There are a handful of rock bands whose first album is both a classic of the genre, and as good or better than anything they have ever done: Led Zeppelin, Van Halen, Black Sabbath and Devo come immediately to mind. This record belongs in that category. I’m not necessarily a Cars listener, but I really like this album. Elliott Easton is on point. Some of the songs are a little puerile, but the best rock usually is.

Meditations on romantic relationships. I like the instrumentation. I enjoyed the minimalist sound. I found the lyrics to be intriguing. Didn’t hold my attention the whole time.

The musicianship is undeniable. East St. Louis Toodle-Oo is a charming tune that shows off their chops. The overall sound is great, but there’s something about the vibe that bothers me. This feels like music for bros. I guess I liked it better than I thought I would.

I’ve heard these songs played hundreds of times by hundreds of bands but there is no substitute for the real thing. This is later era Muddy but Johnny Winter captures an electric performance. I love James Cotton on this record. This is a true blues record.

I didn’t need to listen to this. I know it well. It’s a fascinating blend of improvisation, composition and production. Peaches en Regalia is an all time classic. It Must be a Camel was my under appreciated gem this time.

This is a fun and innovative album. I ran out of steam after a while.

It’s obviously well constructed, but so so banal. I can see ABBA’s value at a wedding or the comedy of playing Fernando to cheer on your favourite athlete of the same name, but this is not essential listening. AI could have written these lyrics. There’s something so plain about this music. A bologna sandwich on white bread, but at least the bread is decent.

If this were 1001 guitar guys or 1001 singles I’d rate this higher. I love the guitar playing and Sultans is great but the rest of it is boring. It sounds so lifeless. I actually identify with the lowfi approach and even the lazy vocal style, but this record doesn’t put those elements together in a way that excites me.

This was a grind to listen to. I wanted to like it but I just didn’t.

This is a heavy metal classic. Although their popularity was rising at this time, there was still a feeling that this band and music was just for us. Everyone wants to be an expert and trash the mix, but this super dry recording was so influential and defined metal afterwards. The riffs are so sick! Eye of the Beholder is a great example. The drums don’t just keep time, they are amazing parts to the song. Guitar solos are on point. Lyrics are not Metallica’s strong point, but on this record they are what they need to be to support the songs. And to end on Dyers Eve. What more do you want from an album? It might actually be their best one.

This is fascinating. I really liked it immediately. After a while I started to drift, but I suspect it’s deserving of repeated listenings.

Screaming Trees are one of the great Seattle bands. They are as essential as anyone else in creating what we call grunge. It’s strange that this album is here instead of Sweet Oblivion. By 1996 the magic of the Screaming Trees was drying up. This album is good, but not great. Some interesting moments but not an album’s worth. Nor does it sustain the charm and original promise of the 90s. All I Know is a good rock song, and Traveler is pretty cool. I also enjoy the album closer. Every good 90s alternative album has to end with a trippy epic song.

I just can’t get into this record. I recognize Brian Wilson’s achievement but I find it a little boring. It might be different if the lyrics weren’t about Middle America. Maybe. As a listener I’m also frustrated by the wall of sound effect.

Straight ahead fun rock and roll. Ramble Tamble was a surprise. John Fogerty sings so soulfully. I found myself drawn to the drums, specifically the sound, although the performance is also charming. So refreshing compared to modern studio precision and compression. I liked this record more than I thought I would.

It’s ok I guess. Doesn’t jump out at me. Alright is a catchy single.

Inoffensive but so sleepy.

I was stoked to get this album. I love classic era Ray Charles. And this is great. Charles was on his game. However, if I’m being honest, I don’t really love the song selections. You Are My Sunshine is a little too hokey. Stylistically, the vocal harmonies are nice, but old fashioned such as I Can’t Stop Loving You. Not nearly as cool as his regular repertoire. I guess that was the idea but I’d much rather listen to The Genius of Ray Charles.

Six discs of Gershwin and no Summertime.

There are few things I like more than rock and this album is that. From the fast snare intro, to the mega hits, the guitar tone, melodic bass and great drumming this record has everything it should. Green Day likely was never better.

It’s cool. I like the vibe. I’m finding it to be more of a passive listen than active. I like Wobble’s bass tone. Probably wouldn’t seek this out.

This is an easy 5 for me. Billy Gibbons playing is inspired. I’ve always had a soft spot for Jesus Just Left Chicago. I’m amused but also love how soulful they sing about something silly like Beer Drinkers and Hell Raisers. Silly is a big part of rock.

Does any band have the highest highs and the lowest lows than Aerosmith? This is probably their best album. The two hits are great, but there are some low points too.

