A real moment of heat and rhythm. I’ve taken my share of salsa classes and this is the sound for the dance floor.

Them streets are rough, no doubt … all seems like a grind. So yeah, where is Cloud Nine?

I wanna smoke cigarettes and read Leonard Cohen poetry please

Rio is like stepping into a time capsule of neon, champagne, and windblown silk on a yacht. Unmistakable flair—glamorous, decadent, and bold. The ‘80s, captured in full technicolor glory.

Loud, raw, rebellious—this album throws a Brit punk anti-everything punch right to the eardrums. And like how perfect is the name Sid Vicious!!!

A pretty incredible intimate debut album full of ache and emotional depth … I remember how beautifully captivating Chris Martin’s voice was when this first hit.

The Brazilian feels indeed. I honestly didn’t know of this music or ever listened to it… unless it was playing at Cafe Brazil in LA…that place was so delicious, god I hope it’s still there.

I’ve liked a few Janelle Monáe tracks off Dirty Computer, but this was my first time listening to her debut album—and honestly, it didn’t quite land for me. She’s incredibly talented and theatrical, with a strong visual style. I can appreciate the creativity conceptually, but I just didn’t connect with the music on this one as much.

Guilty once again of not being super familiar with this album…now I get it. The Cure’s originality and range really hit me here. It’s eerie, feverish, almost hallucinatory in the best way. A spooky and immersive fever dream. I’d definitely listen again. “A Forest” is a standout.

This one leans into a kind of whimsical silliness—like a collection of quirky little sing-song character stories. It’s not an album I’d reach for instinctively, but some of these tracks definitely float around in the cultural ether. I remember hearing a few growing up or catching them in the general zeitgeist. Not quite my usual vibe, but I get the charm, sort of.

I came to Deerhunter a bit late, without any early associations, but this album has a number of tracks that stuck with me. It dives into themes like nostalgia, identity, purpose, spirituality, even death in a way that feels both intimate and universal. There’s a bittersweet, almost upbeat melancholy throughout that feels honest, not forced. Desire Lines a favorite. Helicopter stands out with layered instruments, and the final track, He Would Have Laughed, haunts me a bit.

As a Beach Boys-adjacent album, this album caught me off guard—I even wondered for a minute if it was made for kids (Vega-Tables). It’s different… psychedelic, a bit manic—like I’ve been dosed and can’t tell if it’s about to be a great trip or a total spiral. Thankfully, Good Vibrations is there to anchor the high. My favorite moment, though? “Eggs and grits and lickety split”… absolutely stealing that line for daily use.

Hot Rats is a surreal ride—a psychedelic rock-and-roll circus shaped by a wide range of influences. You can hear traces of rock, blues, jazz, classical, even beat vibes…all filtered through Zappa’s unmistakable avant-garde lens. What’s most striking is how purely he leans into artistic freedom. Unfiltered, fearless, and entirely nonconformist. A subtle genius, really. Cheers to doing it all his own way.

So this is not an album I’d reach for but admit I get the appeal. It’s built on a good blend of country, folk, and blues and ol’ Bonnie shares some relatable emotions for sure. Her voice is beautiful - steady and soulful and there is something powerful about the fact that she hit her stride in middle age singing about life’s unexpected turns: love, longing, and heartbreak…all the usual suspects, but with a grace that makes them hit deeper. “Have A Heart” does bring back a weirdly specific memory of it playing in the background at a local pizza arcade in the mid-90’s, and again at one of my mom’s friend’s houses. I’d probably sing along without knowing totally what the lyrics meant but now, I’m pretty sure some woman was blasting that track because her man was being a total POS. It tracks. I also kind of dig the "Road's My Middle Name" and hope I hear it someday while I'm on a road.

An unreal legend, and a badass album. This is one of the most unique and groundbreaking psychedelic rock records, probably, like… forever. Not only has it been influential - it sort of set the foundation, a sonic blueprint that shaped so much that followed. Listening to Hendrix feels like he dropped out of the sky from another planet, channeling some celestial, astral force through his guitar and voice. There’s an otherworldly quality…he was sent here just to leave his mark on music and culture - a supernatural force. I never really thought about what the word superstar truly meant—but yeah, Hendrix was that 100%.

