To objectively review 'The Wall' is to objectively review the execution of the concept Pink Floyd ultimately orchestrated, and as a body of work, that execution was flawless. Not every song is a hit, the album wasn't designed that way. Many songs could never stand on their own - several are fillers - transitions between parts of the broader narrative. Yet the art itself as a cohesive piece is absolutely stellar. I feel I'd need to listen numerous more times to fully understand each element of the album in a meaningful way, and that's exactly what I ended up doing. Upon each listen, an added layer was found, another meaning, a competing narrative of introspection and societal critique. This album has everything that makes music so great. The opening song being an instant hook, the incredible guitar solos scattered throughout, the seamless transitions that carry you unknowingly at times from one track to the next, and the overall thematic journey are just a few reasons this album has stood the test of time. This rock opera is not a body of work for everyone, just as opera music itself may not be, but I completely understand the necessity of hearing both at least once before you die. It's an artform that is deep, it's composure elegant, it's scripture meaningful. Each track and all accompanying elements are added in a meaningful way that elevates the overall story unraveling through the protagonist. Without a doubt, The Wall is a must listen for anyone remotely invested in the evolution of music. Podium (extended) 1. Hey you 2. Comfortably Numb 3. Young Lust 4. Another Brick in the Wall pt. 2 5. Run Like Hell Honorable mention: The Trial -- At first this song took me aback, it felt like I was teleported to a broadway play but that's exactly why this song is so deserving of an honorable mention. As the album comes to a conclusion and the protagonist is put on trial for their feelings, the storyline comes through once more as various 'characters' are reintroduced as well as the role they played in the 'crime.' If this was a movie, it'd be cinematic genius.

It's hard to rate an album that's not in your native tongue, but this album was fun to listen to overall. It was thematically sound, and the story behind the album, which I looked up, definitely adds a layer to a seemingly upbeat and electric album. If I were at a bar and the first track came on, there's no doubt I could get up and dance with my partner to this. Play this in a Blues bar and the entire place is going crazy. If I knew the lyrics, there's a chance this album could score much higher. It's catchy even though I don't know the lyrics, and upon my second listen was fully humming to a couple parts. I wouldn't be upset if I heard these sounds again, in fact, I hope I do. Given what I do know, it's cohesive, distinctive, likely has a hit or two, and is certainly high quality. For those reasons I will give it 3.5/5 stars.

1001 Albums You Must Hear Before You Die: 3/1001 I'm increasingly impressed by albums whose most popular songs is just a glimmer into the album it lives in. Hounds of Love is certainly no different with 'Running Up That Hill' being an unforgettable song that introduces you to beautiful lyrics and masterful synth. It's deep and soulful, and just like I did numerous times throughout the album, I got goosebumps when hearing it. The instrumentation of this album is so fascinating to me. It uses an eclectic mix of instruments from around the world. Some songs are quite literally dubbed jigs, but it's the synthesizer that stands out which is interwoven and beautifully done throughout. Hounds of Love is engaging and captivating, and each song a little different than the last even as they all fit the cohesive theme. I enjoy the first half of the album more sonically, but the conceptual suite in the back half is nothing but fascinating. At times, the album feels simple but is anything but. It's quite weird in places (I'm looking at you 'Waking the Witch' or) but that weirdness serves a purpose that amplifies rather than detracts from the album overall. This album is proof of what occurs when you let a true artist free to explore the bounds of their talent. Experimentation is a gamble, but for Kate Bush, she hit the lottery. The music delivery is a journey, and the feelings provoked match the music playing as the music playing matches the feeling provoked. I've enjoyed each listen of this album a bit more than the last and continue to be amazed by the talent that led to this production. Podium (extended): 1. Hello Earth 2. Hounds Of Love 3. Under the Ice 4. Running Up That Hill 5. Cloudbusting Honorable Mention: Jig of Life --- The only thing that stopped me from putting this song on my podium was that it felt most out place stylistically. That's not to say it didn't match the rest of the album or flow meaningfully, but the sound is Celtic and strikes a medieval renaissance vibe. I love that style of music, I love it here. Overall this album stood out for it's lyrical prose, memorable melodies, a captivating conceptual suite, bold use of synth, and general creativity. I would recommend this album to anyone as something special. The album is technically two masterclasses, and anyone could find enjoyment somewhere in here. I give Hounds of Love by Kate Bush a 5/5 for these reasons.

