Amateur Dentistry, the Musical.

There is something about the sound of this record.... it sounds much older than it should, in a good way. Like taking pictures on an old camera with an ancient film stock they don't make any more. The graininess adds to the charm. If you've listened to any Stones albums that preceded this you know how inconsistent they are. They'll have a solid-gold classic one song, a complete nothing the next, going back and forth until the 9 songs are up and hey, wow, that wasn't very satisfying! With Exile there are no "nothing" songs. And it's a double! All four sides kill. One of the greats from one of the greats. FIVE STARS

I don’t know a lot about salsa music, but this is really good stuff. I found myself bobbing my head on every track. Some sick grooves on here- especially on “Buscando guayaba” and “Maria lionza.” The title track is - perfect. An extra star for that one. Good lord, guys. Saved the best for last! Another reminder I need to learn Spanish. FOUR STARS

Do I even need to write anything down? It’s Kid A. Like. Dude. EIIRP is one of the best openers of all time. One of the best needle drops man. And the whole album is so weird and great. Yowza. This is awesome.

I had already written up some notes about this thing, but I went back and listened to the album again because something was sticking in my craw. I was struggling with the questions - Who can make music like this? How does a person make this kind of art? Because it is sooooo bleak. The B side here is unbelievably heavy emotionally. And on the one hand it seems manipulative and on the other hand, I think Reed is able to do that with these songs (especially the final four) because the point of view he's adopted is so incredibly apathetic. I try to think that albums are an artist's way of taking us on a journey. Lou Reed isn't taking us anywhere with Berlin so much as chucking us into the mind of a completely awful human trash bag and showing us what he sees. Which is both unbearably depressing and totally engaging. FOUR STARS

Crunchy guitar tone is sick. First Rollins album. Some of the songs are fun, some of them are intentionally horrible to listen to. Not my bag but I kinda get it.

Do I even need to write anything down? It’s Kid A. Like. Dude. EIIRP is one of the best openers of all time. One of the best needle drops man. And the whole album is so weird and great. Yowza. This is awesome.

Stage Two heavy metal- in that transition from bands like Sabbath and Zeppelin and Deep Purple to bands like Metallica et al. More thrashy/punky. Judas Priest. Kinda sounds like a more metal Thin Lizzy? Not the primary vocalist. Also the only album with this particular guitarist.

Very proggy, British-folk rock. The flute is amazing, I just can’t hear it without thinking of Ron Burgundy. A couple of real bangers and some nice acoustic pieces that bridge the gaps. I can see why people would get into this. Seems like it would reward repeated listenings.

OG rock and roll. Cleaner than a bar of soap. Super influential at the time, apparently, but today it just seems dated. The amazing thing is this is Buddy Holly’s only album and it has four seminal rock and roll songs. That’s an incredible output. What he could’ve done if he had lived past 21!

The pixies! Way ahead of their time. Rock misfits. It’s funny this album was on the docket for me, since I’ve listened to the other main Pixies albums many times and still enjoy them- but I’ve never heard this one. And I have to say- I don’t love it. The songs sound very samey. They are mostly in a minor key, which feels darker and more menacing- which is fine- it just wore on me after 7 or 8 songs with the same rhythmic ideas all in a minor key. Velouria, Digging for Fire, Havalina, were standouts. Ringo wasn’t even the best drummer in the Beatles, Bossanova isn’t even the best Pixies album. Of the 90s!

I was excited to listen to this one. Jeff Buckley’s dad! This album turned out to be pretty frustrating. It has some great music and occasionally a great line. But mostly this is overshadowed by some truly ridiculous lyrics. Lots of lines about jesters and kings and queens and maybe the war is in your mind and it’s all very 60s and pretentious. Knight Errant is particularly embarrassing, as is the 8 minute title track. On the other hand, “I never asked to be your mountain,” “once I was,” and “pleasant street,” are incredible songs.

For whatever reason, the melodies in “Solsbury Hill” have always driven me nuts. I can’t stand them. However…..it’s a really good song! It’s well crafted- Gabriel spent a lot of time making this song work and making sure the instruments sound great and the arrangement highlights what he’s trying to say. Every song on the album is crafted the same way. It’s a great album, with a diverse set of songs.

I’ve listened to Yes before but never a full album, and this one really surprised me. An excellent album. Yes is different from many of the other prog bands of the time because they’re so…..chipper?! Upbeat, maybe? While listening to some prog albums feels like doing your maths at the kitchen table on Sunday night, listening to Yes feels like taking a stroll with very close and slightly goofy friends. So much fun. Some prog bands make 9 minutes feel like 30; Yes is not that band. A good hang.

There is something about Paul McCartney that I just don’t buy into. It always feels like he’s just playing around, that he doesn’t actually believe what he’s saying. He’s just playing and singing what he knows will work for his audience, not necessarily what he’s feeling. On the last track of this album, the band moves from a funky disco section into a church organ hymn with three part harmonies, and back again. Cool. Then at the climax of the song an orchestra builds and builds to a big final note, with a slight reference to Also Sprach Zarathustra- and then- we get a three second reprise of Band on the Run. As if to say “just kidding!” Even Paul doesn’t buy what he’s selling, and neither do I.

I knew this would happen. JAZZ. I realize this album is a Big Deal. And I guess if you’re a jazz musician you probably eat this up, because it was a different approach to tonality, but I don’t know man. Out of context it just sounds like a bunch of dudes playing notes that have nothing to do with each other, while the drummer vamps in the background. There are melodies, I suppose, but they’re boring. And then they solo. And that’s even worse. One of the saxes (I’m guessing it isn’t Coltrane) does have a sense of melody and his solos are actually pleasant to listen to. But most of the soloing here is just Licks, not coherent melody. “Blue in Green” is excellent. But otherwise I really don’t want to listen to this again.