I like this album overall—definitely had a few tracks like “Rebellion” on repeat back when it came out. The lyrics are strong and capture that early 2000s feeling of emotional shift, like in Garden State—grappling with loss, change, and a fading sense of innocence. I don’t listen to a ton of indie rock these days, but the nostalgia it delivers is undeniable.

Ummm, this album cover! Cute AF. I’m not a modern country fan AT ALL but can dabble in the oldies…and if we cut down on some of the heavy-handed holy vibes do I kind of find myself vibing with, “I am a Pilgrim”…a little bit?Are the instruments blessing us just a little? I dunno…I mean, I guess what I’m trying to say is, I see another dimension where it’s me, wearing a cowgirl romper, boots with sparkly stars, and a wide-brim hat, spinning slowly around on a red vinyl barstool in a tumbleweed bar drinking a Shirley Temple while “You Ain’t Going Nowhere” and “You Don’t Miss Your Water” plays on the dusty old jute box. And I’m happy for her….

Well, wasn’t that cute. But no thank you.

I used to listen to a fair amount of this genre, so revisiting feels a bit surreal. The repetition doesn’t hit the same for me now and I don’t connect with it like I once did. Still, I remember how fresh and exciting it felt at the time, and it’s clear how much it influenced what came after. “One Too Many Mornings” still stands out and holds up beautifully. And “Life Is Sweet” delivers with that gritty, dirty beat that gives it real texture.

Stepping into one of Bowie’s theatrical worlds is always a welcome escape. The album opens with a strong rock pulse, and from there, his vocals and the instrumentation carry a steady, immersive energy—confident, stylish, and unmistakably his.

I don’t know man, that’s a lot of trash and too much guitar for me.

Honestly, kind of a little escape for me, especially, on a Monday in America in June 2025. Has some definite haut de gamme vibes: dude is serving some engaging poussa and poussez energy…on repeat ….on multiple tracks (I throughly thought he was saying pussy over and over). His voice is pretty cool, kind of that raspy “I woke up like this” kind of way. While this is would not be my go-to, it was enjoyable…one-off sort of listen for me. One gripe is the long track lengths; they started to blur together with similar beats and phrases. Did I accidentally press the repeat button? No, I had not. That said, the sound is bright and explosive and rooted in something original and authentic, which I believe is where Talking Heads found some of their magic (looking at you, “Help Me Somebody”).

I’m on board with ‘Baba O’Riley,’ but I don’t think I’m a full-on The Who fan beyond that.

A sweet and quietly powerful debut. I hadn’t known about this unique charmer before. There’s a simplicity to his style—so understated it might be easy to overlook—but that’s part of the charm. It feels perfectly imperfect, much like the songs and the subject themselves. Minimal and honest, the album delivers lyrics that are deeply human—full of vulnerability, humor, and simply shared truths. There’s something affecting in how he weaves together brokenness and wit, all in a folky, country-tinged package. I was surprised by how much I connected to music I wouldn’t typically gravitate toward. John Prine has a way of pulling you in with his lyrics. Some lines that stood out: • “Your light is the sweetest thing.” • “Your flag decal won’t get you into heaven anymore.” • “Beauty and silence both run deep.” • “…dreaming just comes natural… like the love hidden deep in your heart.” It would have been a treasure to witness him live—there’s an intimacy in his songs that must have felt even more special in person.

I missed this one the first time around—and it’s fine. It has its own sound: choppy, messy, full of guitar acrobatics—l noisy showman with chaotic flair vibes. I tend to lean more toward classic blues, and this felt too fractured for my taste (for a blues explosion). However, I kind of felt some Velvet Underground meets Stones influence on “Rocketship”…which was probably my favorite track. And ‘Sticky’ was kind of weird in a good way. But overall, I probably won’t revisit this album anytime soon.

Little Simz is a force—her debut was sharp, fearless, and undeniably stylish. Her lyrics are polished and tight, but still full of soul. She brings clarity and poise to every bar, saying it exactly how it is: raw, real, and human. She’s in her feels, and you feel it too. There’s a sovereign style to her delivery—confident, unbothered, and uniquely her own. She really killed it.