1001 Albums You Must Hear Before You Die: 4/1001 Extremely real and relatable over a decade later. To get the full experience '1001 Albums to Hear Before You Die' lays out, I'm putting myself in the mindset of when the album was released rather than thinking about it in the context of today. With that in mind, this is the album that led to the Kanye of the 2000s, gave him the fame we all came to know him for, and there's no denying he was deserving of it then. I thoroughly enjoyed this more than I thought I would. A bit long (ending on a 12-minute track is certainly a statement, though) There are many songs here that I could come back to, and some I could've lived without. But overall, the beats are catchy, the songs are real, and the lyrics are deep. It's fun and serious at the same time. There are memorable verses that I was awaiting even after a first listen. Its highs are some of the best of rap, its lows are completely forgettable though they don't diminish the album much overall. It's a strong showcase for an artist clobbering his way to the scene. 'We Don't Care' is the precipitate for who Kanye was at this time, and it was the perfect opening track for this album. It's an introduction to him and the thematic elements this album is shaped around. The album may be titled 'The College Dropout,' but Kanye schooled the industry with this release. Podium: 1. All Falls Down 2. We Don't Care 3. Slow Jamz Honorable Mention(s): 'The Wire' -- While not a podium song for me personally, it's an important track for the album overall, and as I understand it, part of the reason for Kanye pursuing this album in general. The story behind The Wire is too powerful not to acknowledge in a review. It's a solid album, great even, with a decent amount of hits. Though there are skippable parts, the message here is equal parts meaningful and catchy, and it sticks to the theme outlined in the title. It's worthy of being on this list and demonstrates the new beginning of one of the most significant and controversial artists to enter (and change) the genre. For these reasons, I give The College Dropout by Kanye West 4/5 stars P.S. 'But the people highest up got the lowest self-esteem, the prettiest people do the ugliest things' in 'All Falls Down' is just so on the nose for current Kanye)

1001 Albums You Must Hear Before You Die: 5/1001 I have a lot of complicated thoughts about 1999. It's funky, it's groovy, it's provocative, and it’s undeniably groundbreaking. Every element in isolation -- synths, vocals, lyrics, even the risque undertones - is appealing. But the album as a whole feels overextended, with songs that wear out their welcome. I respect the influence and can hear how it shaped future music I genuinely connect with, but the execution here doesn't always land for me personally. Tracks like “Lady Cab Driver” showcase the brilliance and frustration in one go: great groove, killer guitar solo, punchy drums and bass, layered synths, weird in a cool way, and yet I found myself ready to move on well before the song ended. It never caused me to release into the music. There’s nothing wrong with a long track, but if you’re going to stretch it, you have to keep evolving it. Too often here, Prince just loops it until the energy fizzles - I never felt so connected it had my attention, captivated enough to care, energized enough to groove. There are standouts; 1999 is sex-charged and politically tinged. Little Red Corvette is in your face and fun. But songs start loosing their steam through sheer repetition, just like Delirious, which at a little over four minutes, is the shortest track on the album, yet still felt too long. I can see how it worked at a club in the 80's. These standout parts aren't enough to make me put the whole album on though. By the time I hit songs like “Let’s Pretend We’re Married,” I found myself zoning out more than tuning in. The weirder and more stretched it gets, the less fun it became. Podium: 1. Little Red Corvette 2. 1999 3. Delirious While the individual parts of 1999 show off levels of Prince’s talents, the way they’re tied together leaves me unmoved. Does it belong on this list? Certainly. Will it make it to any of my personal lists? Certainly not. This one’s legacy will always be bigger than my personal enjoyment of it. I can appreciate the foundation it laid and the envelope it pushed, I just don’t feel pulled in buy it. Very few tracks call me back, and I have little desire to experience the album in full again. For these reasons, I give 1999 by Prince 2.5/5 stars.