This is fun music. It’s music for action rather than sitting and listening. It makes emptying the dishwasher a better experience.

This is a fun listen. Love the funky wah wah guitar on Chain of Fools. Some of my favourite r and b songs on this too. People Get Ready always gets me in the feels.

I guess I like this. I like other Flaming Lips more. Nice to listen to but nothing sticks afterwards. They always seem to try too hard to be weird. The result is always “neat.”

This is probably a better album than I’m giving it credit for but the production made it hard to listen to. Probably needs repeated listening but there’s always the next album.

It’s good. Songwriting is solid. The performances are good as well. If I have a complaint it’s that it is too long to hold my attention with standard song structures.

This rocks so hard. Almost every track goes hard. The combination of Changes and FX builds to Supernault in an amazing way, but I find both of those tracks too long. Doesn’t matter. This album rocks!

This is great rock and roll. The musicians are fantastic and of course Joplin is on fire. This album has a little emotional baggage in the way In Utero does. I’m not sure if that adds or subtracts anything for me.

There are some great moments. Sunday Bloody Sunday is undeniable. I could see how people might find Bono insufferable, but consider what California rock is doing at the time. Cum on Feel the Noise indeed. I do start to drift. It’s not a perfect album, but a good one.

Does any band sound more 60s than the doors? Roadhouse Blues is a great rock classic but Peace Frog is an under appreciated gem. A top Doors song for sure. The rest of the album is a little hit and miss. Not even song to song, but moment to moment.

The first track was immediately compelling. By track two I was bored. I recognize the musicianship and creativity but I don’t have nostalgia or a taste for this era of 70s music. So, this is like a good record, but I’m not really into it.

While I enjoyed listening to this, I need more time to really absorb this. In my opinion, Nick Cave is great, but there are too many songs that sound samey. Fable of the Brown Ape stands out as sounding different. Anyway, I may listen to this again when I have time, but I probably won’t.

Although there are some dance beats this is a ‘headphone album.’ It is genuinely fun and interesting to listen to. I didn’t think of this as one of Beck’s best, but maybe I was wrong?

I already know I love this record. I’ve always been attracted to Bemsha Swing. It starts with that great dissonant intro of Brilliant Corners and drags me in. It’s not quite a perfect album because it doesn’t hold my attention the whole time, but I really like it.

This is a good grunge record, but nowhere near the top of the heap. It’s nice to hear the influence of Cobain, but it didn’t really grab me all these years later.

I hardly need to listen to this one. There’s a charm to this album, but it hasn’t aged well. The misogyny isn’t cool. I believe them at face value that they were being dumb punks, because they became super cool later.

When this came out, a lot of Canadian music fans were surprised. We were vaguely aware of pop singer Alanis from our video channel, Much Music. For some it took a while to accept this new version. We used to talk a lot about authenticity. It was silly in retrospect. Listening now I notice that 90s dance beat underneath the grunge/rock guitars. It’s a good mix and creates a feel good vibe. I think the lyrics still resonate today for a lot of people. I’m also charmed by the Canadian pronunciation of words. Not a discernible accent, but clear Canadian letter r sounds. Fun to revisit.

I don’t know who these Bunnymen are but I sure like their sound. I will listen to this again. Really like the sparse sound.

Many blues listeners consider this the greatest live album. I do like it. BB is a master performer and entertainer. This is high energy, and his playing is at that crossroads between proficient and still exciting. I stop short of 5 because I find BB to be more about showing the blues rather than letting everyone feel it.

I’m listening to this while walking the streets of San Diego. Strangely matches the vibe here.

There are a handful of rock bands whose first album is both a classic of the genre, and as good or better than anything they have ever done: Led Zeppelin, Van Halen, Black Sabbath and Devo come immediately to mind. This record belongs in that category. I’m not necessarily a Cars listener, but I really like this album. Elliott Easton is on point. Some of the songs are a little puerile, but the best rock usually is.

This is an interesting listen. Lots of ear candy and variety of songs. I know it’s irrelevant but this record alone is so much more rewarding than any Oasis album I’ve heard. Like many CD era albums, it’s too long for one sitting, but to my ears the quality remains steady throughout.

A top 10 for me. 5/5 without reviewing. Although I did be listen for the pleasure of it.

Another all time great Canadian band. This is likely my favourite offering from them. King Harvest is my favourite track. I have to admit, this album has become a little stale to me due to repeated exposure.

This album is good. The rhythm guitar has more than a passing similarity to AC/DC. Ian Astbury is a powerful singer, but I think these songs are meant to be experienced live. The singles are catchy, the rest rocks, but is a bit forgettable.

