Meh. Angry dudes, no harmonies, messy guitars and drums. I can totally hear the influence on the Chilean band Los Prisioneros — and I think that’s exactly why I really don’t like this. There were a few songs with stuff I kinda liked, like Career Opportunities — the drums did something fun at one point. Police & Thieves had this reggae-ish vibe? And Garageland had a cool intro, but then the singer came in and it all fell apart. There’s a stepped-on, crushed Dorito on the floor — and that’s exactly how I feel listening to this. Bland and poorly executed.

“It was the 80s!” But then the album shifts into this kinda country vibe on songs like I'm on Fire; which, for some reason, is exactly what I thought Bruce Springsteen sounded like before actually listening. Working on the Highway is super Elvis. It was a fun ride, honestly. Full of surprises and little twists I didn’t see coming.

Okay, let’s calm down a bit. I was surprised to hear so many songs that would later become Guns’ iconic anthems on this album, but they all needed a chamomile‑tea break—every track was just WAAAA! You never got a moment to rest. Sure, it had some chill bits, but I wanted something more laid‑back to switch up the pace. Even so, it’s one of those records you can throw on for a road trip and enjoy the experience.

Man, it’s super weird listening to an album with songs so iconic they’ve popped up everywhere and don’t sound original at all. I enjoyed giving the record a spin and thought there were some differences between the tracks, but when I did a bit of digging I discovered they were mostly covers—and that was a bit of a letdown.

Oasis is one of those bands I’d love to rediscover now, without the prejudices of my teens. They’re one of those bands I really want to like, but they just don’t do anything for me. Maybe it’s Liam’s voice, maybe it’s his cocky attitude, maybe it’s that I can’t listen without “I SAID MAYBEEEEEEEEE” playing on loop in my head, or maybe I just can’t connect with what they sing. It’s not you, it’s me. Still, I gave it a proper listen, and at times I caught Beatles vibes, just with that ’90s irreverence.

One of the constant themes in this challenge has been trying to like artists despite their “big hits.” And that’s exactly what happened with this record. When “Bad Moon Rising” came on, I remembered how little I liked it—it’s one of those tracks used, reused, and abused, even in ads. But other tracks like “Sinister Purpose” had a bit of a prog vibe that left me wanting more.

Wait... what? I thought Neil Young was gonna be super‑mega stereotypical classic country. Sure, at times I felt that, and I definitely wasn’t Ready for the Country—and I don’t think “A Man Needs a Maid.” “There’s a World” is one of those songs I had to spin again, and that’s what stuck with me.

Love it. Jazz. Those tiny dissonances in “Pannonica” with those twinkly things (technical term, of course) giving the album an extra twist. The piano dialogue on “I Surrender, Dear.” One of those albums I’ll definitely spin again.

Kanye West is like reggaeton but in English. I want this to end. What the fuck was with that salad song? It disgusts me to think someone thought to put this on the list. Some tracks at least had critiques of the education system but were trying to be cool (“Two Words”), but the whole time I felt like I was sifting through shit to see if I could come up with something nice to say.

Honestly, I usually hate live albums, but this one made me want to slip back to 1957 again and again just to hear people eating, coughing, and that moment of complicity when Sarah realizes the band keeps playing even though “Willow Weep for Me” should have ended. Sarah Vaughan’s vocal quality is enviable, and it makes me sad I didn’t know her sooner.