This guy is like if Weird Al Yankovic decided he hates the US. He's a really good songwriter with an almost painfully witty since of humor that rides the line between being too corny for its own good and being too real for its own good. I love the really Vaudeville or Cabaret-ish tracks like Lonely at the Top or Political Science. The best part is how well the album aged despite being from 1972. Much like all punk, funk, or anything else anti-establishment, a 53-year-old message is still just as real and relevant as it was 53 years ago.

Everything about this album is so violently 80s, from the cover to the instrumentals. I love 80s music so that's not a problem at all. Lots of interesting influences on the album and they all lead to a pretty cool sound, especially on a song like Hallelujah. An all around pretty good album.

Absolutely loved the album, the two MCs have amazing chemistry and are incredibly fun to listen to. Best part is it's all tied together by the great DJ.

It was an okay album with some major ups and downs. Wouldn't It Be Nice and I Just Wasn't Made For These Times were both 10/10 amazing songs, the rest of the album was anywhere from pretty good to rather boring.

Just some good, groovy '90s jazz rap. Not a whole lot to say other than the middle of it did lose some steam, but it picked it all back up in the end. I loved Luck of Lucien and Ham 'N' Eggs. The 4 guys are all awesome lyricists. Also shoutout to this album for making a song berating wife-beaters <3

Went in expecting some flavor of budget Radiohead given the discourse I've heard/seen regarding the album, definitely more than that. The lead vocalist has a really calming voice and it was a great wind-down album given how wild of a day I had when I listened to this. I could easily see this becoming a part of my regular rotation when I'm in the mood for some moody alt-rock :>

Absolutely love her singing voice, I mean, who doesn't? My one issue with the album as a whole is it lacks that edge that most soul music does. It was a little shaped to fit a global palette and it certainly worked. Otherwise amazing album. Also she covers The Cure, that alone adds a star.

Of all the Bowie albums, The Next Day? My first experience with this album was laughing at the fact that the album cover is literally "Heroes" with a big white square on it. Admittedly, that's the absolute worst part of the album. Past that it's a totally fine and serviceable record, but it's just that and not much past it. Not quite "You should listen to this before you die."

This just shouldn't be on here. The Wikipedia blurb this site gives me literally says the album flopped on the charts. He's just trying and failing to sound like Bob Dylan.

There are two albums my high school band director would always talk about, this one and Kind of Blue by Miles Davis, now I can see why. Definitely one of the better jazz albums I've ever listened to. This feels like a great album to relax to at night. Not to mention all the jazz classics and standards on this album like Corcovado or The Girl From Ipanema.

I love how unique this record is. The sampling and background vocals are my favorite part of the whole album, not to mention it's violently groovy. Also some people in the reviews of this album suck at masking their racism. To those people, you're literally the reason this album was made. Do better.

Just not for me, "Draining" is the first word that comes to mind. Even the better songs on the album like O'Malley's Bar just drag on and on for far too long. Not 1/5 because I listen to artists who were primarily influenced by this guy.

What a grand album, loved every song. The lead vocalist has an amazing voice and knows how to use it. Really glad that this was my introduction to U2.

This is definitely the punk album of all time, nothing beats it. I already listened to this one way before I got it on this list and loved it from the start.

Amazing storytelling paired with subpar vocals and instrumentals, solidly 50/50 to me.

I'm really glad I don't care about Game of Thrones or take public transport, thank you reviewers. Anyways the album's pretty good, I don't really understand why it's on the list though.

These guys are obnoxiously high. That drives the whole album, how drugged out they are. Sometimes it leads to greatness, other times it leads to "oh..." A totally fine album, just maybe a little too druggy for me.

Really cool listen. For how varied the album is, it feels incredibly bloated. Still an awesome listen and definitely up there when it comes to Led Zeppelin albums.

A lot of this album is fairly uninteresting to me, and then all of a sudden it hits The Sound of Someone... and I understand it. A deeply relaxing listen if nothing else, but one I'm unlikely to come back to.

I didn't expect a Dolly Parton album of all things to be this good. Filled with amazing stories and a really bittersweet tone throughout the whole thing that I loved from the start.

