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)

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 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)

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)

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)

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)

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)

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)