together. My first introduction to them was from an episode of The Simpsons that also featured The Smashing Pumpkins, Cypress Hill and Peter Frampton. The alternative 90s; what a time to be alive! SY did the Simpsons theme for the end credits of that episode and I was blown away by the sounds they were able to get out of their equipment. It sounded edgy and "kool" and it had attitude, real attitude, man! But for some reason in the years after when I tried to get into their music, only a couple things hit for me. Daydream Nation, which I will further discuss when I get to it, took me a long time to crack. I feel like this album was the same for me. A few songs hit, and the rest, I didn't get it. All it was for a very long time was Tunic (Kim Gordon's ethereal, dark tribute to Karen Carpenter) and Kool Thing (the big hit). Then again, I was a young high school kid and my musical tolerance wasn't completely built up to take on elaborate noise-rock compositions. Today, I have sensed a massive change at age 19. Sonic Youth was a band that had this sort of sonic genius. To a typical fly, some of these sounds they go for can be quite unbearable and hard to sit through. To me, it's art when I hear the outro of Mote. They use dissonance to their advantage to make their music sound rustier and more urgent. It's the Branca trademark taken to the airwaves. While I don't find it as compelling as Daydream Nation, Goo is the statement they needed to make at this point in time. It was their major label debut, and to widen their audience, they had to keep up their same tricks but freshen them up for the kids. I feel that they succeeded though I would have Lee sing more. He's my favorite vocalist of the three that do sing. I'm not completely sold on everything this band has done (All I really have is some of EVOL/Sister, big fan of Washing Machine, Murray St (?)) but I appreciate what they were for music when they were around (8/10, 5/5 on this scale).

I've always viewed The Next Day as the one before Blackstar more than his grand comeback into the 2010s. While I don't find this as grandiose and emotionally melting as from what I've heard from the later release, The Next Day proves that Bowie still had it at this point In his career. I was greatly impressed by how atmospheric this record sounds. I think Bowie (and Tony Visconti) just have that power to make it sound like we're floating in space. But I think Bowie's entire career was based on being high within some force or some substance. Space Oddity (high with the stars), Ziggy Stardust (high with the aliens), The Thin White Duke (high on cocaine), Let's Dance (high on euphoria), etc. Fitting enough there's a song on here called I'd Rather Be High. The main statement is that even if it gets overshadowed by Bowie's farewell, this record still served as a well-managed check-in from an old friend before he faded out (8/10, 4/5 on this scale)

Coming not too far off from the Getz/Gilberto record, Astrud's release begins as an appealing rose in the shades of nostalgia. Naturally as the record progresses, it begins to wear off into more ballad territory, but it doesn't nip too much of its bud. I don't know what that last sentence means, but I know that I was trying to say. I do appreciate that song near the end where she sings with her son; it's a cute one. Overall, fine stuff to get to hear and it took me a good week to figure out an opinion. This is my opinion: (6/10, 3/5 on this scale)

When I got Born In The USA, I was like "Man, so close to the movie, but maybe Nebraska would've made more sense for the occasion". And here I am about two weeks (as of writing 11/16/25) with the big movie album now. What strikes me about Nebraska is how raw it sounds for Bruce at the time. I think it was the perfect switch-up to release after years of E-Street Band material. It stripped down Bruce back to where he started: words and guitar. I think a lot of Bruce's music strives on flashiness whether it be through looks or through musical prowess. In Nebraska's case, it strives on lyricism. The use of storytelling is very clear on this release appearing in its first-person glory on the title track, Highway Patrolman and My Father's House. There's also something claustrophobic when you hear the quality of the recording. The deep reverb punches the space around my ears and this is especially true on State Trooper (when he shouts woo!). This is an ideal album to walk around the fall/winter in a jacket while you let the chill get to your heart. It's emotionally poignant, but I still think I have some hang-ups with like one or two songs. For that, the star rating is going to make it clear that I find this to be fascinating. However, the degree of my more traditional rating notes how I still feel there's some easing up to do. Nonetheless, an important recording by the Bossman (8/10, 5/5 on this scale).