An inventive, funny, socially conscious album made up of tiny songs that pack a punch. Ok that was the Minutemen-style review. Now to expand on that- this is punk rock but heavily influenced by funk and jazz. They really try everything here. And for the most part it works. Even the fact that there are FORTY-FIVE songs on the record works. The sound of this record is also remarkable. There are only vocals, bass, drums, and guitar. Almost no overdubs, and every instrument is clear and out there in the open. No hiding. Great stuff.

Operatic teenage angst songs sung with absolute passion. This shouldn’t work at all. But Bat Out of Hell is so full of life and urgency it’s impossible to not get swept up in its craziness. “Paradise” is one of the most ridiculous songs I’ve ever heard. It’s campy, and funny, and exciting, and has the best lyrical left turn in all of rock music. It’s amazing. Good times, great oldies, it’s got a beat and you can dance to it. FOUR STARS.

PJ seems to be channeling both Chrissie Hynde and Liz Phair here quite a bit. But I found her most engaging when she was just being herself. Those are the most enjoyable tracks for me, anyways- “Big Exit,” “This Mess We’re In,” “This is Love,” “Kamikaze.” A few of the other tunes feel like they could’ve used a bit more time in the incubator. It rocks, it soothes, it tries to scare you a little. Good times. THREE STARS.

How is this possible? A punk band from 1977 that I've never heard of? And they made albums for decades? This is right in my wheelhouse! This is their debut album, and in most cases for a punk band, that would mean a rough and tumble affair, but the Stranglers seem ready to go right out of the box. I found they pulled from other punk acts to a certain degree, but their main progenitors seem to be The Doors and David Bowie. The vocal delivery and lyrics are hilarious; quintessential first-wave British punk. Some of the lyrics are so good it makes you wonder if the truly dumb ones are intentional or not; certainly the attitude is sardonic. The only real complaint I have here is that some of the riffs get repeated a few too many times, but overall, this is a fun stroll down the sewer. Highlights include "Goodbye Toulouse," one of the weirdest songs I've ever heard from a punk band; "Ugly" which is the funniest song on a very funny album, and "(Get a) Grip (On Yourself)," a Bowie-referencing rocker. It rocks, it drools, it sneers, it makes you laugh. FOUR STARS.

LA Punk! I've heard of X for years but never sat down with any of their stuff. The male-female lead vocals work really well. The guitar player REALLY wants to be in a rockabilly band. Which works- the great punk riffs are there, but he throws in rockabilly licks quite often and gives the songs a different flavor. I can't pretend to know what they lyrics mean, since I can't focus in on the vocals well enough to hear what they're saying. John Doe has a great scream and a really good voice. An excellent rock voice! And Exene has a perfect, disaffected, insouciant punk delivery. "Universal Corner" is the standout for me. What a riff. It rocks, it rips, it has crazy harmonies, it'll take you to prom in the 1950s. FOUR STARS.

I'll be honest - I've never heard of this record before! I know Stevie's big hits, but nothing off this record. The first thing I notice is Stevie's incredible voice. One of my favorite voices. And then, whenever you think you know where a song is going, it goes somewhere you don't expect. This is a subtle record. The songs all feel like they could explode at one point but then they pull it back. Which is why maybe this record doesn't have any of Stevie's signature songs on it. Sophisticated, smooth, chill, virtuosic. A soul classic. FOUR STARS.

Cream colored silk sheets. Shag carpet in harvest gold. Dark wood paneled walls. So you have a hot date with this girl from work and you get all prepped - hot shower, fresh shave, splash of cologne, your slickest outfit - brown suit with boots, a gold chain, a pale blue tie - and you meet her at one of those fern bars downtown. It goes well. She is delightful, and gorgeous, and funny, and most importantly thinks you're funny. You already knew each other but you hit it off. All that workplace flirting wasn't a fluke. She gives you that look after your second cocktail and third cigarette and you ask if she wants to come back to yours for a nightcap and of course she says yes. She has to pretend that she has to think about it but she doesn't really. And you walk in the door, and pour two glasses of Lillet Blanc and she's already comfortably lounging on the oversized couch like she owns the place and you have a choice now, an important one. You walk over to the record player and start thumbing through your collection - it's gotta be in here somewhere. It hasn't been -That- long since you last brought a date home who was this promising. And there it is. Scott 4. You slip this on the turntable, run the motor, lower the needle, and Scott's music lusciously slinks out of the speakers and now, finally, you can go to her with her glass of apertif and get down to the business. FOUR STARS.

I'll admit - I didn't love this album at first. But that's because the first half of this is the "Pavement" side, which consists of cocaine-fueled, overly-busy, panic-inducing electro-funk. It took some getting used. It's clear the band was growing into this sound, and wasn't entirely sure how this kind of music should sound. The mix is CRAZY, especially on "Fascist Groove Thang." The second side, "Penthouse" is more fun (and interesting) than the experimental funk of "Pavement." The band is clearly more comfortable with straight-forward electronic pop. "Geisha Boys" makes absolutely no sense, but the rest of the songs on the B side are excellent. I guess I'm more of a Penthouse guy. THREE STARS

The best Beatles album, probably. Before they got too weird, but after they were done singing about holding hands and stuff. Revolver is all killer no filler, man. Which is incredible when you think about it, because a big reason this album is one you need to hear before you die is because of the technical innovations and breakthroughs it accomplished. But even out of context, not experiencing any of that first hand, the songs here are amazing. And with a career full of closing out albums with certified bangers, "Tomorrow Never Knows" might be the best album closer of all time. FIVE STARS