A blend of eclectic sounds and unmistakable Moby sampling—this album feels like an audio journey of 1999…. Even when the lyrics veer toward repetition, there’s something unexpected and captivating layered in. “Porcelain” remains beautiful, even if it was overplayed at the time—it’s a pleasure to revisit now and then. And “Southside”? That track was practically very group anthem - definite moment in time. I think the instrumental tracks still hold up like,“The Sky Is Broken” is a standout—achingly beautiful.

Ah yes, the late ’90s musical time machine continues its tour—and I’m apparently still onboard. Fatboy Slim was peak dance-floor fuel back in the day. I actually drove from Portland to Seattle with friends to see him live, which felt very important at the time (and still kinda does). His stage presence was electric—like your favorite house party DJ who accidentally became famous. Also, he didn’t wear shoes during his set, which felt rebellious and approachable. Listening to this album now feels like opening a box of old sparkly toys from your childhood—there’s instant joy, a little “aww,” and a brief existential crisis about how time…... It’s all good though. This album was perfect for what it was when it was: a glitter bomb of funky beats, squiggly sounds, and dance-floor memories.

Hmm, that’s a lot to take on for casual listening. It seems humorous almost but I’m not sure that’s the intended goal. Very theatrical sonic production but personally, I don’t know how to connect with this emotionally or sonically. Am I glad I listened, I mean, sure?…but to quote the title track “… we’re all glad it’s over.”

This lands with full-on, coke-fueled, long-haired-loner rock energy. It's gritty - I always found BS a little absurd—but that's part of the charm. The lyrics do hold up surprisingly well; “Changes” in particular flooded me with the emotion (maybe it was the PMS). But also, listening made me smile - it took me back—summer break at my friend Liz’s house, smoking weed and spinning her mom’s old Sabbath records. We’d belt out the songs in our grungiest deep-metal-dude voices, collapsing in laughter on piles of laundry. Liz was a total chaos queen—one of the messiest people I’ve ever known. Black Sabbath was fitting.

A real DeezzzNutzzz manifesto.

I enjoyed this album—it’s a bit on the long side, but it holds enough variety to stay engaging. Had a few standout tracks I’d happily keep in regular rotation. Overall it gave me a playful and welcome escape from the reality of modern life.

Tim Buckley’s Goodbye and Hello is delicate and expressive - he leans into a poetic, spoken-word style that feels intimate and expansive. However, at times, it was a bit like wandering through a psychedelic renaissance fair: flowers, feathers, leather pouches, and caravan dreamscapes. There’s a youthfulness to his writing—profound and tender maybe beyond his years and its heartbreaking knowing how short his life was. I hadn’t realized Beth Orton had covered him until the lyric “You can’t swim my waters if I can’t walk your land” surfaced—such a gorgeous and sorrowful line. That sentiment lingers.

I knew nothing going in on this listen. While it is not something I personally would listen to, he has undeniable talent - his craftsmanship, emotional range, and sonic choices are clearly intentional and refined.

Dusty Springfield’s voice is some velvet soul wrapped in mod magic. I felt like I’d been whisked back to ’64…captures so much of that generation - eyeliner, emotion, and a heart wide open vibe sung in her polished soulful pop way. A forever legend - she shared some bangers that still shimmer today.

Elliott Smith one of the og alternative indie artists known for that whispery vocal style was easy enough to listen to and certainly had undeniable instrumental talent. He captured a very PDX 90’s melancholy mood, which is when and where I first heard him. But overall this album didn’t entirely connect for me - commercially, maybe it was more dialed in but I had enjoyed the more intimate content and style of some of earlier work. Still, a few tracks instantly transport me back to my 19 year old self riding through SW PDX in my friend’s orange VW bus, en route to the river, watching the landscape blur past the window. I can still see my reflection and those words etched on the side mirror: “Objects in mirror are closer than they appear.”

You can tell these guys were really enjoying themselves back in the day. Take Five is exactly what comes to mind when I think of jazz—and for what it is, it’s pretty much perfect. I don’t usually reach for this kind of music, but I get the appeal: the contrasting sounds, unexpected rhythms, and that signature contra beat. The way it blends these elements into a cohesive, wordless narrative is impressive. It captures a lyrical experience without a single word. This kind of jazz always feels like a cinematic stroll through Central Park - smooth, stylish, and full of character.