1001 Albums You Must Hear Before You Die: 6/1001 My first review of the decade and it surprised me in lots of different ways. The crooner sound appeals to me immensely, many of the songs are full of life, the instrumentation beautifully done. That beauty is juxtaposed against dark and taboo lyricism that was provocative, and at times certainly dated. Even still, this was a fabulous listen and I could envision it playing on vinyl during the weekend as I get a slow ramp up to my day. It's not quite fully engaging, but it is exciting at points, soothing at others. Scott Walkers voice is a bit cliche but works against this backdrop and for the sound of the time even as he pushed the boundaries of what could be vocalized in that sound. There are comedic undertones, pointed rawness, and though I wasn't fully locked in, the music kept pulling me back in even as the songs blurred together. 1. Jackie 2. The Girls And The Dogs 3. Black Sheep Boy Honorable Mention: ... Next Overall, the songs flowed seamlessly from one to the next and this album perfectly represents a crooner style that could be placed in any backroom. It didn't blow my mind or wow me in any meaningful way. There are multiple songs that stood out to me even as others never did, but I'd wholly listen to the entire album again. For these reasons I give Scott 2 by Scott Walker a 4/5

1001 Albums You Must Hear Before You Die: 7/1001 I have listened to the opening tracks for this album several times throughout my life, but never had I listened to Parnoid in full before. The first two tracks perfectly encapsulate why Ozzy Osbourne and Black Sabbath received the stardom they did. The signature sounds, ultimate guitar rifts, and power vocals are just a few reasons these anthems still hold a place in society today. By the time I got to Planet Caravan I was a bit thrown by the mellow ballad sung in a whisper. Perhaps in the 70s people needed a break after two heavy songs, but it took me out of the mood the rest of the album eventually returns to. If I could change one thing about this album, it'd be stitching this song at the end as my cool down, which is otherwise absence as the back 2/3 of the album return to the metal sound that propelled the band to startdom. Many songs continue to have resonance, but as products of the 70s, the anti-war messaging and paranoid nature of the album were hallmarks for the horror vibe that became immensely real and relatable. Every instrument stands out through the sheer energy energetic in each song, not least among them the voice of Ozzy Osbourne. While a signature sound carries through most of the album, each rift and verse differs to keep any part from sounding to repetitive while keeping the listener engaged. I could see this being a gateway to the genre as it certainly made me want to chase similar sounds after. Podium: 1. War Pigs 2. Paranoid 3. Iron Man Honorable mention: Rat Salad, Hand of Doom, Planet Caravan The album is outstanding with multiple hits and a thematic cohesion. There's no chance I won't continue exploring it for years to come just as it has remained relevant for near 50 years. Despite the ordering being a little weird for me, the balance of the tracks, the range of the vocalist, the meaty instrumentals are all reasons this album stands out. For these reasons I give Paranoid by Black Sabbath 4.5/5 stars.

1001 Albums You Must Hear Before You Die: 8/1001 This album served as yet another soundtrack I could see setting the mood for any number of days. For intent listening, the first song hit me hard- a bitter-sweet and self-reflective song in a melancholy tone coupled with a casual upbeat sound and forgiving lyrics. The song was a masterpiece. Despite some of these masterpieces, there was nothing that made the album one of the most iconic of all time, yet throughout persisted a timeless quality to it. If this album were released today, it would fit right in with the same mediocracy that makes it worthy of at least a listen. There's a calming nature to this album and smooth melodies. The lyrics are deep and moving, the stories behind them are highly relatable. However, through the middle of the album, there wasn't enough uniqueness to make it memorable. Upon future listenings, I found these songs all blurring together. It wasn't until the end of the album I was sucked back in with my favorite song on the album, Sail Away. With four tracks positioned at each end of the album, you start and end on two highs that are anything but forgettable. It feels like these songs carry more soul and meaning than the others on the album, and I think that's what sets them apart. There's a power in David Grays voice which otherwise tends to be good but not exceptional. When he hones that power, the album soar. Podium: 1. Sail Away 2. Please Forgive Me 3. Say Hello, Waver Goodbye Honorable Mention: Babylon I teetered on where to exactly land with this album for a final score. Ultimately, I still find myself favoring four tracks much more than the album in its entirety. That's not to say the rest of the album isn't good; in fact, it's pretty solid and generally cohesive. I think this high-quality and multiple hits make the album worth a listen. Those songs will find their way into my playlists. While I may listen to the album again in the future for background noise, I don't see myself listening solely for the album as a whole. For these reasons, I give White Ladder by David Gray 3.5/5 stars.