...........And now I'm shopping for a copy of this thing on vinyl. FOUR STARS

Not nearly as trippy as the cover or title would have you believe. This is pretty straight-forward late-60s American rock with some nice Prog touches. The songs are good, and quick, and the lyrics are occasionally socially conscious. You never have to look at the track listing because the song names are always the part they sing over and over. If you have a friend who loves classic rock and you want to get them into Prog for some reason, this is a great place to start. THREE STARS

Aerosmith is so sleazy its easy to forget they have some great musicians. And they can write a damn good rock song. But listen, man. I'm not 14 anymore. These lyrics just don't cut the mustard. Does Steven Tyler just walk around with notebooks full of double entendres? How many ways can you refer to your dick without saying the word "dick?" He sings about how horny he is for 15 minutes then pivots to a song about a girl taking revenge on her dad for molesting her? WHAT!?!?! I shouldn't knock it so hard. It achieves what it sets out to do, so on its own term it's a very good record. I'm just too old for this shit. TWO STARS

There is something about the sound of this record.... it sounds much older than it should, in a good way. Like taking pictures on an old camera with an ancient film stock they don't make any more. The graininess adds to the charm. If you've listened to any Stones albums that preceded this you know how inconsistent they are. They'll have a solid-gold classic one song, a complete nothing the next, going back and forth until the 9 songs are up and hey, wow, that wasn't very satisfying! With Exile there are no "nothing" songs. And it's a double! All four sides kill. One of the greats from one of the greats. FIVE STARS

Any 30 seconds of this album will fit perfectly over that scene in the movie when the British/American rock band takes drugs for the first time and their minds start to expand. I can only take away a star here because I probably won't listen to most of this again. But "Snow Flower," "Mamata," "Metamorphosis"....... these are just excellent. The covers are fun and novel and kitschy, but there is legitimately great music here - if you're willing to brave the wild world of sitars. But the honest truth is I'm probably not most of the time. THREE STARS

I had already written up some notes about this thing, but I went back and listened to the album again because something was sticking in my craw. I was struggling with the questions - Who can make music like this? How does a person make this kind of art? Because it is sooooo bleak. The B side here is unbelievably heavy emotionally. And on the one hand it seems manipulative and on the other hand, I think Reed is able to do that with these songs (especially the final four) because the point of view he's adopted is so incredibly apathetic. I try to think that albums are an artist's way of taking us on a journey. Lou Reed isn't taking us anywhere with Berlin so much as chucking us into the mind of a completely awful human trash bag and showing us what he sees. Which is both unbearably depressing and totally engaging. FOUR STARS

There are some nice tunes on this- and there are moments where everyone is playing together and it’s lovely and melodic. And then there are moments where dudes are soloing and I get bored. The songs are all right around three minutes so the portions are perfect. It’s fine THREE STARS

If you put a gun to my head and told me I had to listen to one jazz album on a regular basis for the rest of my life- I’d pick this one. THREE STARS

Some other reviewer on here gave this album two stars and complained that Sabbath doesn’t rock “around anything” ie a clock, a robin, etc etc and I can’t stop thinking about what a brain dead take that is. FIVE STARS

Another album in my wheelhouse that I’d never listened to before. Some really strong songs on here. I can see coming back to this one as a fun listen. ……. Welp. Now that I’ve listened to every single second of “Pete International Airport” and “The Creepout” I can say that this album is FAT. The individual songs have a lot of fat on them, and the album itself has about six songs that could’ve been mysteriously erased and no one would’ve missed them. Were they afraid they’d never make another album, so they decided wanted to publish as much material as possible? Did they get some kind of bonus from the record company for filling up all the space on a CD? Was it something to do with royalties? Who knows. All I know is you’ve got about 6 strong songs here, 2 or 3 them are bangers- so the verdict has to be- even though we used to be friends a long time ago- THREE STARS

I thought this would be one of those slam-dunk 5 star albums. I’ve heard all the hits from this (who hasn’t?!?!?) but the deep cuts were mostly new to me. And while some of them are pretty great (“Grey Seal,” “Twist”) most of them are either retreads of earlier songs or totally forgettable. In particular, “Dirty Little Girl,” is a problem. The lyrics are aggressively misogynistic, even for the 70s, but what I find interesting is that the most intensity Elton musters up for the entire album is when he threatens to tell the world the subject is a dirty little girl. Dude, chill. Two songs ago you were singing wistfully about a sea-side resort prostitute. What the hell. And musically it’s just “Bennie” in a minor key. Anyways. By the time I got to side four I was exhausted. Sides 1 and 2 - FOUR STARS: Sides 3 and 4 - TWO STARS THREE STARS

if you can’t sing, maybe write a good song? Repeating the title of the song at the end of every verse, and then immediately singing it again in the chorus…… I wanna pull my hair out. We get it. Car wheels. On a gravel road. Cool. Great. Concrete and barbed wire. We know. And hey- I like plenty of vocalists who can’t sing. But Lucinda can’t sing in a way that I can’t deal with. I might not finish this one. ONE STAR

I can absolutely see how this isn't everyone's cup of tea. Both at the time and now. The problem with a modern audience hearing this today is that so many of the things that made the Doors so astounding have been copied wholesale by other bands, which have then been copied by other bands, ad nauseum. But even taken out of context, these are wonderfully crafted songs. The weakest track is "I Looked at You," which is still pretty good. Everything else is excellent, especially the hits and "The End." He's old, and his skin is cold. RIDE THE SNAKE FIVE STARS

