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.
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.
This album kicks off strong with “Cecilia Ann,” a track that had me hoping the rest would ride that same wave. Unfortunately, the second song derailed it for me. The vocals just didn’t land and pulled me out of it. “Velouria” managed to bring the energy back, but after that things started to blur together. It’s fun, and there are definite highs, but too much of it fades into the background. Solid, not stellar. 7.5/10.
A standout soul album with smooth grooves, silky vocals, and a bassline that pulls you in. The rock-influenced guitars and punchy drums add extra edge, making it more than just classic soul. A perfect entry point for anyone curious about the genre. 9/10.
A mixed bag. You get good songs like Zürich Is Stained with some great guitar work & Fame Throwa is a real jam, but then you also get straight up annoying stuff like Conduit for Sale!. That balance makes the record uneven. It works in places, but it also drags. Bonus points for some great album cover art. 7.5/10.
Solomon Burke’s music might sound dated by today’s standards, but his voice remains undeniable. He had a gift for delivering raw emotion with power and grace, the kind of voice that could carry any song regardless of the era’s production choices. Tracks like Can't Nobody Love You and Cry to Me stand out as timeless showcases of his range and soul. Listening now, you can’t help but wonder what his music would have been like if he had come up in the 2000s, where modern soul and blues revival production could have given his voice a fresh canvas. Still, this album holds strong as a piece of classic blues and soul history. 8/10.
It might be plain, but I like the vibe. It’s relaxed, built on clean sounds, and easy to sink into. Does it deserve a spot on the 1001 Albums list? Hard to say. Honestly, there are probably a few records on there that deserve it even less (looking at you, Kid Rock). It has a simpler, stripped-back Oasis feel, which works but never really pushes further. In the end, it’s another perfect 3-star album: enjoyable, not essential. Solid 7/10.
One of the most iconic vocalists in history, but also an outspoken and grounded character whose presence carried into her music. Four Women stands as a striking example of her storytelling, a dramatic piece that escalates with purpose until its unforgettable ending. Lilac Wine is the opposite in tone, fragile and haunting, capable of giving goosebumps with every listen. Nina Simone’s music is timeless—these songs could be released in 2025 and still resonate with the same impact. 10/10.
Another soul classic. I might be biased in my rating since I’m such a big fan of soul vocals. Like Miles Davis said: “White musicians seem to learn from the written page; Black musicians play from feeling and memory.” I fully agree though of course there are exceptions.
The album itself is just great a true no-skip record with soul staples like Papa Was a Rollin’ Stone & by far my favorite song on the album Mother Nature, those vocals are just out of this world. The opener pulls you straight into the groove, Run Charlie Run keeps that energy alive, and then Papa Was a Rollin’ Stone hits with those legendary lyrics. And all that in 1972, it is timeless. This is a 9.5/10.
Good harmonization, but it doesn’t live up to the supposed mega-collab hype. Solid, not spectacular. For a country album, it’s got a more colorful vibe than most, but the genre’s still a snooze. (Not talking about you, Cash, Jennings & Nelson.) 7/10.
Megadeth has some of the coolest artworks, I really love when the artist puts in effort into the album cover / marketing. The music itself: FUCK YEAH 8.5/10.
Never heard of this album before, but I’m glad I found it. The songs are insanely catchy, the songwriting is sharp, and the vocals have that perfect 90s feel. The album art is iconic and fits the vibe perfectly. Overall, it’s a genuinely enjoyable listen from start to finish. 9/10.
I don’t get why a cover album made it onto the 1001 Albums list. In terms of originality and impact on the music industry, it’s a 2-star effort at best. But credit where it’s due she’s a damn good singer. I can’t go lower than a 7/10 for the performance alone.
Man, I really want to love this album, but it just isn’t clicking with me. I just can’t fully get into indie music yet. I can tell there’s something special here, though, and with more time and the right mindset, I think it’ll hit harder. For now, I can’t give it higher than a 7.5/10. I’ll come back to this one when I’m ready for indie.
