Lush, cinematic art pop. There are some hints of the darker, more avant-garde artist Walker would eventually become, particularly in the epic first track, “The Seventh Seal”.
Some classic Chili Peppers songs for sure, particularly Under the Bridge and Give it Away. However, the album as a whole I found tedious, it's length very much a feature of the era it came out in. I understand why this funky, dirty record has a following, but it's not really my thing.
Life in a Northern Town.by the Dream Academy is one of my favorite songs, so I definitely have heard of Nick drake before this. A very haunting, chamber atmosphere with these songs. This could grow on me further.
Dense psychedelic rock, both of its time and ahead.
Electronica that was perfectly suited for the moment of release, with one foot I the future and one foot in the past. I felt like too many tracks relied on repetitive loops for my liking, and the last few songs just closed the album on a whimper. Still, a very impactful album on pop culture, and I had several “oh that song” moments while listening.
I understand it’s importance, but I really didn’t care for this.
I understand it was influential, but this was pretty uninteresting outside of 1 song.
Hard to nail down exactly what genre this is. A mix of light rap, funk, soul and pop with some alternative flair. It’s certainly unique.
A very different side of the quintessential summer band I had no clue even existed. This is music for when the beach is trashed, the heat is scalding hot, and everyone’s nervous about the summer inevitably coming to a close. It’s dark and unusually pessimistic, but still contains the group’s signature harmonies, like a ray of sunshine attempting to break through the ever-building clouds.
Classic Stevie, the first of his Grammy-winning albums.
Would need more listens to really appreciate this. But I understand it’s importance.
Can’t stand the singer, and the unpolished production. Not sure why this is defined as “alternative”.
Classic 90s rock, although Eddie Vedder’s overwrought singing can grate at times.
The closest to new age Madonna ever came. Stranger than the hits might have led you to believe.
This would have been even better if the band had included Day Tripper and especially We Can Work It Out, but those were on a single released the same day as the album. Still, it was the midpoint between the more commercial early albums and their later, psychedelic and progressive work.
Nice production, but this needs a lot more instrumentation, better singing, and catchier hooks, or at the very least more songs that actually go somewhere. These tunes feel very underdeveloped. I only really liked 2 tracks.
These women were my hometown heroes growing up. It’s hard to dismiss an album with 4 hits and a future superstar, but some of this is hard-carried by nostalgia.
Organ instrumentals similar to Booker T, but leans much more into jazz as opposed to rock. I can see why this was influential on soul music. It’s odd that the sax layer isn’t also billed as an artist considering how much he dominates the album.
I like the hit singles I’ve heard off of the previous and subsequent albums better than the ones here. Still, the album has plenty to offer in its deeper cuts. Not sure it needed to be this long, but I could see myself getting into this more with more listens.
“And AYYYYY wanna rock your gypsy soul, just like back in the days of old!” You’ve probably heard about half of this album without even realizing it.
Almost every critically-praised rock subgenre can trace its roots back to this album. The gritty, experimental music paired well with the lyrics about topics other artists were merely hinting at at the time. I understand the appeal, but it’s not really my cup of tea. Lou Reed isn’t really a singer and some of the songs are just formless jams.
Strange choice for a Monkees album. Not a hit single in sight, but it is the catchy 60s pop they were known for.
I was completely unfamiliar with this group, but now I see why. Super grass is near the bottom of the Britpop totem pole for me.
Some gorgeous moments, but I found The Dark Side of the Moon to be a bit ponderous on a first listen, particularly during the instrumental tracks. I think the hype of this being one of the best selling albums ever may have raised my expectations a bit too high, but I understand why someone might love this.
It’s theme of crumbling relationships is more focused than the more abstract and surreal Highway 61. I love the emphasis on narrative-based songs here. Still having to get used to Dylan’s voice.
Classic single, strange album. An interesting artifact of ‘80s new wave.
Watered-down Lemonade. Not memorable at all to me.
My favorite Dusty track (“Wishin annd Hopin”) isn’t here, and I’m not the biggest fan of “Son of a Preacher Man”. But otherwise, this is nice.
A very eclectic set showing that the band could play whatever they darn well pleased and still be punk. The jazz and ska influences really surprised me in a good way. Not my favorite thing in the world, but it’s a good listen.
Biggie was a skilled rapper in terms of how he flowed and put together rhymes, but his vocabulary was apparently limited to profanities, epithets, and guns. Every song is about killing, stealing, or pimping, and without anything else on his mind, and no particularly great beats or hooks outside of maybe “Juicy”, over an hour of this is enough to drive me up the wall. And it ends with the rapper fictionally killing himself. I liked the movie-like progression of the album sequencing but otherwise, this was a tough, tough listen. Plus, the P. Diddy of it all makes it really hard to go back to this. I tried, I really did, but this was simply NOT for me.
One of the most famous supergroups, and a key album of the California sound.
I forgot how good this band was when they weren’t constantly being pushed on me by the radio. Ridiculously over the top in the best way. Some of the conspiracy themed lyrics are showing their age.
The story is a bit muddled and confusing in the back half, but otherwise this is an interesting early stab at the “rock opera” before that term was coined.
Great lyrics. The talk-singing is an acquired taste. This was probably not the best place to start with Leonard Cohen. Still, I understand why many consider this a beautiful record.
Half the distortion, all of the angst. Nirvana worked really well in this more intimate setting. The decision to play mostly deep cuts and cover songs paid off well. I was surprised by how familiar a lot of these songs were to me. I think I’ve heard about half of this on my local radio stations in the Seattle area. This album is also a good encapsulation of the MTV Unplugged phenomenon in general. People tend to forget how huge this was in the early ‘90s with artists like Eric Clapton, Rod Stewart, and Tony Bennett making huge records from their appearances on the show.
Fun, but disposable punk rock with some new wave leanings. The singer’s distinct warble can be a bit grating.
More varied than the debut. Plenty of rocking here like before, but there’s also a piano ballad and a song with some unexpected Latin elements. It’s less gloomy English countryside and more of an LA romp. I don’t know if this is really my thing, but I can see the appeal.
A long journey of cosmic ambience from Iceland with some epic moments and rich instrumentation. The highs are very much worth sitting through the low moments.