Sharon someone has been in my room and gave 5 stars to this iconic album in my room. 10/10.

Fun, avant-garde chaos. Not something I'd listen to again, but I get why it was a breath of fresh air back then. 7/10.

A truly amazing live album performance and a real pleasure to listen to. The band plays as smooth as butter. Solid 9/10.

Beautiful, Timeless, relaxing, I have no better words. 9/10.

Not really my kind of music, but the album does have some undeniable classics like Goodbye Yellow Brick Road, Bennie and the Jets, and Saturday Night’s Alright for Fighting (my personal favorite). It deserves its spot on the 1001 Albums list, but I wouldn’t listen to it again. 7.5/10

Great listen, an album with a lot of soul. A perfect folk record, worthy of the 1001 Albums of All Time. Sounds like it was made in the future using old recording equipment. 9/10.

Great for its time, though difficult to assess by modern standards. A respectable piece of jazz—well-crafted but somewhat tame. Standout songs for me: Midnite Blue & Splanky. 8/10.

An intriguing concept—melding Brit-Pop, Indian music, and dance-pop—but the execution doesn't quite land. The vocals lack energy, and several tracks just don’t hold attention. That said, there are glimpses of promise, especially on “We’re in Your Corner.” & "Candyman". If you're into an Indian-tinged, danceable pop sound, give Peter Cat Recording Co.’s Memory Box a spin instead. 5/10.

Some great tracks on this one, though I'm not typically a fan of this era's style. I thought it was a good listen overall, but I did miss those big highs. The chord progressions felt a bit repetitive at times. Still, it's a solid experience. 7.5/10.

Let me start by saying these kinds of reviews are a depressing reminder of how closed-minded people can be. “Oh, good music isn’t being made anymore” — what nonsense. It’s fine to dislike a sound, but calling it “the downfall of music” just because it’s not your taste? That’s ridiculous. Take a look at yourself. That said, this is undeniably an influential album — it just doesn’t fully click for me personally. I enjoy some Frank Ocean tracks like Novacane & Pyramids, but a full album of his style starts to feel a bit monotonous. The lyrics are strong, great singing vocals, the beats and instrumentals are excellent, but his calm, talky rapping style just doesn’t fully work for me. It absolutely deserves its place on the 1001 Albums list, but as a complete listen it’s not my thing. 7.5/10.

Incredible listen with so much energy and amazing vocals! The instrumentals are fantastic – it blends Folk, Rock, and Pop seamlessly. I absolutely love this album and will definitely keep it in my rotation. Joni Mitchell truly stands out as one of the best! 9.5/10

Great listen overall—an experimental mix of electronic sounds, guitar, and edgy vocals. I was ready to give it 4 stars, but the track Closer really put me off. I don’t mind edgy vocals or provocative lyrics, but this one pushed it a bit too far. It started to feel reminiscent of those 2009 bowl-cut kids, and not in a good way. Still, a solid 7.5/10.

I enjoy folk music, but this album feels too slow and monotonous to hold my attention. It works better as background music for drifting off to sleep, and no individual track stands out. That said, I respect the cohesion and consistency across the album — it’s clearly well thought out and flows as a complete work. For that reason, I’m bumping it from 2 to 3 stars. 6/10.

An incredible listen. Running up the hill on it’s own is a 5/5. I would recommend this to everybody! 10/10.

U2 has a distinct, classic sound that absolutely earns them a spot on the 1001 albums list, even if it’s not really my style. ‘Two Hearts Beat as One’ and ‘Like a Song’ stand out enough for me to give it 4 stars. 8/10.

The bass drives this album with a tight, funky groove that gives every track serious energy. Layered with Duran Duran’s signature 80s sound, it hits that sweet spot between nostalgic and fresh. It’s polished, fun, and keeps you hooked from start to finish. Definitely worth a replay. Solid 8.5/10.

Great start with You Told Me, but the album loses steam fast. Most of it feels flat, with little passion or originality behind the performances. You can tell the band had real talent, but the record sounds like it was shaped more by label expectations than genuine inspiration. It’s competent, but rarely exciting, the kind of album that plays it safe instead of taking risks. 6/10.

I’ll start with this: I know about his misdemeanor, and I don’t know much else about Ryan Adams. I’ve never watched an interview, never been to a show. But his apology for sexual misconduct and the accusations against him are enough to make one thing clear—he’s not a good guy. So, fuck you, Ryan Adams. Now, about the album itself: it’s a surprisingly relaxing listen. Tracks like Amy and Bartering Lines stand out with their calm, soothing feel and beautifully understated instrumentals. Stripped of context, I’d probably give this a decent 3 stars. But I can’t separate the music from the man entirely + Sweet Lil' gal (23rd/1st) was the worst closing track I have heard in a long time. 6/10.

I’m generally not a fan of electronic music (with some exceptions), so it’s hard for me to rate this fairly. That said, it feels like it was probably way ahead of its time and clearly influential on later Jungle/D&B. I found it really relaxing to have on while working, though I’m not sure I’d sit down and listen to it as the main activity. Also, the Mario Kart comment was spot on and actually made me laugh. Tip: make sure you’ve got the right album. The one on Spotify is not the same as the one on YouTube. Personal rating: 7/10.