It's really good. I'm tired and it is really good. Maybe "Andy Warhol" doesn't hit for me completely, but the more I hear the rest, the more groundbreaking it sounds. I hear a true artist coming out of the shadows on this record. I mean, "Changes" and "Life On Mars?" on the same record is crazy. By far, this is Bowie's most artistic statement I've heard from him on this challenge. I've heard three different albums from him (Station To Station, The Next Day, Hunky Dory) and they all sound drastically different. If there was a man who could pull off musical dress-up while still sounding identifiable the entire time, it's David Bowie. It's true art-pop/rock. It's art, in general. It's a pretty thing (9/10, 5/5 on this scale)

The pros of this release is that a good number of these songs are done very well. Rufus Wainwright is a very accomplished vocalist and I commend his work on this release. Someone even compared this to Thom Yorke's solo stuff and I do hear it somewhat. The cons are that sometimes the theatrical nature of the record may be too much for me sometimes, but it works most of the time. My biggest gripe with this is the run-time. 58 minutes of this kind of baroque-operatic style is much to take in. The great stuff goes above and beyond (Movies Of Myself, Go Or Go Ahead) and if it doesn't quite match up with the quality, it's a simple pass. It should be noted that nothing sucks here. I am left with a fine impression of Mr. Wainwright's abilities and my sleep schedule is suffering (1:32am) (6/10, 3/5 on this scale)

Minor Threat make a strong case for hardcore punk on this 21-minute release. A lot of is purely straightforward, but where it does real well is in Ian Mackaye as a frontman and the topics at hand. Though it might make my head spin and hurt sometimes, I am intrigued by the impact of the messages presented. I think that's the goal of the music; that and make you fuckin' throw ya-self around. Punk is a great thing to have around. The music might be simple, but the overall impact of it all goes deep. The fact that Ian Mackaye has something to do with other legendary 80s punk bands (Minor Threat, Fugazi, Dischord label mates Rites of Spring and Nation of Ulysses) is insane and I commend him for it. Along with Descendants, Black Flag, Bad Brains and Dead Kennedys, Minor Threat make a major impression (8/10, 4/5 on this scale)

I had never heard of Underworld until I was given this record. And I can say upon my research that I will now assume that every 90s UK dance record is super fucking long. I've already dealt with William Orbit, who though talented as a producer for others, left me crawling to the finish line. However, Everything But The Girl astonished me with their take on club classics. So the score is 1/1 if I am correct. Underworld goes up to bat and the first thing I notice is the length. This record's length can be attributed to how they included 6 more songs after the first two's 31 combined minutes. While both well done, I don't know how a regular listener would want to check out the rest without feeling drained. Though they might feel intrigued since the first two songs are again quite good (those guitar bursts in Juanita, ooo). I find something to enjoy in how the group arranges their more progressive tracks, but out of 8 songs, only 4 take me by pure impression. If this album was just Tracks 1 and 2 plus Pearl's Girl (my favorite) and Stagger to close: it would be a great 49 minute release. Instead, there's 24 more minutes of often repetitive, uninspiring sounds, that while engaging in a club setting, pass through an ordinary listen. I'm sure Rowla goes harder when the bass is right in front of you, but you get the point already. Underworld has me in some way, but not entirely. The score is gonna go to 2/1; could've been better though (6/10, 3/5 on this scale)

Yeah. This is the one. I've heard this four times in the past day and it's like Vince Carter in the dunk contest. It's over, ladies and gentlemen. Let's go home. For further evaluation, "Heroes" takes what I loved so dearly about Eno and Fripp style composition/arrangement and passes the ball to Bowie. Bowie then goes up for a shot and becomes champion of this challenge (so far). Every song on this record displays either beauty or fear, sometimes both. It's like watching a killer robot movie where the city is burning down, but then it also happens to be the most beautiful sight. In the fire, there is love. In love, there is everything, at least that's what I believe. I get a little emotional just writing about this. Furthermore, the ambient trio near the end paints a colorful image with sound and it's unreal. This whole thing is unbelievable. My main point: a glorious achievement in my discovery. I wish I could share this light with someone...just for one day (10/10, 5/5 on this scale)