Underrated Radiohead album. I think it gets lost being smack dab in the middle of one of the greatest runs of alt-rock records ever. It's a wide-ranging album, with some of their strangest and most complicated songs. "Sail to the Moon" is so beautiful and strange! Anyways. The raindrops the raindrops the raindrops the raindrops the raindrops the raindrops the raindrops the raindrops the raindrops the raindrops the raindrops FIVE STARS

- You can tell the songs are programmed because of the way they just sort of peter out or stop abruptly. - I don't love the dime store drum machine sound, but it is a vibe. I'm sure this was a conscious choice (both the sound and the use of a drum machine) but couldn't they have found a drummer to play with them???? - Vocals are incredible. The lyrics and affectation of a totally alien language are kind of silly but it works, because the melodic choices are so strange and the vocalist is SO strong. Adds to the dreaminess. - I had been listening on headphones for about 20 minutes when my wife came in the room and I had to turn off the album. It took me a few seconds to adjust. This music sucks you into it's own mad dream-logic. Everything is familiar but isn't working like you expect - words are being spoken but they don't make sense. You recognize people around you but they don't look anything like themselves. You're swimming in the air for some reason. Nothing else sounds like this. FOUR STARS

I appreciate what they’re doing here. If you’re a musician who has ever tried to create a song out of samples you realize how hard this is. It’s so much easier to just MAKE the part you want. The songs they make are complex, and fun! There is a joy here that’s intoxicating to listen to. My main issue with this is the repetitive vocal phrases. I listen to people repeating themselves constantly all day so I don’t enjoy it when listening to an album.

Pure baby making music. It’s so good it’s practically a parody of itself. THREE STARS

One star for Nike Rodgers, one star for Tony Thompson, one star for Le Freak. THREE STARS

I get what they're doing here, in that it's artistic, and unhinged, and unique, and challenging. But is it fun to listen to? Not really. I can appreciate elements of it - the wildness of Nick Cave's vocal performances, the grunginess of the riffs, the unexpected turns of the lyrics. But good lord- would it kill someone in this band to be playing WITH anyone else, not AGAINST them? Anyways. POW POW POW THREE STARS

I can't believe how good this record sounds. The recording is so live and clear. It's like being in the room. Dude's voice is perfect. Unbelievable tone. I mean - what are these performances? "If I Should Die Tonight" is unreal. He's using everything in the toolbox here. Get outta here, Marvin..... The only downside is it’s only 8 tracks and 2 of those are kinda throwaway. Otherwise this is impeccable. FIVE STARS

Oh hell yeah. This cover is amazing- vibrant and inviting and very much of a time. Those earrings! One of the best, most recognizable pieces of cover art. Stand outs ----> "Rio" is on the '80s Mt. Rushmore; the groove on "New Religion" is exceptional; "Wolf" is so corny it's amazing; "Prayer" is wonderfully exotic..... Simon Le Bon's lyrics are dog shit but who cares. Cherry ice cream smile? Lol the words sound nice together, I don't know what else y'all want. MTV was wall-to-wall Duran Duran for a few years back in the early/mid 80s, so I can understand people who were sick of them due to their omnipresence. But that was 40 years ago, and these are some intriguing tunes, thrusting you into a totally alien world (to most of us, I believe!) of jet-setting around the late-20th century, banging super models, playing synth guitar in a Cambodian temple. I'm not sure what more you could want in an 80s synth-pop album. FOUR STARS

Breaking new ground in hip-hop - I've heard things on this album that i've never heard before. For that alone I can appreciate what he's doing. The textures are really interesting - and the arrangements are definitely not following your traditional song structure. A surprising album musically and lyrically. I can understand why this is in the book but maybe I need to be in a different mood to really get grabbed by this one. THREE STARS

Ok the first song got me. I thought this would be just a bleeps and bloops album but no- it actually went somewhere. I dug it. Kind of LCD Soundsystem-y. Except not as snide. Very positive. The rest of the album is in that same vein- reminds me of Death Cab and Grandaddy. Maybe some Flaming Lips as well? I keep trying to pin these guys down and I shouldn’t. They’re just a really good indie rock outfit with some excellent songs. Count me in. FOUR STARS

This is very adult music. Lots of Divorce Ballads on this one. It’s kind of tired, and a bit dark. Deffo for people with bedtimes in the single digits. The music is complex at times- like adulthood! “One of Us” is amazing. This one needs a few listens. Good stuff. THREE STARS

Those snare cracks to open up the album. Iconic. “Two Hearts Beat as One” is the hidden gem here. "Surrender" is also a strong track. Not having heard some of these deep cuts in a while, they're pretty fun. This is the first truly big U2 album, in terms of viewpoint and commercial reception. Also the album where Edge relies the least on his delay pedals. It’s worth hearing. FOUR STARS

I’m sure some theory nerd is going to tell me “oh the key changes are totally normal they’re just substituting the 2nd for the major lydian” or some shit but- hey- for real- would it kill these guys to stay in the same key while in the same section of a song? Like if the verse is in C can you just I don’t know STAY IN C until the verse is over? It mostly sounds like they don’t know what they’re doing. I found it so distracting I couldn’t really focus on the lyrics or frankly anything else. “Our House” is a fantastic song that switches keys between the verse and chorus. And earns this an extra star. Otherwise- I think I’ll stay sane thank you very much! TWO STARS

I don’t know a lot about salsa music, but this is really good stuff. I found myself bobbing my head on every track. Some sick grooves on here- especially on “Buscando guayaba” and “Maria lionza.” The title track is - perfect. An extra star for that one. Good lord, guys. Saved the best for last! Another reminder I need to learn Spanish. FOUR STARS

I had written up a whole thing about this but I think a quote from Trainspotting is the best review I can give this thing. At one point you've got it. Then you lose it. Then it's gone forever. Not really sure why this album is on the list, to be honest. There is way more interesting art rock from the early 2010s, and there are MANY better David Bowie albums. What are we doing here, guys? THREE STARS

Amateur Dentistry, the Musical.

