I was 12 when Suzanne Vega's album was released in 1985, and at the time, its depth was beyond my understanding. I first noticed her music with the song "Luka" during high school. Now, over 40 years later, I have a newfound appreciation for songwriters and their craft. Vega's work reflects a strong folk and poetic influence characteristic of that era. Artists like Natalie Merchant paved the way for emotional and meaningful lyrical analogies, which Vega masterfully captures in her writing. I also recognize the influences from the latter part of the decade, reminiscent of Tracy Chapman, Edie Brickell & The New Bohemians, and Shawn Colvin, to name a few. I’ve reached a level of musical maturity where I can respect a piece of work even if it doesn’t align with my personal taste. This album falls into that category. I particularly enjoy the rhythm of "Straight Lines" and the guitar work in "Knight Moves."

I've always had a love-hate relationship with The Doors. I've never gone out of my way to put one of their songs on—I’ve just never felt the need. That said, under the right atmosphere, if a track came on unexpectedly, I could get into it. Then there’s the whole “Jim Morrison was a poet” debate. Honestly? Not for me. He’s always seemed more famous for being out of his mind on drugs and alcohol than for any real musical or lyrical brilliance. He’s no Dylan or Carole King, that’s for sure. I get why this album makes so many “essential” lists. Released during the Summer of Love, with a unique sound and no traditional bass player, it stood out in its time. But for me, it doesn’t hold up. Blame it on decades of “classic rock” radio recycling the same few songs endlessly, but I’m just burned out on most of this album. The only tracks I still enjoy are "Take It As It Comes" and "I Looked at You." For my taste, this is a 2-star album.

Top to bottom, this is an excellent album. The production is crisp and clean—no surprise, considering Tom Scholz practically revolutionized home music production with this record, crafting most of it in his basement. The layered harmonies and the clarity of each instrument make it a joy to listen to from start to finish. This isn’t the kind of album where you skip tracks—every song earns its place. While it naturally feels like a 5-star album, I reserve 5s for records that transcend pure listening pleasure and hit a deeper, more emotional or cultural level. That said, Boston comes incredibly close. It’s a sonic masterpiece that still holds up decades later. Rating: 4.5 out of 5 stars

I'll admit it upfront—I've never been an Iggy Pop fan. While I respect his place in music history and the influence he's had on punk and rock, his voice and tone just don’t connect with me. From the first track, I found myself struggling to stay engaged, and I barely made it through four songs before calling it quits. For fans of Iggy’s raw energy and signature style, this album may be a classic. But for me, it was a tough listen.

I had friends growing up in High School who listened to Sabbath. Wasn't always my thing but I respected them. After listening to this album I wish I was into them earlier on in my younger music life. Very listenable hard rock/metal verses some of the bands of today. Love the groove in St. Vitus. Has a punk edge to it. Lot of influences. Very solid album.

Terrible. Not sure out of all the music in the world that this was a must listen. Awful vocals

So good. Love mono recorded vinyl worthy boogie woogie blues. Can listen to it all day especially with a real piano and sax.

I honestly thought I wasn't going to enjoy the album as much as I did. At first I was like oh this one hit wonder, and realized he had 3 or 4. It definitely had that early indie vibe, post-punk sound. Who doesn't love "Take Me Out" on 10!

Masterpiece

One of the greatest hip hop albums of all time by one of the most innovative rap artists of our lifetime. Extremely minimal cursing, honoring other rap artists, collaboration, original, lyrical pioneers and you can dance to pretty much the whole album. Current day rappers are pitiful. They should learn their music history instead of singing about themselves, bitches and their money. RIP Phife Dawg

Unlistenable.