I don't even know what sex feels like and this album worked on me. I think that's all I have to say to justify my thoughts on it (9/10, 5/5 on this scale)

Guero is essentially Beck doing Odelay again. Same producers (Dust Brothers), same vibe, same sort of songs albeit coming off an emotional record like Sea Change. I hear Devil's Haircut in E-Pro, Where It's At in Que Onda Guero? and so on and so forth. What drags this one down for me is that near the end right around Scarecrow, this begins to drag. I hear a beat, the slide guitar and all the usual elements and it just sounds like Beck but without much excitement to it. Odelay sounded like fun all throughout and there were entertaining hooks and moments before Ramshackle quieted things down. Guero feels like it comes and goes and then quiets down. And then I'm like "Ehhhhh". Some positives to note: Broken Drum is a seriously brilliant tribute to the late Elliott Smith (one of many around this time). I really dig the vibes on the trio of Missing, Black Tambourine and Earthquake Weather. Pretty much a lot of the great stuff appears during the first half of the album. I'm not too particular with Hell Yes, but shout-out Christina Ricci. Overall, this album is Beck trying to be the Beck I know from the 90s but with the added hit of Sea Change. The result is mixed in my book (6/10, 3/5 on this scale)

As a child, it was always this or Sgt. Peppers topping the greatest albums of all time list. Therefore, those placements put a whole lot of pressure for me to like them. I think I felt that I would be seen as uncultured as a music lover if I didn't get them. It took about a year for me to say I got the appeal of Pet Sounds, but it would take longer for me to fall in love with it. I do recall in the Fall of 2021 buying these green, yellow and blue Vans for my trip to Southern California. I called them my "Beach Boys" shoes and Pet Sounds along with Sgt Peppers was the soundtrack to my magical week at the park. I think that was the first time Pet Sounds had much significance to me. Over the years, other songs became more meaningful to me. I used "I'm Waiting For The Day" for my 16th birthday video montage. I walked around the halls of my high school feeling misunderstood to the sound of "That's Not Me". I even face heartbreak today with "I Just Wasn't Made For These Times" and "Caroline No". To sum it all up, this record has become a part of me. It's like what I feel with All Things Must Pass: the songs become bigger and more important as my life progresses. When Brian Wilson died, I wasn't terribly shattered, but I was sad. For that week, I played a lot of my favorite Beach Boys music and I realized that the man who made it all happen was no longer with us. It was a shame, but I felt thankful to at least get to call the man the inspiration to me wanting to write music, lyrics and grow my hair out a bit. This is another album full of life and I'm happy to hear it the way I do today (10/10, 5/5 on this scale)

This update is crazy y'all. Anyways, Fear Of Music is my second favorite Talking Heads album. For a long time, I had some weird hesitation to check out Fear Of Music. I thought it wasn't going to be as good as R.I.L, but boy, that kid was stupid. I personally see Fear Of Music as a concept album displaying various phobias. Fear of Mind, Fear of Cities, Fear of Animals, Fear of Drugs, Fear of Air, etc. There's a lot of paranoid feeling in David Byrne's delivery and lyricism. Hearing him yell about how animals are useless over a fairly catchy backing track is quite the groove. My two personal favorite tracks display just how great the band had gotten by this point: Memories Can't Wait and Heaven. Heaven is one that I've heard for years because of its inclusion in Stop Making Sense early on, but Memories Can't Wait was one that took me by high surprise when I first heard it in full. That outro section where the title comes in and Jerry Harrison joins in is incredibly cathartic to hear. Add in the fact that Eno produced it and Fripp played on it and you have even more of a reason for me to love this album. While Remain In Light is relatively more groundbreaking, this record set them up to be the legends they are in my life. Why was I so fearful at first? (9/10, 5/5 on this scale)

My mom told me to stop listening to this because Satan. That's all I feel I have to say right now (7/10, 3/5 on this scale)