This is one of Young’s defining albums. I like the structure and I don’t think it’s been over done. I would have time for more albums featuring an acoustic and electric side.

There’s a lot of information here. It’s definitely fun. Cool bass throughout. There are so many voices and I don’t have the cultural/genre specific background to differentiate a good vs. great funk album. I enjoyed the experience but I likely won’t listen to this again.

You probably know this but Tom Waits defies explanation. Maybe he’s like coffee. Tastes terrible at first but overtime you begin to love it, and I do. There is so much Americana here, but told from the upside down. And then there are moments of absolute beauty that you have to look for. It’s also worth noting this was released in 1985. Completely out of step with anything that was going on at the time. It’s definitely the best thing Keith Richards was a part of since Exile on Mainstreet.

Has an intimate charm. A little dull. The songs don’t stick with me.

I’ve heard this record so many times. It’s foundational. I’m still impressed with how good it sounds. This one suffers a bit from too much exposure. It’s become a little stale. Ramble on is possibly my favourite. I can’t help to giggle about the Tolkien lyrics.

This predates the idea of an album as an artist statement. Rather it’s a document. I’d like more of that in my life. Big band swing is so fascinating to a rocker such as myself. Swing is so sophisticated and the Duke is the King. I enjoyed how Ellington introduced players and gave a few notes to the audience, implying they are all educated about the music. When the music starts the energy is so high. It’s probably 5/5 but as a passerby I likely would only play this out of curiosity.

An imperfect album but the one that started it all. RIP Ozzy.

Synchronicity II is worth the price of the album. I bought it for 8 bucks so … There is a mega hit and sublime pop such as King of Pain. But there is also dumb moments like Mother and a few boring spots as well. Overall an interesting album but I’d be just as happy with half of these songs.

As a rocker at heart, this is my favourite Radiohead album. I understand that the band would have largely been irrelevant by now if they just kept making records like this, but this is nonetheless the sweet spot. Maybe it sticks out precisely because it’s their only proper rock album.

Big dumb rock, which I like. I could see putting this on once in a while.

I like reggae, but for me it is best experienced live. I happen to like this quite a bit but I could only imagine how much more transcendent it would be in person. So, as music I would rate it high, but as an album not as much.

A better listen than I thought. The opening track is really fun. I was bracing for Candle in the Wind and it turned out pretty good. Plenty of hits here. The musicianship is great too. I particularly enjoyed the vocal harmonies. However this album is long. I just don’t need this much in one sitting.

This is one of the all time most important and influential albums. It inspired so many things, from recording at home, to basically being the foundation to Americana, alt-country and indie. All this from four unassuming Canadians and one American. I like all of the songs but boy oh boy Chest Fever rocks. My only crtiticism is that I’ve heard this so many times and it’s become a little stale.

Maybe not my favourite new wave era electronic album, but’s cool. I’m fascinated by this time period and the creativity involved. It’s rudimentary but interesting.

I’ve always liked this record. I don’t remember a time when it wasn’t in my life, and I was born in ‘75. It’s there among the other music of the time in my very earliest memories. It’s hard for me to be unbiased, or separate it out from other popular music. I guess it’s punk, but I don’t really care. The performances are great and the record sounds great. Also it rocks really hard.

I like it. Don’t love it.

Jesus this is terrible. I don’t mind Cohen’s monotone drawl but I mind how cheap and disinterested everything else sounds.

This one takes a while to get going. My favourite aspect is the rhythm section. It gets funky in a specifically Bowie way.

Hell yeah. This rocks!

I recently reviewed The Bends. I like that one a lot better. Actually OK Computer is great, but it overstays its welcome in my opinion. I get tired of Yorke’s voice, but I do enjoy the soundscapes.

I like all of the components. The songs, instruments, arrangements etc. somehow not quite greater than the sum of its parts, but I would listen to this again.

Fascinating and quirky. I will likely listen to this again. There’s a lot to process and like most cd era albums, I find it too long.

I know they balk at the term yacht rock, but listening to it makes me sea sick.

This was a fun listen. They have riffs for days and and the precision is impressive. I’m not likely to play this very often but it’s a metal classic.

The 80s is a curious time period for popular music. The promise of new wave and new technology was infectious. This record represents the apex of that promise. After So, the music of that era started to change. It wasn’t as fun or inspiring anymore. I actually prefer Gabriel’s first untitled albums because of the promise they represent. This one is fully formed and lesser as a result. In Your Eyes is sublime, and there are a few more interesting moments here, but overall not my favourite Gabriel offering.

I don’t have to say much about this do I? It rocks so hard.

I liked the vibe immediately then got bored fast.