This is the most horribly chaotic and genuinely entertaining album I've listened to in a really long time. It's awful, but in the best way possible. It's fun, it's goofy, and by every religious being on earth is it a delight to sit through in one go. It takes as much stamina to listen through this album as it probably did to create it, but it's insanely worth it.

The first 4 minutes really were the best part of the album. The other 44 ranged from pretty good to mentally taxing. Ironic saying that since yesterday's was Trout Mask Replica, but I just didn't find this one as fun.

I feel like I should like the Beach Boys more than I actually do. I really liked this album but something just felt really off about it that I can't put a finger to.

Pretty interesting album, I loved the goofier cuts of the album and the serious ones met with it pretty well.

We don't tolerate cheaters in this household.

Really nice and relaxing listen, just started going in one ear and out the other towards the end.

I mean, come on, it's Public Enemy. they made two of the most powerful and influential rap albums of the 80s and this is one of them. Every song is great and they really did want to dig in their point in the most "we don't really care if you think the title '911 Is a Joke' is offensive" kind of way possible, deserving of all 5 stars.

This guy is Ronnie Radke for 90s goth kids. Past that it's a pretty okay album but I don't understand why it's on this list.

This site never misses with its jazz picks, I swear. It's a major compliment to a jazz artist/band to make a face like you just smelled moldy vegetables from their playing, and this whole album made me look like my tongue was about to go flying out of my head. Beyond amazing.

Those two opening songs made me think I was getting the best album I ever heard, the other 9 were just really good.

My parents always disliked Cat Stevens. I never really understood it. This album was 70s perfection and I loved everything about it.

I can hear these guys' influence in basically all of my favorite bands. Past that, it's a pretty good record that acted more like a history lesson for me. Not hugely likely to come back to it but it was pretty cool.

I don't know why I never bothered to listen to The Flaming Lips until now, this might just be my favorite album of the list so far. It's everything positive about psychedelic pop as a genre in one album. If I could give this 6 stars I absolutely would.

Nice and accessible. I'd give this to someone saying they want to get into metal and don't know where to start.

Bowie Album #2 out of 9 Totally fine, I really liked a few songs and the rest were fairly forgettable. Oh! You Pretty Things and Song for Bob Dylan were really good.

David Bowie album #3 out of 9, and definitely his best work to me. His regular songs on this are amazing, his ambient ones are interesting and really textured, just an all around amazing work of art.

The best part of this album is the two covers. Past those, it's pretty decent, just missing something I can't quite put my finger on.

How on earth did he manage to make Kate Bush sound boring? That's just plain impressive.

I, probably like a lot of y'all here, knew this woman from that time she ripped up the Pope's photo during her performance on SNL. Really glad to know her music carries that same energy. By the way, for anyone that needed to know, her name is pronounced like "shin-AID." spared you a Google search.

Might just be the most middle-of-the-road album I've listened to from this list so far. It's okay house music and I wouldn't be mad if I went to a gay bar or something and heard this album.

All around great album, my only thing about it is how similar some of the end tracks get. Past that it's worth anyone's time and then some.

Holy hell this woman can sing, had me standing up and everything. Scared me with the first note she sang. Might just damn-well be the most talented blues singer I've ever heard, and this might just damn-well be a 5 star album.

My dad always talked really highly about Bob Dylan. I can definitely see why. I'm a big fan of those "a man and his guitar" kind of albums, especially artists like Nick Drake, and this one ticked all the boxes. It's nothing but a good time for 50 minutes. Not to mention how adorable this man is with the way he sings.

This is 4 guys jerking themselves off onstage for 31 minutes and that description just about describes my favorite and least favorite parts of the album.

I got an ad, and thinking that the song I was hearing was a part of the album, I looked down and immediately got kind of upset that it just an ad. Semi-Jokes aside, the atmosphere was neat. I really liked that ambient track towards the end. Past that I don't see myself coming back to this one.

It's really fascinating that that's what pop music sounds on the other side of the ocean. I loved the guy's voice and the instrumentation. Some songs had some really kickass strings and others had some kickass synths. The one major problem that brings it down for me is how bloated it is. This album could've been 30 minutes long and be near perfect. Instead it's 78 and drags towards the end. Don't be me, listen to this in two sittings.