I like Bill Evans as a jazz pianist and he does a good job here. From research, it's clear to me that this release focuses on bassist Scott LaFaro who passed away shortly after its recording. The result is something that more highlights his playing than the trio itself. The opener and closer (the best songs here) are ones he wrote and the rest feature extensive bass solos. It's cool for a laid-back vibe, but not really something I would come back to when I want some live jazz. I guess I'm used to more chaos or just more in general when it comes to jazz. Stripping it down is good, but I guess maybe I wanted a little more to do with the piano more than the bass. It's still a fine record nonetheless (6/10, 3/5 on this scale)

Yeah, for real though. Who is listening to this? It's not terrible or anything, but why is it here? Like what kind of nerd said this deserves a spot in the representative list of popular music and its evolution. Like huh? Ok. Well at least this next one will be eventful (4/10, 1/5 on this scale)

If I’m being honest, I love this. But I also feel like there isn’t a true rating I could give it besides the 1-5 one on this site. This is a masterpiece that I don’t feel like hearing in full again. It is insane, it is brilliant, it is absolute garbage. This album deserves to be here as a challenge to the average listener. I’m glad I got through it, but as for a rating, I honestly have no clue. For this site, I’m gonna give it a 4, but my true feelings are reflected elsewhere (WTF/10, 4/5 on this scale)

Ehhhhh. I mean, parts of it are cool. It just feels too slow for me. Maybe it’s meant to be heard while on a substance. Trip might be required (5/10, 2/5 on this scale)

I don't think Yankee Hotel Foxtrot is particularly groundbreaking or shocking or genre-defining in any musical standpoint. I had a hard time getting exactly what the people of the music internet loved so much about this record. There wasn't anything that popped out to me on my first, second or third listen. Somehow though I kept listening to it, and one day: I got it. Once I understood it, I listened to it even more. Then, I grew to love it the way I do now. I think this is the one of the best albums of all time simply because it's performed and executed very well. Maybe it was the right album for a world coming off the events of 9/11. But in these current days, I see Yankee Hotel Foxtrot as an album that feels like a coping mechanism. The words sung on this feels very emotionally resonant to me: "Tell them I'm lost by the sidewalk, and no, it's not ok" "Cheer up, honey, I hope you can" "I wonder why we listen to poets when nobody gives a fuck" "I shake like a toothache when I hear myself sing" "If I could you know I would just hold your hand and you'd understand" Jeff Tweedy delivers these bits and others in such a quietly striking manner that it melts my heart. When the record comes to Poor Places and its cacophonous name-drop ending, it feels like a monumental statement is being made. Something as tall as the two buildings on the cover. The noise comes to a boiling point before being scrubbed off and followed by the dragged out emotion of Reservations. It may have taken me a long time to understand what's so great about this record, but now I see it like a friend. Someone I met, took the time to learn and now love them like a brother. This record rules (10/10, 5/5 on this scale)

You know I don't think I've ever thought of the concept of a 50s-60s vocal group going into funk ever. When I think of the Temptations, I think of My Girl which is iconic. It even brings back memories of my friend Maddie singing it before a concert earlier this year, but I digress. It all makes sense really. They lose their most known member David Ruffin and move on by making a big change entrusting Norman Whitfield to bring them more into psych, soul and funk. We come now to All Directions which I'm sure is here due to the sound but also because of the centerpiece 11 minute Papa Was A Rolling Stone. I recall years ago seeing this song recommended in a Discord server and thinking "Hey, the Temptations made a long song?". I didn't listen to it then, but I hear it and it's real nice. The rest of the album is alright if I have to say. Really, Papa Was A Rolling Stone was the only truly great song here, though a shoutout goes to I Ain't Got Nothin' and The First Time I Saw Your Face. Those sho-bop, sho-bops in the former are quite something. Simple Monday listen (6/10, 3/5 on this scale)