Definitely interesting. Didn’t quite cross the chasm of translating creativity to engaging me as a listener. I had the sense I might be missing the context of Fever Ray, which is often a big part of how much I enjoy an artist.

This has a certain nostalgia for me. I don’t actually know Red Snapper but it reminds me of the year I spent in Europe around that time. That being said I only need a track or two, not a full hour.

Another rock classic. Objectively the song is kinda silly, but this record is worth the price of the guitar solo on Child in Time.

I don’t speak French so the lyrics are inaccessible to me. That doesn’t bother me but his voice doesn’t transcend language barriers. Imagine listening to Primus without understanding English. There are some interesting musical moments. Some sweet harmonies up against dissonant ones. It’s probably a better album than I had time to give to it.

I enjoyed this album more than I thought I would. In particular Steve Howe’s playing is captivating. I think this is Yes at their best. Leaning toward pretension but not crossing into completely inscrutable. Yes sir, I like it.

In all these years, I’ve never been interested in this album save for a few moments. Vincent Price is cool on Thriller, and Eddie’s guitar solo is badass. McCartney’s contribution is an absolute stinker of a song. Now that I’ve done this, please don’t make me listen to Thriller anymore.

For better or worse, this is the rock and roll album. The Stones at their most Stonsey. They have better songs on other records, and likely have better constructed albums. Exile is so beautifully flawed. Its fidelity is imperfect and the mix is a little muddy. But it’s raw, decadent, defiant and just has a vibe. I don’t love every song, but this one isn’t about its composite elements as much as its sinister party atmosphere.

Interesting. Thoughtful. Intellectual. Ultimately forgettable.

This makes me want to learn Portuguese. The musicianship is so high. It reminds of 70s fusion jazz, which I’m not a fan of, but I suspect this came first. I like this music better than Weather Report. This would likely sound great on vinyl.

There’s no doubt this is pure rock and roll. It’s fascinating to hear such an early example. I’m not likely to listen to this very often, but it is cool.

The early 90s was such an interesting time for popular music. Everyone knows about grunge, but its most important legacy in my opinion is how it opened the door for so many others. One of the phenomena was artists that had been interesting in the late 70s/early 80s getting another shot. This record seems to thread that needle of 90s sounds but still capturing the new wave spirit. I like it.

This album is so cool, and makes you feel 10% cooler listening to it. As a nerd, I need all I can get.

Rubber Soul has been a favourite of mine for a long time. However, I think some of its charm has worn off on me. I remember when my family first got a microwave oven. It changed everything, but now it seems like standard issue. Perhaps Rubber Soul is a bit like that: revolutionary but so inseparable from our daily lives we fail to notice its miracle.

Dropping acid and dancing all night was never my thing. As a sit down and listen experience this is a little dull.

Coldplay puzzles me. They seem like nice chaps. Chris Martin is talented. But who is this music for? It’s inoffensive, but I have no motivation to listen to it. Clearly a lot of people do, but to me it’s like watching the home and garden channel at the dentist office because it’s on. Coldplay music is just on somewhere. Nothing I want to pay specific attention to.

I try to be conscious of the fact that not all music is for me, nor will I get it every time. With that in mind I found this a painful listening experience. I found it difficult to either identify with the content, or be curious to know more. It just sounded dumb, but not in a fun way.

This is such a quirky album in a super charming way. It gets a little better with each listen. I used to find the sound of the Pixies abrasive, but the more I listen to them that changes. Kim Deal really stands out to me in both her voice and bass sound. Anyway, great album.

This album is great. Ray Charles’s music is so cool. For a long time this was an album I could put on with company over and be pretty sure it would land with everyone. It’s not quite perfect, but pretty damn good.

Highway 61 is one of my all time favourite albums, and it’s not even in my usual wheelhouse. I don’t usually like verbose lyrics, which Dylan is noted for. But this record is special. I love the way it sounds. You can hear all the instruments. No annoying layering or compression. Just a great sounding document of really interesting performances. There is a tentativeness to all of the player, save Dylan, that I find appealing. It sounds like these songs are being played for the first time, which I think they are. Mike Bloomfield rips on this record. He has the perfect guitar tone, a sound that is from another time, but perfect. The acoustic guitars sound best when they are simply miced, as they are here. Desolation Row is probably too damn long, but whoever is playing lead acoustic guitar keeps me interested. I could go on about my love for this record, but suffice to say it’s 5/5. By the way, I am not a boomer, but it was part of my boomer parents collection. That perspective probably has something to do with my love of this album.

People love Prince. I’m not as enamoured. The two hits to start the album are good, and then it gets less interesting. There are more moments than just that, but there is too much information for me to absorb in one sitting.