It’s colorless, tuneless, and highly polished. Gets a star for every decent melody. TWO STARS

If “I’m not like the other girls” was an album. Bjork and Fiona Apple and Imogen Heap are weird but it’s an honest weird. They write about weird things. This girl only writes about wanting to bone. TWO STARS

Starts out promisingly enough. But devolves into total bass wankery. The piano is great. SHRUG.

The first couple of tracks did not make me hopeful. But from track three and onwards- it really gets interesting, and you settle into the madness of it. Rock Bottom sounds like stream of consciousness reads. Listening to this album made me realize there are two types of music just like there are two types of serial killer: organized and disorganized. Rock, pop, blues, and all of their descendants are pretty organized. Jazz and all of its offshoots are disorganized. This album seems to take the organized elements of rock and then disorganize some of them and keep some of them the exact same. It is very unusual….. I don’t love it but I see where that theyre doing here. THREE STARS

I see a lot of hate in the reviews here and I get it. It doesn’t sound super revolutionary and it doesn’t blow your mind. But it is a strong indie rock record that is good enough to be someone’s favorite album- the album they’ve been looking for but could never quite find, and maybe by being on this list they can. There is a charm here to these wide-eyed, completely uncynical Irish guys finding California and loving it so much they write a whole album about it. This is all youthful joy, and it’s hard to fault that. THREE STARS

I know this is a weird detail to pick out but - Jimi Hendrix says "YEAH!" like nobody else in rock. Yes, I know he's also a virtuosic guitar player. And saying "YEAH" real good isn't as groundbreaking. But the dude just sells me on him having the time of his life. He's feeling this music, and his "YEAH!" gets me every time. In 2025 Jimi has been reduced to a t-shirt—- he’s a marble man now. Idolized by generations of guitar players. Hearing this guy shred and get such an enormous kick out of it (and twiddling the stereo pans like a five year old on crack) makes him human again. And if I don’t meet ya no more in this world, I’ll meet ya in the next one, and don’t be late. DON’T BE LATE!!! FOUR STARS

Back in the early 90s we had a handful of tapes in my mother’s car. The three most played were a Jon Secada album, the Bodyguard soundtrack, and a mix my sister made with Harry Connick Jr and a couple of other artists. The first song on that mix was “Freedom! 90”- and I must’ve had to listen to that song 9,000 times. Of course, whenever the video came on MTV, I would stop and watch because it featured some of the most beautiful women on the planet lip syncing to the song. So when you make me listen to it as a middle aged man, it’s like time travel. I can smell the upholstery of a 1991 Honda Accord. What I’m trying to say is- this is what the early 90s truly felt like. We all want to believe it was Nevermind but nah- it was George Michael. THREE STARS

When this genre came out all the pornographers were like “ahhhhhh yeah we won’t have to find new background music EVER.” This is excellent bedding music. A fun listen. THREE STARS

So much hate in the reviews here! Damn, kids. Settle down. Albums are oftentimes on this list because they were noteworthy in the context in which they were released. Many of the best albums on this list will not sound new or fresh or relevant to a teenager today, because the teenager today has heard those innovative and exciting things a million times through other artists. The sound of this record was absorbed so completely (and quickly!) that it doesn’t sound particularly special or interesting now. But it was massively successful in 2000 because it was a set of good songs with a sound that very few people were making at the time, and that sound is Very pleasant. It is quintessential “easy listening.” There is nothing challenging about this stuff. And that isn’t bad! But people really have a bone to pick here. One guy saying he was so furious with this record because it was so popular at the time how can people like this blah blah blah like dude- sometimes people want to just relax. And this might be one of the most relaxing pop records of all time. It’s a comfortable blanket, a grilled cheese on a cold winters day, that millionth watch-through of your favorite sitcom. There is one weak track here, but the second half of the record especially is captivating. Love the last track. And it's a smart idea - your genre is "electro-folk," so you take a classic electro track and deconstruct it into your style and make it mostly folk, and it's fantastic. I have no idea what the White Ladder is, the album is great. THREE STARS

Perfect album, back to front; deep cuts, hits, they're all exceptional. I’ll compare this to a recent listen - The Good, The Bad, and the Queen. That band managed two memorable melodies across an hour of music. Robert Smith will throw five hummable melodies on top of each other for a 30 second slice of one song. If you think I'm making this up give the intro to "Untitled" a listen! I'm not very consistent with my star rating system. Some records get an extra star or two for having a great song, or a great vocalist, or a song that really moves me. Disintegration gets a star for each Mt Rushmore it appears on- 80s records , synth pop records, goth rock records, British records, best A sides. If my math is right that's -> FIVE STARS

This is one angry album. Manic Street Preachers is a super appropriate name for these dudes. If they hadn’t formed a band they would’ve been out on the street corner with //THE END IS NIGH// sandwich boards, marching up and down all night. Maybe the Brits enjoy it, but I’m not into hearing a dude yell at me “you’re doing it all wrong! This world is THE WORST!” Yeah- maybe, but- you’re not helping. Understanding the lead singer is a real task. I’m assuming his Welsh accent is WILD when he’s not singing. “Sex maalll-yon” is really “6 million”. The vocals are recorded very clearly and precisely- having the lyrics heard is obviously important to this band. But I’d have to listen to this album about five times with the lyrics in front of me to really get an ear for this. The songwriter seems kind of wasted on rock and roll. Should’ve been a political science or literature professor - that’s clearly where his heart lies. He name-drops like it’s his job- Gorbachev gets mentioned at least three times. In a couple of songs he just strings names together 8 at a time. Like. Ok. Then there’s an anorexia song. And then there’s a Holocaust song! Good god! I mean this is fine- but I think there’s a reason these guys were in my neighborhood but we never got on. Lectures bore me. TWO STARS