So yes, I listened to the whole thing. I had to find an Archive.org download because the Spotify version is all over the place. It might not even be the same album on there. Still, I went ahead and made myself sit through two hours of this. The concept of drum and bass sounds interesting when taken in small doses, but two hours? He'll nah (as my buddy would mistakenly say). Like why? Why should an album that is too long? too niche? too hard to find? be on the list of the 1001 albums you MUST hear? Do I have to familiarize myself with this type of stuff in order to understand popular music? Cause all it is is variations of the same joke repeated 20 times over and over again. These damn long fucking 90s British electronic albums. It's a miracle that some of them are actually good. This is not even bad, it's just pointless. Who wants that? Honestly if you think THIS deserves a place on the list, you're a nerd. "Oh, but cool fast-paced rave racing music!!", who gives a shit? Touch some grass (3/10, 1/5 on this scale)

I'm glad that the Bee Gees found their way with disco cause whatever this is isn't cutting it. I feel like their voices were better suited for what disco would bring on rather than sultry and gentle ballads. The slow and sincere cry that never leaves this album gets dry and at times unbearable. It's not the worst thing in the world, but god, some of these vocals are scratchy as shit. They try to be artsy and moving with big arrangements and grand vocal performances, but it ends up getting too wishy-washy. I know this book has a rule against soundtracks but could they have made an exception for Saturday Night Fever? At least that's a Bee Gees record that deserves recognition (4/10, 2/5 on this scale)

How could something categorized as space rock revival, alternative and psychedelic rock make me feel rather unamused for this long? This album had me interested just from what I thought I was getting myself into. In reality, it's a lot of sludge with no real ascension. Some of the intros are too long and meandering before they get to any lyrics. Some of the lyrics are just sort of lame to me. I imagine this is the band that record store hipsters who try and stand out say they listen to. Oh, you listen to Pavement? I LISTEN TO DANDY WARHOLS! We are not the same. Something like that, maybe I'm wrong. But really, I thought this lacked (5/10, 2/5 on this scale)

Shoutout Earl (Thebe) Sweatshirt for kind of getting me to know who this guy was before I got this album. Hugh is sampled on the track “Riot” from Earl’s fantastic record “Some Rap Songs”. With that being said, this was cool. It’s a long record and quite much to get through, but what I hear stand outs. The piano work is strongest for me on this record, especially on tracks where it sets the scene (Minawa, Inner Crisis). Blues For Huey ends with some sort of free form drum solo that goes under the composition. The closer has the record’s only lyrics with it being chants. And the back half acts as the strong-suit where the music becomes more of a feeling than a sound. I don’t think this needed to be as long as it is, but what I got out of it was something positive. Thanks, Thebe (8/10, 4/5 on this scale)

The musical embodiment of "I THINK I GOT MY SWAGGER BACK" (7/10, 4/5 on this scale)

I wrote something and then it got lost for some reason. So this album basically is really good at the beginning, sort of loses me near the end. It has a lot of all-stars (Jimi, Clapton, Ringo, Cass, Crosby, Nash, etc.) which really make it shine. A lot of it is good, but ending is eh. Shoutout Scott Pilgrim and that pink giraffe (7/10, 4/5 on this scale)

I thought this would be some generic-ass garbage. It still was a bit, but not that bad actually. It just sounds like Oasis, but if it was watered down further for the masses. For most of the run-time, all I could think was "Man, Liam Gallagher probably hated this shit". From the Better Man movie (and interviews I probably haven't seen), that seems true. The good thing is that Robbie is having fun and the record isn't complete rubbish to me. In fact, I was going to give it a 3, but near the end, the music became a little corny. That was perhaps my Oasis senses getting the best of me. I have to emphasize that once you've heard Champagne Supernova, you never really go back. So I didn't think this sucked, but it was definitely an "ehh" for me. Whatever that hidden track poem was was funny though (5/10, 2/5 on this scale)

"Killer" (8/10, 4/5 on this scale and a Happy Holidays to you all)

This goes hard. Thanks, Kendrick (9/10, 5/5 on this scale)