This seems like it was a great night. Sounds like a document of a cool concert rather than a perfect album experience. It seems ahead of its time. It reminds me of Krautrock with louder guitars.

This album perplexes me. There was a time in my life when it was pervasive. The performance would suggest he’s a big star, but this is the album that made him so. But who is Peter Frampton? I know he was the lead guitar player in Humble Pie. I’ve never met anyone who cared about that band. He’s sorta handsome, but not that handsome. He can shred, but that’s not really on display here. He’s got songs, but most of them are pretty bland. Yet people in audience go crazy with everything he does. They really seem to like the talk box, most famously on the last track. I like the talk box too, for a bit, but it goes on and on. This record doesn’t offend me, but I’m not motivated to listen to it.

At times some of this works. A lot of it doesn’t. If the British Invasion bands of the 60s were the elite, then their American counterparts might be bands like the Byrds or Buffalo Springfield. I might be excited if I were a teenager in the 60s and Paul Revere et al came to my local community hall, but they are clearly a league below the Who, the Kinks, and the Animals.

I can see why so many people find this album compelling. Lyrically it’s saying things that no one was talking about. Unfortunately the music just doesn’t grab me. Trying to be cooler than cool.

I really enjoyed this. Similar to James Brown Live at the Apollo. This is music you could put on for almost anyone and they’d likely enjoy it.

I like this record a lot. At times I have become obsessed with John Barleycorn must die. It’s an old English folk song and keeps popping up in different versions. The rest of the album is pretty jammy, but doesn’t overstay its welcome.

I like this album. It’s grandiose and sounds great. Not my usual listening. Madonna tended to respond to trends rather than create them, but like Bowie was aware of them before a lot of people. This record reminds me of a lot of the sounds we heard in the late 80s. This is probably a good time capsule of what was popular in 88/89. The songs tend to be too long, and like most big pop stars, the singles are the best songs. Like a Prayer itself is epic sounding. I’m probably being too generous, because it isn’t a perfect album, but it’s more enjoyable than a lot of records on this list.

I guess I liked this better than I thought I would. A little more lofi rock and roll than their big hits. However if we’re going to include a garage rock record, why this one? It’s not special, nor is the band interesting enough to justify making their background essential listening. There are plenty of other bands that deserve attention if we’re including straight ahead rock.

I have a soft spot for electronic music from this era. At times it sounds like somebody cycling through all the presets of a Casio keyboard. Of course Heaven 17 likely didn’t have such a device. They had to invent it.

I bought Metallica the day it came out. I still have the cd. I played it a lot and it was an important album to me. Sonically it was a monster. However this record has steadily faded over time. It was supposed to sound more live, but I don’t hear that. Never have. The lyrics are terrible, and Hetfield continues to write self help songs with weird grammar today. Unforgiven stands out as kinda dumb. But, the musicianship here is great. I actually like the two elements that tend to get the most criticism by metal heads, namely the drums and lead guitar. I don’t understand why they get so discussed. Lars’ parts are integral to every song. More than just a groove. Kirk’s solos are so melodic and full of fire. Overall a flawed album but a rocker nonetheless.

I don’t know anything about the musicians, but every time I hear this, it sounds a little churchy. Maybe not church but what I imagine hippies sounded like during the Christian revival phase. This is pretty music but something about it makes me feel wary.

Possibly an important historical document. Now turn it off.

I’m not a huge REM fan but they have plenty of great songs. I think this is my favourite because it has the highest concentration of songs I like. Stand and Orange crush are two great pop rock songs. Some of the songs drag a bit. To me that’s more to do with Stipe and his singing style than anything. He doesn’t really have a voice that can carry the emotional weight of a song by himself. Good album overall.

I like Nick Drake. I really enjoy his guitar playing. The songs are good but I probably need to spend more time with them to get full value.

This was a pleasant surprise. I really like Newman’s quirky lyrics and cadence. I was amused by the phrase as happy as a monkey in a monkey tree. I like the sparseness of most of the arrangements. There’s something so satisfying about listening to the chords on the piano.

Suffice it to say it rocks but I never want to listen to it again.

This is a charming collection of music. I particularly like the Zappa cover, Chunga’s Revenge. I actually heard this once over 20 years ago in a French dormitory. I confirmed it with my sister. Something about it must have stuck in my mind. That being said it might be another 20 years before I play it again.

If you know you know. If you don’t you’ll never get it. One of the top albums of all time from the album era.

I like it. I don’t have a lot of experience with this music so it’s hard for me to pass judgement. I could see listening to this again.

Interesting but it didn’t really grab me. I may like it better on a different day.