1001 Albums You Must Hear Before You Die: 9/1001 Yeah... I don't even know that I can pretend to bullshit an objective review for how good this album is. I have listened to it on repeat all day and each listen just resolidifies there's not a bad song here as each one grows on. The music is homey and folky, the vocal delivery is hard hitting yet smooth, it's tranquil, reflective, moving, and just absolutley beautiful. The first track, Where Do The Children Play is as relevant today as ever, the progression overall is amazingly sticked together, the production is so simple yet so powerful. It's warm and familiar and wholly capable of bringing you to tears. It's just phenomenal. Yeah... Just wow. Podium (Extended): 1. Father and Son 2. Where Do The Children Play? 3. Miles From Nowhere 4. Wild World 5. On The Road To Find Out Honorable mention: Everything else. For sure. It feels strange to say it's flawless, but it just is. Such a simple production with such a heavy progression of absolute art. It's a beautiful piece of art that is a must listen, one that I'll come back to many times for years to come. I give Cat Steven's/Yusufs Tea For The Tillerman 5/5 stars.

1001 Albums You Must Hear Before You Die: 13/1001 The simplicity of this album makes it great. It's such a raw garage punk band sound. It's truly nothing special but is boppy enough. It's kind of stupid but not bad. Not sure I'll be listening again, but glad I did once. For 30 minutes, whatever Podium: 1. Blitzkrig Bopp 2. Judy Is a Punk 3, Kusteb to My Heart Gotta give it a 2/5 overall. It was engaging but sub-par without being bad ¯\_(ツ)_/¯

This was a tough one to get through which is disappointing because the music itself it genuinely really good and deserving of a much much higher rating. Unfortunately, the lead singer and some questionable lyrics make this album nearly unlistenable. The vocals are barely consistent while sounding forced and stretched in a way that is difficult to understand. Though the instrumentation is superb, it's not enough to overshadow just how bad this wanna be mountain inspired voice trys to be. I know (and like) some songs by Kings of Leon, and though the sound is always distinct it doesn't always sound this overdone and overpowering. Podium: 1. Four Kicks 2. [TBD] 3. [TBD] I think the band, who has some insanely talented members, would be better off if they found a front man who wasn't fronting so hard. If I could just rate the sound of the music, I'd be closer to 4 or even 5 stars, but unfortunately the only things I'll remember is the ear piercing vibrations of a voice that sounds like it's pretending to be something its not, coupled with otherwise mediocre lyrics. For these reasons I give Aha Shake Heartbreak by Kings of Leon 1/5 stars

What stands out to me other than the raw talent on display is how well the album works live. The ongoing banter and interaction with the crowd bring such life to an at times somber, at times fun, and at times dark performance that encapsulates Johnny Cash as an artist in such a powerful way. It's perfectly authentic and atmospherically on brand in such a way you can almost picture Cash in front of you performing. Cash conveys the emotion of the songs and you're captivated by a magnificent storyteller who hooks you the way an invigorating show on streaming would. 1. Folsom Prison Blues 2. Cocaine Blues 3. Jackson Honorable Mention: Flushed from the Bathroom of Your Heart Musically, it's simple with its folky undertones while maintaining a level of purity that elevates it beyond what another artist could bring to the table. All the way through, there's not a song on here I'd skip as it'd take away from the experience. Every high and low is a journey Cash alone was capable of taking us through. I agree this could be one of the best live albums ever recorded. From legendary hits to harmonic solos, the album is full of life even in its simplicity. For these reasons, I give At Folsom Prison by Johnny Cash 4.5/5 stars