I feel like I've heard all I need to with Radiohead from their other two big records, OK Computer and Kid A, along with some of their more typical alt-rock stuff. As an album, it's good, albeit incredibly Radiohead.

I feel like Led Zeppelin is always a good time, this one is no exception. Some really heavy hitters on this one too. Something about That's the Way just got to me.

I genuinely thought I was listening to this for an hour, only to look down and see I was on track 3. It's a whole album of a guy making random sounds with the same 4/4 kick-hat-snare-hat pattern for the whole album.

Addressing the elephant in the room, the album cover alone stops this from being 5 stars for me. 3/4 of the people on the cover don't look human and it's just uncomfortable to stare at for 39 minutes. Anyways, the actual album is great. Lots of Freddie Mercury's trademarked theatrical singing, and even some good vocal moments from the guitarist. The highs on this album were incredibly high, but much like all Queen albums to my knowledge, this one has some extreme standouts. On this one it's Brighton Rock, Flick of the Wrist, and In the Lap of the Gods... Revisited (imo). The rest of the album was good, but nowhere near those 3 songs.

For the fact that I generally don't like psych rock, this was a really good album. It was really fun the whole way through and I like the more funky tracks like Mr. Skin.

"The only pieces of equipment Shadow used to produce the album were the AKAI MPC60 12-bit sampling drum machine, a pair of turntables and a borrowed-by-visiting Pro Tools setup from an early adopter of the technology, Dan 'The Automator' Nakamura." -Wikipedia I don't know what's crazier, that sentence or the fact that it sounds amazing.

I simultaneously love and hate saying Gay Messiah was the peak of this album. I have nothing more to say.

I guess you could say there Isn't Anything of note on this album.

Now THIS is some soul music I can get behind. I wish I could tell all the pretentious music nerds that Songs in the Key of Life and Innervisions aren't his only albums. What a gift to the world.

This was a lot more jaunty and entertaining than what I was expecting from an album cover like that. They make themselves look like The Beatles but slightly worse and kind of end up going in a different direction while still clearly being Beatles inspired. Regardless, it's just good fun.

This album doesn't make much sense to me. Everything about it should, in theory, be great. It's relaxing, the band knows what they're doing, and the vocalist does really well on his part. It's an incredibly well-done album that just doesn't have much in the way of real interest. The parts where the vocalist goes super high and strained with his voice sometimes work and sometimes don't, the suddenly more electronic instrumentation on The Petrified Florist was interesting for the fact that it's finally something different, but even then it feels like too little too late. Maybe it's the lack of risk-taking on this album, maybe it's how clean everything sounds, or maybe some third thing that I can't make out, but this album as a whole was just okay, but that seems to be exactly what it's going for.

The result of 4 guys finding out what ecstasy is and going "now what if we made music on this shit?" I'll tell you what, this music sure as hell sounds like 4 guys high out of their minds making drug music. The whole album is insanely psychedelic and weirdly groovy for how hard it is to get a hold of at some points. Regardless, I love psychedelic pop and this album is no exception. I have no clue how I haven't heard of these guys and only just recently found out about The Stone Roses, but Madchester is definitely a genre for me to look into moving forward. Nothing but a good time.

I've already listened to this album like 5 times before it came up on the list. My favorite Radiohead album by far. I've always loved really mellow, relaxing alt-rock albums and this one is top tier in that regard. Nothing but beautifully written songs with a great atmosphere, perfect for an evening listen like when I usually do these albums.

It was just so damn goofy. Lou Reed's really flat and out-of-tone vocal delivery fit much more to me on this album than something like The Velvet Underground & Nico. Also his lyricism ranged from goofy to neat and I liked both sides of it. Just an all round fun album for it's relatively short runtime.

I feel like the storytelling is simultaneously the best and weakest part of the album. On some songs it's great, and on others it's really "you you you you you." Past that, i'm never gonna complain about sax solos, and there are like 3 or 4 on this one.

I hate it when I find an album that's like "this is a 10/10, this is peak [insert band here] and nothing will ever beat this in the genre" and then the band makes a significantly better album that blows me further out of the water than the first one did. This is that album, and this album is perfect. this is one of those rare 11/10 if it were possible kind of records. Incredible storytelling, incredible instrumentals, incredible everything. Astounding beyond words.