This is one of the most acclaimed debut albums in history and I can hear why. The talents of all four Zeppelin members are there and making a great effort on hits such as Good Times Bad Times and Dazed and Confused. Yet while I find this to be generally good, their later stuff shines far brighter for me. Maybe bluesy Zeppelin is less my thing though they do it better on other records, but here, it’s a big influence. I’m not too crazy on You Shook Me or I Can’t Quit You here though they offer good opportunities to hear great soloing. The closer, while having a kick-ass riff, goes too all over the place. Maybe my problem is with how rushed the sequencing feels, I don’t know. The real highlights are HIGHLIGHTS however. Good Times and Babe, I’m Gonna Leave You are classics. Dazed And Confused is probably my favorite track. Your Time Is Gonna Come, Communication Breakdown: great stuff. But compared to the other record in the quad set, I don’t resonate with it as much. All it is is a fitting introduction to one of the greatest bands to ever do it and that’s enough. By II, the world was theirs for the taking (8/10, 4/5 on this scale)

Rod Stewart is alright as a singles guy. As an albums guy, I’m not so sure. Now, I’m not one to criticize his voice. I think his raspy vocals adds a lot of character to the time. My main “meh” with this is how mild it feels. It really is just an album of Rod Stewart’s owning. That’s all it feels like but he does take ample time to showcase great acoustic works (Mandolin Wind) and Maggie May. Maggie May is spectacular, bar none. But besides that, the rest doesn’t do much for me on one listen. And I’ll say it again: Rod Stewart’s alright (6/10, 2/5 on this scale)

I mean, the first track’s pretty cool. After that, the point becomes apparent and nothing necessarily catches me afterwards. Bleep bloop blorp (5/10, 2/5 on this scale)

Very guitar. Very much guitar. (10/10, 5/5 on this scale)

Sometimes, there’s an album you’ve heard so many times that listening to it feels like background music now. That’s basically how this went. I don’t think this is a straight 10 as a lot of people do, more like a 9.5. But I’m gonna round it up anyway and give it that anyway because A. It has Jigsaw Falling Into Place which is already my 2nd favorite song ever recorded and B. It’s In Rainbows (10/10, 5/5 on this scale)

It's a generally well-done record, though I think the first side is done better. Badlands is anthemic, Adam Raised A Cain has some bite, Something In The Night is awash with inspiration, Candy's Room, Racing, all that. That first side is very impressive. I think the effect sort of wears off on Side B but Promised Land, Streets Of Fire and Prove It All Night are good. It's a slow moving wail more than a shout of a Springsteen record. My opinion is more subdued with this one compared to Nebraska and Born In The USA (8/10, 4/5 on this scale)

It’s long and that sort of drags it down for me. However, I can’t deny that hearing this amount of Van Morrison without knowing about anything besides Brown Eyed Girl made me interested in his work. He puts on his showman outfit during these performances a la James Brown. The band is on point, the energy is everywhere, the vocals are electric. It’s a solid live recording overall even reaching heights on Caravan, Wild Children, Saint Dominic and Cyprus Avenue. Then again, I don’t know Van The Man’s work very well and it’s long. So despite how most of the songs were good, it gets an “Oh alright, cool” for me (7/10, 3/5 on this scale)

Upon multiple listens, I can conclude that this record is great for being uniquely and unapologetically British. It is jam-packed with many tracks that make it a chore to get through, but once the melodies get you, they get you. There's a lot of great things to be heard throughout this one, my favorites being the title track, End Of A Century, Bank Holiday and Clover Over Dover. In the end, I think the self-titled is more for me. All the people, so many people (8/10, 4/5 on this scale)

I recall in 2015, one of the radio stations in Houston briefly had a format of classic hip-hop. I heard two beats that had me hooked but it took me years to find them. The first one was The Notorious B.I.G. and Junior Mafia's Get Money which took until 2023-2024 for me to find. And the second happened to be found this past 1/10/26 when I found Around The Way Girl. That "you got me shook up, shook down, shook out" sample fascinated me and I was so happy to finally have an answer to that mysterious song after more than a decade. As for the album, Marley Marl's production is exquisite and there's a lot of fun stuff. Sometimes though the lyrics can be too corny or unintentionally uncomfortable. Hearing an entire rap song making cereal references to sex was not too enjoyable. I do like the beat on Mr. Goodbar but the tone LL takes on it sort of creeps me out. Then it just suffers the late-album fatigue, but when it's good, it's real good. Boomin' System, Around The Way Girl, Farmers, Murdagram, Jinglin' Baby and of course the classic title track. I'm gonna chill out on the rating, but overall, I think it deserves its place as a good representative of this era of hip-hop (7/10, 3/5 on this scale).