This album carries immense emotional weight. Each track delivering a sense of unease; heartbreaking lyrics paired with intentional instrumentation that sinks under your skin. The despair is pretty palpable, almost suffocating, yet there’s a haunting beauty in its sorrow and the sound is just so perfect. Raw and unforgettable, Closer feels like a devastating and timeless farewell.

Van Morrison reminds me a bit of a male version of Jodi Michelle - talk-singing with a slightly whiny edge to the voice. His sound is steeped in blues, folk, soul, all wrapped in a distinct 1970’s bohemian renaissance faire aesthetic …feathers, whistles, bells, flutes, leather satchels, moccasins, long hair and dreamcatchers. It’s definitely transportive. I usually like a lot of instrumentation and layered sounds, but the polyphony felt a little much for me. That said, the more I listened, the more it did grow on me, (a little), and I can understand his impact and the stylistic niche he carved out. I don’t know that I’ll be listening to this particular album again, but there is something that can quietly pull you in.

There is a part of me that has flicker of nostalgia for loud, screamy, slightly obnoxious punk sounds. And this album sort of took me back to that feeling of walking into a shitty grange haul, garage rock blaring, with sweaty smelly boys flailing around. And for that reason I kind of get it. Would I listen to this now on the regular? Probably not. But I can see how, at that time, it may have captured a certain kind of messy youthful energy worthy of exploring…

This was definitely an album I had on heavy rotation in the late ’90s. Total time capsule. I’m pretty sure our friend Sam had THE car in our group - his beloved Honda Accord - and he was obsessed with Smashing Pumpkins, so naturally it was always playing on every drive we took. It’s wild to think back on that era. I remember feeling so restless, so unsatisfied—convinced that adulthood would somehow make everything click into place. But looking back now, even with all that teen angst and dramatic gloom, life was… kind of perfectly imperfect. We all worked at pizza joints, lived with our best friends, had lazy river days, scraped together money for party weekends, and let music soundtrack it all…especially the kind that spoke directly to the chaotic, yearning pulse of it all. I think if there was a door to go back and do it again, I would maybe just walk through.

I’ve always had a deep love for shoegaze - there’s something about being wrapped in that dreamy, moody swirl of sound that just feels cozy. It’s like a sonic smoothie: effortless, a little hazy, yet still rich and lush. This genre really shaped so much of my early musical taste and this album was one that likely made an impact both on me and much of what I came to love. Wild to think how one distinct style can ripple out and influence an entire universe of sound.

From the very first listen, I found myself craving a cigarette. Second listen I nearly stopped to buy some… I don’t smoke. So yeah, this album hit a nerve…an edgy, unsettled feeling in my gut that few records manage to stir. Leonard has that rare power to evoke a visceral reaction, pulling me into places so raw and truthful it’s almost unnerving - yet intoxicating, leaving me a bit breathless. I would have loved to listen to this under a full moon, though instead I played it a second time through on my cloudy drive to the sea. It was no less moving the second time through. His voice, so haunting, wraps around every lyric; the opening of the album feels like a doorway into another world where he is communing with God and the ending arrives too soon…still it lingers, unsettled, and leaves you carrying the feels long after the last note fades.

This has a varied stylistic approach which I can appreciate - some lended a little too much of that ‘easy listening rock’ territory for me but the strength of the lyrics and the clarity of the overall sound make up for it. There’s a clear creative vision behind it, and the instrumental style - rooted in that classic English rock sensibility I’ve always been drawn to - really shines through. After a few listens, it definitely started to grow on me and will likely keep a few tracks in rotation.

OutKast takes me back—their sound brought such a bright, feel-good energy to the genre, creating out a totally unique lane of their own. You can hear the joy, wild creativity and authenticity in every track. I always got the sense they were having an absolute blast making this music… and honestly, they seemed like they’d be a riot to hang out with.

Well well well, isn’t this just the peak of Boomer energy - full on dad jeans, a cold one, and the glory days of no seat belts - whats the worst that can happen? Ugh, this music - that’s what can happen.

Nah, not my jam. Too wispy for me.