Hoo boy. A 2 hour Metallica live album. Ha! Here goes..... Yeah this is fine. It really is just Metallica with an orchestra on top. They don’t seem to have changed the songs fundamentally they just put a layer of orchestra on top. Does it add anything? Maybe a little- it doesn’t take away too often. But- for the purposes of this list- I’m assuming the three or four seminal Metallica records are on here; is this really necessary? Probably not. THREE STARS

So much to talk about! First off - musically this thing is so hit or miss. Typical early Stones. One song is unique and still holds up 60 years later, and the next is just a complete waste of time. There are some boilerplate 60's rockers, some bluesier numbers, and some country-inspired tunes. There's even a clear Beatles rip off ("Flight 505"). But most of it is pretty forgettable. "Paint it Black" (on the US cut), "Mother's Little Helper" (on the UK), "I am Waiting," "Under My Thumb," and "Going Home" are musically interesting and diverse, and will stick with you. The rest you'll forget in 24 hours. I want to call out "Going Home" for a minute. It's so incredibly dopey for the first two or three minutes. The chorus is just so brick-wall dumb. And then....it transforms. And becomes something really interesting. It's like the joke that goes on way too long but the longer it goes on the funnier it gets. It's great. Thematically this album is very tricky. The misogyny is a thread that runs through nearly every song. The obvious examples being "Under My Thumb" and "Stupid Girl," but just about every other song shows an adolescent hatred of women that's pretty embarrassing. I guess they were having a hard time with all the groupies they were pulling. SHRUG. THREE STARS

So I guess don’t offer Chuck D a beer when he comes over. These guys are really fun at parties, I’m sure. THREE STARS

It’s only 15 minutes long! This reminds of the joke about the old ladies at the restaurant. The first lady complains to the waiter about how terrible the food is. Then the second one says “And the portions are so small!” This is a perfect punk record. Short loud sloppy blasts of teenage aggression. It absolutely succeeds at what it sets out to do. This is what so many punk bands ever since have been trying to recreate. FOUR STARS

JT can sing; Neptunes can produce. Timbaland writes interesting songs. I mean- it’s hard to fault this. As pop music goes this works. It’s just - it all feels like Michael Jackson cosplay. MJ was still alive when this was recorded. Was he not available? Justin has copied nearly every single MJ vocal mannerism and I’m only half way through this thing. The vibrato, the dynamics, the phrasing- everything is MJ. At least we get some Stevie Wonder sprinkled in here every once in a while. But where’s Justin? He hasn't quite figured himself out yet, which is fine. Some of his best songs are here, even with the awkwardness of youth so fully present. But yeah. This reminds me of looking at someone’s high school year book, or their baby pictures. It’s fine. But hey. “You’re out of this world except you’re not green”…..who wrote that one, guys? Who’s taking credit? THREE STARS

My favorite U2 album, and one of my favorites of all time. I just love this record. It was so important to me when I was younger. Such good memories of listening to this thing. I have every song and sound memorized. If every copy of this thing disappeared I could recreate it from memory. The only song I don't love is "Trying to Throw Your Arms Around the World." Everything else is amazing. It can only be - FIVE STARS

It sounds like someone recorded some songs and then kicked them down the stairs.

This music makes me want to drink a dry martini. Watch a movie from the 50s. Wear a suit around the house. Start smoking. The feel is all 50s Hollywood. The percussion on this record is AMAZING. And the horn players are killing it too. A huge surprise, this one. Love it. FOUR STARS

This is an interesting one- the A side is wildly inconsistent. The “synchronicities” are both pretty great, but the songs in between them are either forgettable or bizarre. Then you have the B side which is wall to wall bangers. So weird. Was it a power move by Sting? Idk these guys are suing each other right now which makes me sad. FOUR STARS

So many great lyrics, and riffs, and bass lines, and beats, and songs! I love this album so much. If <i>OK Computer</i> is Radiohead’s <i>Sgt Pepper</i>, <i>The Bends</i> is their <i>Revolver</i>. Before they get really weird but after they’re done with being creeps. A masterpiece. Five stars for “Black Star” alone. Anyways. Immerse yourself in love. FIVE STARS

This is totally my kind of nonsense. Weird but melodic. And weird in a way I haven’t heard before but also weird in that classic 1960s kind of way. Man. The Beatles really did a number on people. FOUR STARS

There are some good songs on this record- I just don’t dig Elvis’s voice. He has this emphatic whine that just grates on me. By the last four songs I was just done with this guy. I understand he’s a critics’ darling because his lyrics are a bit more literate than your average bear, but come on. Also- how does this guy get in the same bin as Patti Smith, Television, the Ramones? This is all pure pop! And I know this is him stepping towards a poppier sound, but- are the records before this that adventurous? Anyways. It’s fine. Except for the whine. TWO STARS

Tight and dry. Claustrophobic? There is a quality to the Talking Heads sound that has always put me off. And David Byrne’s voice is fine for a few songs but maybe not a whole hour. It’s fine. THREE STARS

I’ve heard about Village Green for years but never gave it much of a go. This is excellent. The songs are catchy and varied and short and occasionally truly insightful. There were a couple of moments in the first side that really got me (sorry I had to). The stereo mix sounds better to me. The Kinks always sound like they’re playing inside a tin lunchbox but I also know that’s part of the charm. Lovely album. “People often change but the memories of people can remain” FOUR STARS