1001 Albums You Must Hear Before You Die: 11/1001 I've listened to this album numerous times and I keep coming to a similar conclusion - it's the perfect example of something that has all the parts of an objectively good album, but tied together, it's not an album I personally connect with. As I listened to Disintegration, there was no doubt in my mind how rock solid this album is from a prdouction standpoint, but it failed to find me. The production is sound, it's layered perfectly, it's lyrics are deep yet not overly complex, the cohesion is spot on, and the instrumentation is well thought out and hooky. Though at the same time, I find the length carries too long with the singing a secondary component often starting too late or ending too early, its so cohesive it's almost repetitive despite the unique builds from each song, and the instrumentation is great but nothing I haven't heard before. None of these are problems on their own, perse, but as it all ties together, these compounding problems leave me disinterested in the album overall. It's like The Cure found exactly how to make a good album, and then followed and stretched the code beyond its function. The synth and strings carry the sound for me as the drum beat maintains the same rhythmic roll throughout. Robert Smith has range to hit the various tones portrayed throughout this melancholy album, but nothing that made it exceptionally strong overall despite the atmospherically haunting effect he prescribes. Ultimately, it ends up seeming overindulgent and a bit self-serving as this pattern repeats. The peaks still captivate me, there are lyrics that appeal to me, there's meaning that's not lost on me. Though much of that is lost through an unchanging, depressed tempo that loses me before another part can hook me, creating a mostly lukewarm album. It's a perfectly produced album, but the content within is just kind of meh. (It does sound better the louder you play it!) Podium: 1. Pictures of You 2. Lullaby 3. Lovesong Honorable Mention: Disintegration I can't deny the album's strengths (production quality), but I also don't view it as a pretentious attempt to elevate music (sonically) and it doesn't land as a result. It leaves me questioning what makes this album in particular worthy of being considered one of the best albums. I can't quite pin why this album isn't better than the sum of all of its parts, but with each part having standout features, the way it all comes together just doesn't appeal to me personally. Whether it's too drawn out or not versatile enough, I'm not someone who will just listen to an album because the people producing it produced it well. It'd be like watching a movie with a terrible plot but great cinematography. Disintegration is dark with emotional resonance. The drawn-out instrumentation do add to the cohesion presented throughout. Yet it fails to be captivating just by pure repetitiveness and absence of anything unique, I would expect of a five-star album. Perhaps it comes down to just not being my style despite the greatness I do hear, but it's ultimately for these reasons I give Disintegration by The Cure 3.5 /5 stars.

1001 Albums You Must Hear Before You Die: 13/1001 Don't take this rating seriously. The album didn't captivate me like Songhoy Blues did. Being in a foreign language with a acapella sound just doesn't connect with me, though the beginning tracks certainly weren't anything worth skipping. The groups vocals harmonize well, but the music is just fine overall. I'll give Shaka Zulu by Ladysmith Black Mambazo 2/5 stars with that in mind.

¯\_(ツ)_/¯ I'd work out to it

1001 Albums You Must Hear Before You Die: 15/1001 While I've heard the Beatles before (how could you not know With A Little Help From My Friends), I've never intentionally listened to one of their full albums. Sgt. Pepper's Lonely Hearts Club Band seems to have very favorable ratings, but isn't necessarily viewed by the masses as pinnacle Beatles. That stuns me because if this isn't the best they have to offer, I am absolutely thrilled to listen to more. It's undeniable how they changed music, I can say today they changed music for me. An early concept album, the opening track sets the stage for this ulterior band of which the original I already lack a level of familiarity with. The setting has the immediate feel of an orchestra warming up before a show as they then dive into a traditional rock sound that put a grin on my face. The crowd noise followed by the horns, *chefs kiss.* The seamless transition into With A Little Help From My Friends is so seamless and instantly captivating. If the first track wasn't a bit jarring to me in how different The Beatles would be comparated to what I expected, Lucy In The Sky With Diamonds solidified the unique, experimental sound I didn't know to expect... And I loved it! The album continues between these various pivots, with songs to come working in the context of the album. Each offers unique flair and sound, even if not mind blowing singles I'd play otherwise. This point is proven with She's Leaving Home which is an orchestral ballad with beautiful instrumentation. It's this song that sets the tone for the middle of the album and solidifies the genre bending nature that only makes the album more intriguing overall. It's not connected to the thematic outline introduced at the beginning of the album even if When I'm Sixty Four has some of those undertones the other songs almost intentionally defy. Though it all flows with recognizable patterns and melodically interesting music that, while not all interwoven, bring about a flow that makes the album engaging. The middle of the album feels more like a day in the life of, a journey undertaken by individuals that's brought to life through the instrumentation and the lyrics. Good Morning Good Morning perfectly encapsulating this idea. Ultimately, it's through these parts that sandwich the album, with the Reprise coming back through, theoretically bringing the show to a close. But it's the seamless transition to A Day in the Life that finally fills this role, bringing the alternate ego and daily monotony all together in one final closure--- well, a couple final closures within a closure. The song feels like two seperate pieces that play on each other embolic of Lennon and McCarthys unparalleled partnership. A masterpiece that ends only to begin again with a final statement only true artists like The Beatles could have made work. Podium (extended): 1. A Day In The Life 2. Lucy In The Sky With Diamonds 3. With A Little Help From My Friends 4. She's Leaving Home 5. Getting Better 6. When I'm Sixty Four Honorable Mention: Sgt. Pepper's Lonely Hearts Club Band (+Reprise) There are so many genuinely good songs on here. There are songs many tone strucks. There are songs many experimental elements. There's fun. There's culture. There's harmony. There's chaos. There's meaning. There's beauty. Cover to cover, it's creative and artful. It had me smiling throughout the day and was the best full introduction to The Beatles I could've asked for. It's for these reasons I give Sgt. Pepper's Lonely Hearts Club Band 5/5 stars.