I'm gonna join the masses on this one and say that this album is too repetitive to be listened to anywhere other than a club. That being said, there was the occasional really good song like Rollin' & Scratchin' or Rock'n Roll, but past that it's a moderately okay house album. I would've much rather had Random Access Memories over this. P.S. I totally agree with the guy that called this tippy tappy plinky plonky noises that go round and round for 74 minutes

Out of obligation: Rest in power, Mr. Osborne, your influence on music as a whole will never go unnoticed. It's metal with harmonica solos, that alone makes this album great. On top of that, it's a self-titled album with a self-titled song. It's just funny to say "Black Sabbath by Black Sabbath on the album Black Sabbath." Past that, it's an amazing metal record. For how early this was in the creation of metal as a genre, it's still pretty damn heavy, especially that title track. Only real complaint is how much the latter half of the album drags on compared to the first half, but it still ends great.

Why did they make her so quiet in the mixing? I swear this is the only time I've ever found production/mixing so poor to make a comment on it. Franklin's such a powerful singer but the damn audio engineer took all the power out of her. Past that the album's great, but it really needs a remaster.

These guys are so British. I like that in a British singer, for them to actually have an accent instead of it disappearing when they sing. The album itself is pretty good, I love their energy and overall sound. Bonus points for making a really good song about what cops can do to a person.

This was so simultaneously of its time and ahead of its time. On one had, this album came out in 1978 and that's insane. On the other, it's really clear that this album came out in 1978, mostly because of the slurs. My favorite song's title is a slur against people with Down Syndrome. For it's time, though, the song is surprisingly progressive, talking about how people with it are totally normal and have jobs and hats and stuff. That's the main word I'd use to describe the album, progressive. Both stylistically and lyrically.

I love finding new artists through this website that I would've never checked out otherwise. First Coldplay, now these guys. Everything about this album is so beautifully well-done. The instrumentals, the vocals, it's all a really nice experience.

This really is the most nothing Beatles record. Minus points for having a song that glorifies cheating.

I read "best selling [insert genre] album of all time" and assume it's either great or terrible, this one was definitely the former. The whole album has this incredibly dancey feel to it. Make it a challenge to try not to move around while listening to this, you'd fail in the first two songs. Not to mention those trombones, they were the best part of the album.

This is one of like two albums that Eminem is actually known for. Whenever anyone's talking about how good of a rapper he is, they're usually just gonna bring up examples from this album. There's good reason for that, too. Stan and The Real Slim Shady are some of his biggest songs for a reason. I'd especially call Stan one of the best songs in rap. As for the album as a whole, it's definitely better than I expected, but even then it sometimes got pretty grating and 72 minutes is unnecessarily long. It's the Marshall Mathers LP, not the Marshall Mathers Double LP. Also I'm definitely not the first to say it but I'll say it anyways, the skits were pretty bad. That one of the guy getting head genuinely made me gag.

Got both Supergrass albums of the list one week apart. While I prefer I Should Coco, this one's pretty good in it's own right. As an album it doesn't feel as consistent, though. I'm a really big fan of their overall sound and energy and this one has some really banging solos, I especially liked that synth solo in Sun Hits the Sky.

It's incredibly important to note that the lead vocalist, John Phillips, sexually assaulted his daughter, Mackenzie Phillips, for an entire decade. So these guys are The Beach Boys crossed with Fleetwood Mac. That's to say, shitty vocal group music combined with every band member getting into relationships with eachother, subsequently cheating, and then writing songs about it. Overall it isn't terrible, but there's a certain point where "Easy Listening" music gets too easy to listen to and it just fades into the background. That's this album.

This guy is like if Weird Al Yankovic decided he hates the US. He's a really good songwriter with an almost painfully witty since of humor that rides the line between being too corny for its own good and being too real for its own good. I love the really Vaudeville or Cabaret-ish tracks like Lonely at the Top or Political Science. The best part is how well the album aged despite being from 1972. Much like all punk, funk, or anything else anti-establishment, a 53-year-old message is still just as real and relevant as it was 53 years ago.