I really want to like Elton John as a fan. Funny thing is, sometimes I actually do. Tiny Dancer is a classic, Madman Across the Water is great, and Indian Sunset feels almost like a film score. Still, a lot of his albums drift into background music for me. That said, this one stands out... probably my personal favorite of his. By the way: Rocketman is a better film than Bohemian Rhapsody… fight me. Elton, I love you for who you are — a true legend — and this album earns a solid 8/10.

Dusty in Memphis is polished to perfection. The production is tight, the arrangements smooth, and everything is done with real craftsmanship. But the truth is, only one track really sticks—Son of a Preacher Man. That song is an all-time classic, five stars without question. The rest of the album feels more like refined background music. It’s good, but it doesn’t leave much behind once it’s over. A lot of 60s records had this issue—aiming to perfect the sound rather than push boundaries—and this one falls into that camp. A very respectable album. 7.5/10.

Classic dad rock or not, Hotel California doesn’t deserve the level of hate it gets. Sure, the title track has been played into the ground, but dismissing the Eagles outright is lazy. This is a tight, polished record, and the craftsmanship is undeniable. The harmonies are gorgeous, the playing is sharp, and the production is spotless without feeling sterile. Songs like Life in the Fast Lane show the band’s edge, while New Kid in Town highlights their softer, more melodic side, and that one in particular could pass for Steely Dan. I wanted to give it 5 stars but the album really lost me because of the last few songs (I am talking about you Try and Love Again!) It is still a piece of classic rock history. 8/10.

I can hear how much this album fed into new wave. Some tracks really catch my ear, but then something like Little Triggers comes on and I can’t stand it. His singing feels like a fake accent, almost like he’s mocking someone, and it completely kills the mood for me. This is the first Elvis Costello record I’ve sat through, and honestly I don’t get how he’s got half a dozen “essential” albums. That said, taken as a whole, the record holds together fine. It’s just that the vocals grate on me in a way I can’t ignore. 7/10.

Pink Moon is simply beautiful. At just 28 minutes and 5 seconds, it feels almost too brief but every second counts. A flawless 10/10.

This album is all over the place and I love it. The vocals kill, the instrumentals keep flipping every 30 seconds, never dull for a second. Cold War nails how sharp the composition is, and the vocal run at the end of BaBopByeYa is the cherry on top. Janelle’s performance is unreal. Easy 9.5/10.

This really is a mixed bag of experiments. That comes with positives and negatives. The perfect song to describe it: Novacane. The first 3 minutes were amazing I even threw it in a few playlists but then came the most annoying synth solo I’ve ever heard. Straight up sounds like Human Music from Rick & Morty, only blasted to volume 10 and actively making my tinnitus worse. This album honestly had 5-star potential. Tracks like Hotwax, Jack-Ass, and Where It’s At are proof of that. But then some songs drag it down into 3–4 star range. Rating this was tough, but I landed on 4 stars due to having cool album cover art. I respect the creativity, even if I’ll never agree with that Novacane solo. 8/10.

Sharon someone has been in my room and gave 5 stars to this iconic album in my room. 10/10.

I love Iggy, but this is early days and you can still hear it. The vocals can be grating at times, especially if you’re used to what he pulled off in later projects. What really works here is the energy, the saxophone, the looseness, the sense of fun. It’s messy but influential, and what they did for the genre can’t be overlooked. Overall, it lands at a solid 7.5/10.

An edgy sex addict and alleged offender, he writes like he thinks abuse is bad while clearly fetishizing it. The contradiction drags the whole album down. There are a few decent moments, but they’re buried under self-indulgence and hypocrisy. I can’t give this more than 2 stars. 5/10.

I went into this album not knowing the artist or what to expect, and it completely blew me away. At first, I thought it might be a classic soul record (which I love), but it turned out to be something more unique. The sound feels like a fusion of Daft Punk and Radiohead. The lyrics are incredible, balancing humor, warmth, and warning in equal measure. “Yoshimi Battles the Pink Robots Pt. 1” especially stands out it’s playful, relaxing, and oddly profound. The whole album has this rare quality of being both comforting and having a message, like it’s in on a joke but also pointing to something bigger. This is a definite five-star listen for me. Easily a 9/10.

Led Zeppelin II is a rock powerhouse, a record every music fan should hear no matter what genre they usually live in. “Whole Lotta Love,” “Heartbreaker,” and “Ramble On” are tracks that flip a switch in your brain and make you feel alive. The riffs are massive, the groove is undeniable, and the energy is untouchable. That said, I can’t give it a perfect score. Robert Plant’s voice is legendary and gives the band its edge, but stretched across a whole album it starts to grate. The highs are insane, but the experience as a front-to-back listen doesn’t fully land for me. 8.5/10.