1001 Albums You Must Hear Before You Die: 16/1001 If released today, the album could pass for a modern day indie release. It's a testament to the timeless nature of this album with its subdued sound and experimental sprinkles. It's quite warm in its exploration of the concept of love, but with lulls that feel less inviting and pushed me away. I had moments of intrigue, and moments of sheer confusion, and one moment of both. The various vocals and ebbing sound work really well conceptually and bring about the most unique aspect of the collection. Experimental flairs add life to the album, though the resonance varies for me. The versatility of the album helps set the tone for each track. While I think the album would struggle to stand out against a broader array of music more finetuned, for the 60s this is a masterclass that no doubt can stand on its own even today. Podium: 1. What Goes On 2. Pale Blue Eyes 3. After Hours Honorable Mention: The Murder Mystery & After Hours Overall, there are songs on the album that I could live without, others I'm glad I heard but won't be returning to, some that challenged my ears and stood out, and some overall keepers. It's definitely worthy of a listen, but not a full experience I could see craving on my own again, as the more lackluster and repetitive tracks lose me. My engagement level fluctuated tremendously throughout this album, and for these reasons I give The Velvet Underground by The Velvet Underground 3.5/5 stars P.S. Other than Chop Suey, what other songs does The Murder Mystery remind you of? It's been driving me crazy trying to place the spoken, overlapping vocals.

packed in. Interesting melodies, some meaningful lyrics, and an overall cohesive experience. With that, the albums a bit weird for sure, and it was a bit difficult to ease into even with the blend of production that makes the sounds initially stand out. It's electric, genre defining and hooky. There's a multitude of arrangements and undertones with enough instruments to match. It's flows perfectly from it's highs and lows, but there's nothing in here that stands out other than being a demonstration of the innate creativity Jack White possesses, but the intended effects didn't always land with me, such as the scratchy squeaky at Freedom At 21. Jack White is a talented artist, but it feels like he's always toeing the line of what is good music to listen to and making you just irritated wnough to turn it off. 1. Missing Pieces 2. Blunderbuss 3. I'm Shakin' Trash Tongue Talker Hip (Eponymous) Poor Boy While there's nothing in here that is unlistenable, there's nothing that really pulls me in to want to listen further. It blends elements of various styles I'm fond of, and you can really hear the influences shine through with creative spins that make the album work for Jack White. It's a cohesive and fun sound, amplified by rock, offset by soft, sometimes folky, blues that sometimes just don't measure up to be more than decent music. For these reasons I give Blunderbuss by Jack White 3.5/5 stars

1001 Albums You Must Hear Before You Die: 20/1001 There are probably numerous high intellect ways to describe what exactly Larkss' Tongues in Aspic is. If the name itself doesn't immediately confound you, the first track and each subsequent one will. There is no beat that maintains, no tempo kept, it's a constantly evolving album full of various sounds, beats, changes, melodies, and sometimes pure confusion. It's not an album you just throw on in the background, it's not one that has any song to grab you, but it's a collection of work that when fully engaged in you have no choice but to appreciate the artistic mastery within. In some ways it was more akin to listening to a stripped down orchestral performance. It was music brought to life without a picture to accompany it. There wasn't a story though, there was just persistent experimentation and trying new things. It works, but it's certainly not for everyone. I don't think any song here will ever make its way to my playlists. I can't even give a podium rating without doing a disservice to this body of work, but perhaps one day I'll pick it up again to continue identifying the various aspects, of which there are countless, once again. It's hard to track, a bit stretched out, beyond pretentious, but it's quite good. It's deserving of a listener who is only engaged in this album itself and not anything else. It necessitates it. If stepping out of the box is your thing, this is an album you would certainly appreciate beyond more casual listeners such as myself. I find myself at the most extreme crossroads of rating for raw talent vs. my own personal enjoyment, and the two cancel out to give Larks' Tongues in Aspic by King Crimson 3/5 stars.