This album as a whole is really important to me. There were two albums that my high school band director always talked about, Kind of Blue and Birth of the Cool, both by Davis. He's moving to Illinois to take a job as the band director of a whole district this year, and I'm gonna miss him. He's the entire reason I've ever heard of this guy, and he's the sole reason I decided to major in Music Education instead of Law when I was really stuck between the two. He really created a home outside of home for not just me, but hundreds of people during his 19 years at my school. To you directly, Mr. Howell, even if you don't read this, I hope to be just like you in a decade. "The world is full of ignorant people, don't be one of them." -Page Howell, 2021.

I love these guys' flow and lyricism, everyone in the group is operating on the same wavelength and it really shows in this album. Nothing but great lyricism and flow from the rappers, and great mood and beat from the producers. I'm with the majority here that's never heard of this album and wish they did sooner.

I never realised that metal was always like this. Granted, I'm really not well-educated on Thrash Metal as a genre but regardless this was way crazier than I expected. That's the fun of it, though. These guys are all deranged and everything from the instrumentals to the lyricism screams edgy in the goofiest way possible to me. My only real issue is the vocalist. Sometimes his brain goes faster than his mouth and that paired with how fast everything is feels like it drowns him out at some points. Maybe I'm missing the point, but this was an incredibly fun metal record.

This is simultaneously the very first grindcore album and the epitome of the genre. It's pretty much exclusively fueled by raw anger towards god knows what half the time. They really let their rage guide the album, too. Nobody else was making half-second songs where they just shout "YEEEUUUGGGHH" and then move on. It doesn't take a PhD in data analytics to tell that this album is generally hated on this site, but I'd call it one of the rare examples of a genre-founding album also being really good.

First live album of the list, and of all of the blues I've listened to, this certainly is an album of it. I feel like compared to something like Pearl or pretty much anything by Aretha Franklin, this feels fairly basic by comparison. By no means bad, but incredibly middle-of-the-road for me.

Before this, I really only knew the Yeah Yeah Yeahs from that time the lead vocalist got featured on a song by Swans. Now I know that the one thing Dance-Punk was missing is women, as is the case with most kinds of dance and punk, and quite honestly just music in general outside of pop. I love the atmosphere of the whole album and the singer herself brings a lot to the overall sound. A good mix of some dancey stuff and some really nice, layered, artsy songs. Also this album's Runaway is significantly better than Kanye's runaway, fight me.

This has everything I'd normally like in an album from this era. Goofy parts, wild experimentation in an already experimental genre, a good groove, etc. The problem is that it all comes together to make some of the most annoying music New Wave has ever produced. It's only made worse by the fact that these guys have a second album on the list. The only interesting part is the cover, or I guess, case.

Everything about this album is so violently 80s, from the cover to the instrumentals. I love 80s music so that's not a problem at all. Lots of interesting influences on the album and they all lead to a pretty cool sound, especially on a song like Hallelujah. An all around pretty good album.

This one really wasn't doing it for me. Yet another band that my dad raves about and i'm totally neutral with. I like their vocal harmonies and they occasionally have interesting songwriting, but as an album it's very easy to tune out.

This is my favorite Kate Bush album. It's so wonderfully artsy and theatrical in a way that feels really unique to her. All the songs tell really great stories as well, especially All the Love, that one still kills me the third time around. All around her best work to me.

All around good album, but I can't help but feel like I've heard other bands do this really big, symphonic sound much better, i.e. The Who. Still, that opener is insane and the album rarely loses its intensity without good reason. I like how much the lead singer sounds like a dwarf/elf/other fantasy creature, it makes it sound like something from The Lorax or similar.

note: it's pronounced vul-nee-CYU-ra anyways, this album is absolutely beautiful. It sucks that artists' best work is always brought out of horrible grief and trauma, but it really does create some of the most unique works I've ever heard, even from artists who already have an incredibly unique sound, like Björk. I love the mix of strings with electronic production, and her really freeform vocal style fits perfectly above it, all with some of her best lyricism of her whole career. Not to mention those vocal harmonies, absolutely otherworldly. Sometimes it's uncomfortable, sometimes it's upsetting, and there are a few points in the album that are nothing but devastating, but at the end of the day that's what a divorce is, or a loss of any kind. Absolutely incredible in every way an album like this could be.