Did not recognize this album on sight which is unusual….. This first track…..Jeepers creepers it’s great. And like all songs this good, it’s the only song even remotely like this on the whole album! Wasn’t expecting Afro-beat after that blast of indie new-wave. This is a light, refreshing album. It’s like drinking a mojito at a beach bar on a sunny day. Delicious. THREE STARS

You want it darker? YOU WANT IT DARKER, BITCH? IS THAT DARK ENOUGH FOR YOU???? yeah, Leonard, Jesus Christ tone it down. Most of these songs seem to be about Cohen’s divorce from God. And they’re mostly incredible. The title track and “Treaty” are worth the price of admission alone. If you’ve only heard his 80s stuff where he hits the oompa pre-set on his Yamaha synth and recites his poem over it, give this a try. FOUR STARS

The Who have always been the “I guess you had to be there” band of the British Invasion for me. Keith Moon is a legend- but their songs are always kinda dopey to me. The substance of the songs doesn’t match the style. This album has a fun gimmick- pretending to replicate a fake pirate radio with commercials. And the songs are melodic with some very pleasant and rich harmonies. I was prepared to give this thing at least three stars but then…. The second side happened Argh. So damn boring. Just begs the question- who’s next? TWO STARS

Melodic, weird, atmospheric- it’s nice. The second side is really interesting as well. I’d normally give this a three but I can tell this is the kind of album I’ll be coming back to so I can figure it out. FOUR STARS

Solid. Surprising!

The frailty of Johnny’s voice is terribly affecting, which is why “Hurt” works so well. Song choice is so important here- and most of them are hits. This is a great record to put on any time.

What I love about this first wave punk stuff is that it’s basically old school rock and roll but noisier. And less earnest. It’s fun. And this is fun. This is what the Who wishes they sounded like. THREE STARS

The description on Wikipedia says this might be one of the first “concept albums.” And I sort of wrinkled my nose reading that. But listening to it straight through I get it. The themes of the songs are all similar (loss, loneliness, self-reflection) as are the arrangements and instrumentation- this is very mellow, stripped-down Frank. He doesn’t have to project over a massive brass ensemble, giving the music space to breathe and letting his voice take center stage. In fact, the only brass I remember is one trumpet solo towards the end of the album. This is another record that’s perfect to put on just about any time. Not my favorite genre, but I can see what they were attempting here and they absolutely nailed it. FOUR STARS

Excellent. The grooves keep the songs grounded while everything around them morphs and shifts. Then 7 minutes in the vocals join in and they evolve even further. I don’t think you have to like Afrobeat at all to appreciate Fela. Just a wonderful collection of songs. And the kick is a 15 minute live performance. The stones on this guy! FOUR STARS

If you like your blues electrified and from Chicago, this is your album. The sound quality and performances are wildly good. My only gripe is the harmonica is a bit much at times. A few of these tracks sound like they were recorded live, and the recording is so clear that with the volume up you feel like you're in the room. So between the vitality of the performances and the remarkable clarity of the recording, this record just feels good to listen to. Even if you don't have the blues. FOUR STARS

Just a man and his guitar. I love this kind of setup. You can hear every note; you can even hear his jacket rustling as he moves his fretting hand while he plays. Oh! To be as good at anything as Bert Jansch is at finger style folk guitar! FOUR STARS

I have bounced off of Wilco so many times. Maybe I’m too much of an Anglophile? Maybe this time it’ll stick…. Weird coincidence- I got this album on the 24th anniversary of the band releasing it online! Ha! That’s cool. So I know now why this has never connected with me before. Jeff Tweedy’s voice just isn’t engaging to me at all. Ironically, if his voice was worse it would be more interesting to me. Musically this is very cool- I just can’t pay any attention to Jeff or what he’s singing about. THREE STARS

I’ll always love Smiths albums. The drama! Every song is like an episode of a soap opera. And musically it’s so strong and varied. The A side and “Last Night I Dreamt….” are fantastic. And tell me how long before the right one???? FOUR STARS

Oh brother. Wall to wall bangers. Also, Carlo Von Sexron is my D&D name. This isn’t for everybody. I can see how people might not love the repetition- but that’s part of the sound. This is music for robots to have sex to. It’s industrial in a very different way than any other band you would call “industrial.” And it’s metal- but- not at all like that. While I think Songs for the Deaf and Lullabies are superior, this record sets the template for QOTSA and was a breath of fresh air in the late 90s rock landscape. In short, Robot-boning is my business, and business is good. FOUR STARS

This is cool- I love the pixies but never listened to Frank’s solo albums except for a few odd tracks here and there. The immediate difference to me is the drumming. Significantly busier and more accomplished than David Lovering of the pixies. Otherwise musically this is Frank’s old bag of tricks (odd time signatures, bizarre key and chord changes) pushed to the limits and applied to other genres. And I know brevity is part of Frank’s “thing” but there are riffs and ideas here that deserve to be explored but we only get to hear them for 10-15 seconds at best. This is a very solid THEEE STARS

I've never heard an AC/DC album all the way through, and I have to say it benefits from pausing between the A and B sides. This is a lot of rock music at one time. And it's AC/DC - they don't do ballads, or low tempo numbers, or, well, dynamics, even. But they lay it down like very few bands can. I really like it, actually. The first two tracks are rock radio mainstays, so I was familiar with them, but the let-off in quality I was expecting after those wrapped up didn't happen until the second to last song. Which might have just been Rock Fatigue. "Love Hungry Man" might be the worst song on the album but it is at least trying something a bit different than boilerplate AC/DC, which is fun. Hey ya know what screw it FOUR STARS