1001 Albums You Must Hear Before You Die: 22/1001 What an iconic opening to set the tone for the album. My favorite part of this journey has been contextualizing the music I grew up listening. Hearing tracks like Tom Sawyer and Lime Light tucked between the stellar instrumentation of YYZ and hooky nature of Red Barchetta just amplified a love for the sound Rush captured here. The first half of the album is an absolute masterpiece of sophisticated lyrics, unique sound, and captivating, powerful music. Through the second half, I find less resonance, but was still enthralled with the cohesive quality that was constantly evolving and ever captivating. Podium: 1. Tom Sawyer 2. Red Barchetta 3. Limelight Honorable Mention: YYZ This is all the hallmarks of a good album and would improve any listening session. I think I gravitate towards the first half of the album out of familiarity, but it's so consistently good and cohesive throughout that any song on here is worthy of its own listen. I give Moving Pictures by Rush 4.5/5 stars for those reasons.

1001 Albums You Must Hear Before You Die: 22/1001 It seems so out of sync with each individual part of itself that it was difficult for me to enjoy. Technical, for sure. Demonstrating talent, duh. Produced excellently, no doubt. But all together, it felt like I was listening to a master saxophonist while my child was in the next room playing the snare drum my ex wife got him for christmas in an attempt to annoy me. Podium (forgone) I don't know, maybe I'm the problem. Maybe my ears aren't mature enough to understand this. It feels like an abstract piece of art the artist put a story behind to make it resonate. Like the marketing won while my ears didn't. As I read through other reviews people are attaching this theoretical meaning the artist wants you to have but that you'd never have without them. I don't know how that makes it good? I'm no jazz aficionado, but I've certainly heard better and enjoyed others. Maybe this is one of those genius pieces of work that come off so weird while making it seem so easy, like you could do it, while technically being a masterclass at what it does. Either way, it didn't land for me and I did not enjoy it whatsoever during any of my listens. I can't help but give this a 1.5/5 stars for those reasons.

1001 Albums You Must Hear Before You Die: 25/1001 I find the indie-pop sound with minor jazz undertones to be an extremely interesting blend that is broadly appealing to me. The songs on this album are full of life, with unique sounds and enchanting backing vocals that creates a full listen. It's so smooth and rhythmic in a really delicate way. I've listened numerous times, and with each one the songs become more full and meaningful. The first half of this album is an ideal opening for me. There are stylistic differences, such as the singing of the word 'appetite' on Appetite, but each song was unique and colorful. The second half is more mellow and relaxed, balanced by a weirdness that is mesmerizing and thoughtful. I don't like it as much, but songs like a Desire As build in such a beautiful way it's impossible not to like them. 1. When Love Breaks Down 2. Bonny 3. Goodbye Lucille #1 Honorable mention: Horsin' Around only because it made me think about Bojack Horseman. Overall, I found this album to be full of subtle characteristics that all compound to make a uniquely beautiful sound in an enduring way. Its enchanting nature provides a captivating and diverse listen. I give Steve McQueen by Prefab Sprout 4/5 stars.

1001 Albums You Must Hear Before You Die: 28/1001 This is more or less what I think of when I think of stereotypical Jazz music. I saw another review that stated Jazz sounds better live and a recording can't do it justice. I agree. I would be enthralled listening to this live. I still enjoyed listening to it here, but nothing can compare to the live sound of such a beautifully calming composition. For the period, the album is extraordinary even if it feels a bit more stereotypical to my modern ears. I still found it to be engaging and resonant. It's varied with captivating brass featuring fun trumpet, and warm sax. The beats evolve and each track has its own life. At tines the music runs with delight and at times it crawls with purpose. It's balanced and never dull. For these reasons I give Birth Of The Cool by Miles Davis 3.5/5 stars