As an album it's definitely better than I expected. Just all around good fun, except Liberian Girl. That song is terrible. I didn't realise how many hits came out of this album, Bad, Man in the Mirror, Smooth Criminal, etc. They're definitely the best songs, who would've thought, but they're definitely hits for a reason, although The Way You Make Me Feel just feels uncomfortable with the context of MJ being a CP. That about describes the whole album, great songs that are made uncomfortable because of who made it.

Relevant: https://www.youtube.com/watch?v=-JlmvtAHhnc Just wasn't doing it for me, much like the other harmony-heavy country rock bands I've heard. They're decent, but really the only amazing song is the one everyone and their grandma has been hearing for the past 53 years. A lot of it is that The Eagles sound like every other band to come out of Laurel Canyon in the early 70s. Not bad, just pretty forgettable.

That damn banana haunts my dreams, and it really doesn't get much better on my second listen. I can't think of many albums I've listened to that I feel got worse the second time around. It's really close between this and Rubber Soul by The Beatles for the most overrated album ever in my opinion. There are two or three good songs, but the album as a whole is an absolute slog and significantly more influential than it is good. Lou Reed's solo work is better in genuinely every way.

She really just seems like a diet Fiona Apple with softer songwriting. Every song sounded nearly identical and it really started to become easy to tune out towards the middle. A bit of a relaxing listen, but still not good.

Totally love the genre-blending in this album, I think it's great how it'll just randomly pull from more electronic/EDM genres to create some needed variation. My favorite song of the album is something closer to Trip-Hop than anything from the general sound of the album. Sounds like if Pink Floyd and Ween got together and made a pop-ish album. Much like Pink Floyd, sometimes the songs can get a little too long or freeform, but still, an all around great album.

These guys are amazing songwriters. That title track is an all-around incredible piece of music that the whole rest of the album almost fights to keep up with quality-wise. It's wild that they named Frank Lloyd Wright of all people for a whole song, but granted, I'm not nearly as well-educated on Simon & Garfunkel as I should be. There's a real intimacy to this album that I find really interesting. I feel like it's an album that's easy to find comfort in, even despite it being the duo's final record together.

I feel like I was more impressed by the amount of languages this guy can speak than I was by the music itself. It does get better as it goes along, though, and I like the samples of speeches throughout the album. As a whole it's okay and I agree with the people that say it's mediocre Latin bar music.

It's really common for political songs to age well because they're about the American government not changing anything. This album aged really well because the American government never changes anything. It's 2025 and this album is more relevant than it was in 1988, from every single point the album makes. You'd think that some part of this album would've aged in 37 years, but nothing has. Not the instrumentals, not the lyricism, not anything. Behind the Wall is especially relevant today with how awful the pigs that call themselves "peace officers" treat assault victims, Talkin' Bout a Revolution is especially relevant because that revolution still hasn't happened, and this whole album is especially relevant because rampant fascism and equally rampant indifference keep it relevant. This is one of the best records of the 80s, not just for the music itself, but for the fact that the people at the top inadvertently keep it relevant by continuing to treat people beneath them like shit. Past my ranting, this album is also amazing musically. Tracy Chapman has an amazing and amazingly unique voice that's nothing but pleasant to hear for the whole album. Her songwriting is great even when it isn't incredibly political, like in For My Lover. This album comes to mind when I think "Albums you should listen to before you die."

The best part of the album was getting to hear John Lennon aggressively growl "COOKIE" in the middle of one of the songs. Anyways, it's pretty good. There are a handful of songs that make me think that I was doing more thinking than Lennon was when he wrote this album by thinking about that, but there were some great songs in there, too. I actually did enjoy the album. It feels a lot more personal than anything the Beatles could've made and it's pretty nice listen, albeit a pretty nice listen that's occasionally un-niced by John Lennon listing off things he doesn't believe in or out-of-place screaming, but mostly nice nonetheless. I don't have much nice to say about it that I can actually put into words, mostly because the bad of this album is pretty funny, but I swear it's good.

Hearing the Outlaw Country guy take songs from the Great American Songbook was certainly neat, but at the end of the day it was a country covers album. It was okay, but I've heard a few songs from this album covered much better, and the ones I've never heard before weren't particularly mind-blowing. I'm mostly indifferent to the album more than anything.