Starting off with Street Life? Not fair. Automatic 5 stars. That funky bass kills, the jazzy backing textures lock in, and Randy Crawford’s voice seals it as pure soul. This isn’t background music, it’s music that demands attention. People who call instrumental grooves “elevator music” aren’t listening, they’re just waiting for a hook spoon-fed to them. Go back to radio pop if you can’t handle it. This track proves soul isn’t just about vocals; it’s about feel, groove, and presence. 9/10.

I couldn’t get into it. The tone shifts too much between songs. The opener was solid, and Loaded stood out, but the rest didn’t land for me. I get that it’s influential, so I can’t go as low as 1 star. I’ll give it 3. It’s fine, just not for me. 5.5/10.

The perfect embodiment of a 3-star album. 7/10.

It feels overhyped. At its core, it’s RUN DMC with a guitar track layered on top. That’s not to say it’s bad... there are undeniable highlights like Fight for Your Right, No Sleep Till Brooklyn, and Brass Monkey. Those tracks still hold up as fun, raw bursts of energy. But as a full album, it doesn’t quite deliver. The consistency just isn’t there, and too many cuts feel more like a novelty than something with replay value. As someone who genuinely loves hip hop, I respect the influence, but I can’t pretend it fully clicks with me. Solid moments, weak stretches, overall just okay. 6.5/10.

“Hallowed Be Thy Name” and “Run to the Hills” alone cement this album’s status as a cornerstone of heavy music. Paired with Derek Riggs’ unforgettable cover art, it’s a masterclass in both sound and visual identity. Still, it falls short of perfection. Certain vocal moments don’t land, and there’s an intangible spark missing that kept me from giving it a full five stars. Whether that’s down to the mix or just the listening environment, the result is the same: powerful, but not flawless. 8/10.

Great storytelling and probably an influential album for grime. The cover is excellent. It has some good highlights like Ladies hit squad & Corn on the Curb but it also has some lows like That's not me. I like that this list highlights less popular genres too. I don’t think this deserves anything under 3 stars, though my personal taste leans more toward melodic and more instrumental rappers. Factoring that in, 3 stars feels right. Solid 7/10.

It blows my mind that this album doesn’t score higher or even get a fair chance with some people just because it’s Hip Hop. I see this bias a lot on this site. Sure, personal taste plays a role, but when the top reviews clearly undervalue it, that’s not just taste, that’s bias. Now, the album itself: this is melodic hip hop at its finest, and you can hear her R&B roots woven into the sound. The feature list is massive: Method Man, Ludacris, JAY-Z, TLC, Beyoncé, 50 Cent. This record was built to stand among the 1001 albums that matter. The production is loaded with sharp sampling and mixing, pulling from legends like RUN DMC, Public Enemy, and Blondie. Missy Elliott is a powerhouse in hip hop. This album proves it. For me, it’s at least a 4-star record. Solid 8/10.

Never heard of The Pharcyde before today, and I’m impressed. The flow is smooth, the energy is playful, and the group doesn’t take itself too seriously, which makes the album stand out. The cover art is fantastic, and tracks like I’m That Type of Nigga, Soul Flower, and Passing Me By really shine. What hooked me most is the instrumentation. The use of piano, trumpet, and saxophone brings a jazzy, live feel that keeps the record fresh. Hip hop often leans too heavily on repetitive loops, but these touches prevent the music from getting stale. You can already hear the blueprint for modern jazz rap in several tracks. That said, the album does run long. Some songs feel like filler, and trimming them would’ve made the record even stronger. But that’s a common issue in early 90s hip hop, where albums rarely stopped at 10 tracks. Overall: a playful, inventive, and musically rich record. A 4 star record in my books. 8/10.

I wasn’t in a good mood before putting on Getz/Gilberto, and now? I am still in a bad mood haha. But for those 39 minutes and 21 seconds, I felt completely at ease. Smooth, timeless, and effortlessly beautiful classic. 10/10.

I love and respect The Beatles, but this is the one I rank one of the lowest. Not because it’s bad, but because it’s just a bit boring compared to what comes later. It feels like the pre-experimentation era, before drugs really started shaping their sound. I can’t rate it higher than 3 stars knowing the masterpieces that follow. (Love your Ringo!) Still, it’s The Beatles, so even one of their weakest gets a solid 7.5/10.

FREEEEEEZINNNNNN… after that I cannot understand a single lyric, ayeyeaaa! One of the best grunge anthems ever written. Eddie Vedder’s howl carries it all, and he proves why he’s one of the best frontman the genre produced (bonus points for still being alive). 8/10.

Stevie Wonder didn’t just make music, he rewrote the DNA of soul. It feels like he traded his sight for the ability to see deeper into sound and emotion than anyone else ever has. His classic run of albums is untouchable, every one of them a 5/5 listen. The harmonies, the soaring vocals, the compositions that feel both intricate and effortless… there’s nothing to pick apart. Stevie is the gold standard of timeless artistry. And sure, the hairstyle might get him compared to the Predator. See Exhibit A: https://images7.memedroid.com/images/UPLOADED429/5c380f525f234.jpeg but let’s be real, the Predator wishes it had Stevie’s catalog. Classic Stevie Wonder is perfection, plain and simple. 9.5/10.