It took me a while to get the Pixies. For a long time (besides Where Is My Mind and Debaser), their off-kilter approach to songwriting and structure turned me off. That or Frank Black's (Black Francis'?) screams terrified me then. Then one day, I kept trying and trying and it paid off when Doolittle clicked for me one day. Soon enough, Surfer Rosa clicked as well and now the hype for the first two Pixies albums that I had heard about through other mediums made sense. Sidenote: Surfer Rosa is name dropped on OK-GO's Here It Goes Again, Where Is My Mind is famously used in Fight Club and Paul Rudd goes on a fan-boy moment during This Is 40. Anyways, Bossanova wasn't as familiar with me, so this was a complete blind listen. My verdict after two listens is that the strongest material lands either in the singles (Velouria, Dig For Fire) or the late stages (Blown Away, The Happening). Between that, there's a lot of ehh stuff that feels either too short or too insignificant. I know this is good by Pixies standards, but compared to what I know, it's simply inferior. They sound like a band having a good time on the other albums, but on this one, I can't help but feel like they're reduced to another music industry act. Maybe that's an insult, but I don't know, it's just from what I hear (6/10, 3/5 on this scale).

Nina Simone is another artist that I found through her being sampled in hip-hop songs. In fact, the second song on this record "Four Women" can easily be recognized by younger people (me) as the basis for The Story of O.J. by Jay Z. There's also Famous by Kanye (which I'm only mentioning cause it's fire). Anyways, it took me a while to learn that Nina Simone was actually more than a singer. She had insane talent for her time; talent that causes an emotional reaction from myself. If there's a personification of a songbird, it's Nina Simone. The way her voice operates and how she uses dynamics to aid the performance is game-changing. One must hear the near 7 minute title track to get what I'm saying here. She masters quiet and loud while at the same time being able to play proficient jazz piano. Is Nina Simone one of the original female piano singer-songwriters? I'm sure she wasn't the first but I feel like she was one of the most famous examples to come out before people like Roberta Flack, Fiona Apple and Alicia Keys, etc. Nina Simone takes a standard and makes it her own. She lights up a song simply by being in it and I think that's enough to warrant my rating. Though it's not a 9 just yet because not every song hits for me, but fuck it, she's still great. Who knows, I might update it in the future. (8/10, 5/5 on this scale)

You know some shit went down whenever Beck, the guy who on the album before this made a gag G Funk song, is writing slow, confessional ballads. You hear it in his voice, low and helpless in its delivery. Something went wrong and that thing was him breaking up with his long-term fiancé and then finding out she had an affair. So then this album was written and played around a bit before recording and releasing in 2002. The result is Sea Change produced with the help of Nigel Godrich. What strikes me so much about this album is not only how convincing the change was for Beck (stylistically), but it's because I just went through this shit. Albeit on a lesser level, I basically split with my long-time best friend who I had feelings for. It's a long ass story, but I at least have a feeling of what it's like when someone you loved and trusted leaves you for brighter pastures. It sucks, it fucking sucks. It leaves you questioning what you could've done differently, and yada yada yada, you get it. My main point is that Beck captures these feelings so accurately that I don't feel sad when I listen to it. I hear it and I'm like "Damn bro, I can relate, but it's gonna pass". I say that as if I was the one that also was in a committed relationship that ended with an affair. I'm sure I'm gonna go through worst shit in my life, and when those times come, I know what album I'm turning to. These songs sting and heal at the same time and I am grateful for that. But man, Nigel Godrich is responsible for hella depression with this and Radiohead (9/10, 5/5 on this scale)