A one-trick pony that doesn’t even nail the trick. 6/10.
What a great opening track, straight into it. "Epic" is a great track that I knew before listening, but I never really connected it with Faith No More. It does feel a bit out of place though, since it slows down the momentum after the killer start from "From Out of Nowhere".
As a vocalist, I have to be honest, I really don’t like the whining vocals. It’s a fun gimmick, luckily this was only really a thing at the beginning of the album. It really sounds like something that came later in the 90s, so they were probably ahead of their time and shaping that new sound before anyone else. "Woodpeckers From Mars" has such cool instrumentals. Great energy, great tone. And that album cover? Fantastic. 8.5/10.
The first time I heard Rhythm Nation, I was blown away. It felt bold, unified, and unstoppable. On a second listen, it still holds up as an iconic statement, but the momentum starts to drag a bit. The songs are strong individually, yet the album’s nonstop intensity and similar production textures make it feel a little repetitive front to back. It’s still a landmark in pop and R&B, just one that works better in moments than as a full straight-through listen. Dropping my score from a 9.5 to an 8.5 feels right.
The absolute peak of reggae, really the perfect album to just sit and stare at something for 37 minutes and 27 seconds. 10/10.
Iconic cover. Legendary influence. Blue Lines basically invented trip hop, and it still sounds fresh for something that dropped in 1991. The production is dark, slow-burning, and full of atmosphere. Hip-hop, soul, and dub all mashed into something that didn’t exist before.
"Safe From Harm" opens the album perfectly. Heavy groove, smoky vibe, total statement of intent. "One Love" doesn’t hold up as well; the vocals feel flat. "Blue Lines" pulls it back with a smooth, almost jazz-rap flow that fits the mood perfectly. "Five Man Army" slows things way down, maybe too much. Not bad, just kills the energy a bit. Then you hit "Unfinished Sympathy," and the whole thing levels up. That song feels like it came from the 00's.
The album isn’t perfect, but it changed the game. It laid the foundation for everything that came after. 8.5/10.
Never heard of the Yeah Yeah Yeahs until now. Of course, I knew "Heads Will Roll," but I never connected it to them. This album feels like the definition of an 8 out of 10. It’s really good, and I can hear how it influenced some newer artists. I’d listen to it again, just not anytime soon. Solid 8/10.
And am I crazy, or does "Skeletons" sound like a Kate Bush track?
A groundbreaking blend of art rock, proto-punk, and experimental noise that paved the way for countless alternative and politically charged artists. The Velvet Underground & Nico reshaped what rock music could be raw, confrontational, and unapologetically weird. The iconic Andy Warhol banana cover is as legendary as the music itself. I can’t give it a perfect score because of tracks like “The Black Angel’s Death Song,” which just grates on me. Still, it’s an undeniable classic. 9/10.
Brazilians are criminally underrated in the global music scene. Artists like Jorge Ben Jor, Antônio Carlos Jobim, João Gilberto, and now Milton Nascimento & Lô Borges prove how deep and timeless their artistry runs. Clube da Esquina feels completely authentic, the album cover perfectly mirrors the music inside: intimate, personal, and full of soul. The singing is beautiful, the compositions are rich and unpredictable, and the instrumentals are stunning in their emotion and subtlety. It’s small in scale but huge in feeling. 9/10.
"Little Wing" must have been a gift from God, because yeah, the album on its own is already great, but the moment "Little Wing" comes on, you just feel something shift. It's pure musical perfection, from the laid-back guitar opening with that smooth drum roll to the raw voice cracks in Jimi Hendrix’s vocals. The rest of the album holds its ground with highs like "Spanish Castle Magic," "One Rainy Wish," and "Bold as Love." Just a strong, inspired record exactly what you'd expect from the guitar god. 8.5/10.
