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)

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

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)

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)

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)

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)

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)

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)