Did not recognize this album or artist right away, which is always fun because I have no pre-conceived notions going into it. I read that this is one of the dudes from Steely Dan, which I've never gotten into, but I know he is highly regarded. The first few seconds of IGY are very nice, and then........it just goes downhill from there. I have two major gripes with this thing and they are 1) the sound and 2) the songs. While I'm sure this record appeals to all the poor souls who can't stand an iota of noise in their music, it is way too clean for me. The sound of this record is so sterile you can eat off it. Donald Fagen must have the kind of OCD where you have to wash your hands 17 times before you know you're clean. There is not a dust mote living within 10 miles of this dude's house. I'm assuming every instrument on this record is electronic, which makes it sound like a well programmed preset on a Yamaha. And while that may work for Wesley Willis it does not work for Donald Fagen. Some songs (like dare I say it, those penned by WW) are so bad they're good. These songs are just bad, and it's because there is not an authentic note in The Nightfly's entire 39 minutes. And while I don't hate it, it is the antithesis of every strongly held musical opinion I've had since I could push a cassette into a tape deck. TWO STARS

Spiderland! This record has been recommended to me numerous times but I've never checked it out before now. Yes. This is my bag. Math-rock, a bit jangly with some excellent heavy sections. I can't believe this was made a) in 1991 and b) by teenagers. There is a sophistication to the arrangements that really belies their age. And you can hear so much of Slint in other people's work from the 90s and into the 2000s. FOUR STARS

The Kinks again! I'm pretty sure all we needed on this list was Village Green and Kinks, but sure- here we go- It's quite good! The sound of the Kinks is frail and thin. But the songs are good to great; "Australia" and "Shangri-La" are excellent. There is also an overarching story which isn't too hard to follow. My only real complaint is the double-tracked vocals and occasionally the "harmonies" go beyond the limits of tension into outright dissonance at times. Otherwise- high quality British invasion. THREE STARS

Just a note before I dive into Fragile too far: I think "Roundabout" is one of the great rock songs. Not just of prog, but of all rock music. It is tight, and rocking, and melodic, and weird, and I love it. Also, until I looked up the lyrics on this listen, I always thought it was "Marlins come out of the sky and stand there." "Mountains" makes a bit more sense, I guess? Anyways. I've always particularly loved that middle break that repeats the introductory guitar part, with the chorus sung over different chords - it's beautiful! That being said, Fragile really could've been boiled down to an EP. "Roundabout" "South Side of the Sky" "Long Distance Runaround" "Mood for a Day" "Heart of the Sunrise" That's all you need, and I think you can even lose one of "Sky" or "LDR." I really enjoyed The Yes Album so I was a bit let down by Fragile - it's got Rick Wakeman after all, and Roundabout! But overall it just doesn't hold together as well. Oh and one more thing - Bill Bruford is a boss. Good lord, this guy. One star for him, one star for Roundabout, one star for the rest of the album combined + the artwork. THREE STARS

This is fine. Not particularly noteworthy; it’s just kind of shapeless, pleasant, indie rock. THREE STARS

TERRIBLE band name. Great album. Somehow, as much as I love shoegaze and Britpop, I’ve barely even heard of these guys before, and never heard a note of their music. This goes in so many different directions….. yes there are shoegazey elements but it feels like the idea was to write a ton of great songs and let the genre sort itself out. I love it. FOUR STARS

Elvis was super important. Nearly every major artist for the next 10-15 years benefitted somehow from Elvis's success, starting with this album. All that being said. This record is super inconsistent. The best tracks are the rock and roll numbers, where Elvis gives passable versions of some contemporary R&B songs. They're fun. Sprinkled throughout are some slower C&W ballads which do nothing much more than demonstrate how close country was to rock back at the beginning. Bouncing back and forth between the two, I can't help but want the rock to stick around a bit longer. The truly weird stand out here is "Blue Moon" which I've heard about over the years as one of the worst Elvis tracks - I kind of enjoy it? It's creepy and unexpected. It's vitally important to listen to this record to understand the development of Western pop music, but on it's own merits it's just kind of fine. The other issue is that contextually speaking, "Heartbreak Hotel" was SUPER influential, and doesn't appear here. THREE STARS

Blue eyed soul- let’s go. Dusty has an incredible voice. Her tone is amazing and her delivery is clear and strong and passionate. She clearly loves soul music. And the production is excellent. It sounds like Phillips Records spent a lot of dough making Dusty sound as good as possible. She really shines with the faux-Phil Spector wall of sound going on around her. All that being said - I hate a lot of these songs. They are just miserable. "Wishin and Hopin" drives me bananas, "Do Re Mi" has an incredibly annoying and repetitive melody, and the more well-known songs I've heard a million times against my will and bore me to tears. "My Colouring Book" is bizarre, as is the arrangment of "Mockingbird." So overall, this album succeeds at what it sets out to do, and Dusty's voice is great. I can leave the rest. THREE STARS

The La’s is an interesting one. Having grown up in the 90s, I know “There She Goes,” of course. But apparently this record is a cornerstone of Britpop- but I'd never heard it before. At first it didn’t click for me. The La’s are an amalgamation of The Who and The Kinks, with some Beatles sprinkled in for good measure. That should be right up my alley, but it didn't do anything for me at first. Then during "Timeless Melody," it started to gel. By the time I got to "Looking Glass" I wanted to start all the way over so I could hear the rest of the album through new eyes (ears?), and yeah. This record is great. If you bounce off of this one at first, give it another go. It rewards multiple listenings. THREE STARS