Tortoise’s second album, Millions Now Living Will Never Die, stands as a pivotal moment in post-rock’s evolution. Drawing its name from a 1920s prophecy by Jehovah’s Witness leader Joseph Rutherford, the album embraces the spirit of transformation musically and conceptually. The 20-minute opener “Djed” exemplifies this: a shape-shifting, genre-blending journey through krautrock repetition, jazz textures, dub echoes, and ambient electronics. The record’s influence echoes alongside other ‘90s post-rock staples like Hex and Laughing Stock, proving that Tortoise weren’t just experimenting they were helping define an entire movement.

I have listened to this album, this is Metallica, when they were most famous. It is not their best album, not even close to "Ride the Lightning", "Master of Puppets" or even "...And Justice for All", in justice for all production is bad, but still as album it is better than Black LP. This albums is moment when they decided to become more radio friendly, the fact that their two most famous hits are on this album, Confirms that. It is good listen for metal and hard rock fans, but some tracks here are very weak and too soft for Metallica. It's like, here they lost their own self in becoming more mainstream and because they wanted to sell more records. This record needed to be for more people, so that's the reason why it is softer. "Master of Puppets" is not for everyone, and self-titled, aka Black album is more likable for music listeners.

Talking Book, marks a crucial chapter in Stevie Wonder’s artistic evolution. As the second entry in his legendary “classic period,” the album blends irresistible funk grooves with lyrical depth, showcasing both political awareness and intimate vulnerability. From the clavinet-driven punch of “Superstition” to the warmth of “You Are the Sunshine of My Life,” Wonder flexes his growing command of synths and album cohesion. More than a collection of hits, Talking Book feels carefully sculpted seamless in its flow and expansive in its emotional scope. It’s the sound of a genius coming into full bloom.

With Different Class, Pulp delivered not just the definitive Britpop statement, but something more enduring and theatrical an album that feels like the rightful heir to David Bowie's legacy of glamorously subversive pop. Much like Bowie, Jarvis Cocker crafts personas and wields irony with precision, creating a vivid world where sex and social class collide in clever, often uncomfortable ways. From the anthemic “Common People” to the deliciously sinister “I Spy,” this record stages its themes with a Bowie-like flair for drama, camp, and transformation. Pulp doesn’t reinvent their formula here, they perfect it. Synth-laced, disco-tinged, and always sharply literate, Different Class is filled with hooks that dazzle and lyrics that slice. The album’s concept being proudly different in a conformist culture is more than a slogan; it’s a manifesto. “We just want the right to be different,” the sleeve proclaims, and Cocker delivers on that promise with every smirking aside and every desperate cry. Smart, stylish, and gloriously strange, Different Class earns its title and its place among the greats.

Stevie Wonder is something I will never get fully

This is pretty enjoyable live album

Intrumentals are superior here

Only first track is decent

Disraeli Gears is a kaleidoscopic detour from Cream’s blues beginnings into a vivid, technicolor realm of psychedelic rock, and it’s magnificent. Trading extended jams for tightly packed bursts of invention, the trio deliver an album that’s as lean as it is sonically adventurous. From the dreamy swirl of “Tales of Brave Ulysses” (inspired by sirens off the shores of Ibiza) to the rainbow-drenched rebellion of “SWLABR”, the album radiates a hallucinogenic energy that’s both poetic and pointed. “Dance the Night Away”, with its jangly 12-string tribute to The Byrds, glows with liberation, while “We’re Going Wrong” aches with personal turmoil, echoing Jack Bruce’s raw emotion after a fight with his wife. Yet, Disraeli Gears doesn’t forget its roots, Clapton’s “Outside Woman Blues” and the burning draft card spirit of “Take It Back” bring gritty blues back into the mix, alongside the swaggering opener “Strange Brew”, where Clapton channels Albert King with electrifying precision. Vocally, it’s Cream’s most collaborative effort, with Bruce, Clapton, and Baker sharing the mic, even goofing off in the bizarre, boozy finale “Mother’s Lament”. But it’s the unified sonic vision that shines: a band at the peak of their powers, painting wild, vibrant shapes with fuzz pedals, wah-wahs, and surreal lyricism. A perfect collision of blues muscle and psychedelic imagination, Disraeli Gears is one of the defining statements of 1967. And everyone knows what 1967 was for music.

Look At You is masterpiece

Despite uneven production and occasional lyrical clumsiness, Black Sabbath holds together with a sense of terrifying cohesion. It’s a bold, unrelenting debut that not only launched a band but reshaped the direction of rock music entirely. In hindsight, Black Sabbath didn’t just push boundaries it established new ones. The critics were wrong. The darkness had come, and metal would never be the same.