Though country as a genre often feels dull and uninspired, Johnny Cash proved its true power with one of the most emotional, funny, and electrifying live albums ever recorded. At Folsom Prison isn’t just a performance; it’s a raw, honest conversation between an artist and his audience, stripped of pretense and full of soul. This was the first album I ever bought on vinyl, and I don’t regret it for a second. 9.5/10.
The first half of the two hours is fantastic. "My Sweet Lord," "Wah-Wah," and "Let It Down" are absolute standouts. The album cover is iconic, and the vocals are strong, even if George Harrison never quite matched John Lennon or Paul McCartney in that department. The second half still holds up, but trimming the runtime to around an hour or so would have made it a flawless record. As it stands, it’s a brilliant, slightly overstuffed masterpiece. 9.5/10.
Some of these guitar sounds feel like they came straight from the future, especially for a band from 1977. The lyrics and vocals aren’t particularly unique, but the guitar work alone makes this an album every music lover should hear. The opening drum roll on "Torn Curtain," paired with that eerie, almost haunting guitar, is pure originality. "Marquee Moon" is one of the highest-rated tracks on this site, and it absolutely earns that praise.
I’m torn between a 9.5 and a perfect 10, but for now, I’ll give it the benefit of the doubt and call it a 10/10.
At first I thought the opening was amazing, such a funky bass line, but nothing really happens after that. "Chic Cheer" just keeps going without much progression in the instrumentals or vocals. "Le Freak" is a classic, though I’m not a fan. Solid disco album overall though almost all songs could have been shorter especially "At Last I Am Free", but there are funkier records from that era. 7/10.
Call me a performative male cause this shit slaps. 10/10.
She's Lorde yadayadaya this album is great yadayada yadayada Supercut is a great song yadayada.
Autotuned:
What a great album cover, really fits the whole vibe. First time listening to a full Lorde album and yeah, she’s as good as everyone says. "Green Light" is such a perfect opener, "The Louvre" and "Liability" hit softer but stick with you, and "Supercut" just nails everything she does best. Great record. One of the best of the 2010s. 9/10.
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.
A date with The falling asleep halfway through the album even though it's only 27 minutes long. 6/10.
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 Iconic Jazz album, though I prefer different styles. 8.5/10.
Great album cover art. I love The Smashing Pumpkins, but two hours is a stretch. Almost no band can fill that much time without slipping into repetition. “Mellon Collie and the Infinite Sadness” and “Tonight, Tonight” are perfect openers that flow beautifully together. The guitars carry the album hard, while the lyrics sit in the background and don’t do much. His vocals start to wear thin after about an hour. If this thing was trimmed down to an hour with tracks like “Tonight, Tonight” and “1979,” it could’ve been a 9 out of 10 or higher. As it stands, solid 8 out of 10.
This album sounds like it was sung by some random crackhead warning that aliens will destroy Earth if you don’t hand over a dollar, and somehow I fucking love it.
Every song feels like he’s bleeding emotion through his voice. "Earth Died Screaming" and "Who Are You" are so raw with painful energy that feels completely real. The way he experiments with his vocals is wild, like Johnny Cash on shrooms. There are a few misses like "The Ocean Doesn’t Want Me," but even that track still adds to the weird atmosphere. It’s chaotic, emotional, and unforgettable. Easy 8.5 out of 10.
Imagine by John Habibi Lebanon.
"Aalach Tloumouni" kicks things off with a fun pop edge. The cover does its job. The photo is simple but the colours and typeface give it character. The Imagine theme fits the peace message, even if people love to hate on it.
"Trigue Lycee" and "Ya Aachkou" were the surprise. A funky bassline under Arabic vocals should not work this well but it does. Then "E'Dir E'Seeba" drops in with a full disco pulse that is just flat out fun.
The album drags a little at the end. That might be from not understanding the lyrics or some songs blending into each other. Still, it is an underrated record and the bias by some does not help. 7.5/10.
Love the rolling stones as icons but most of their early music is just meh. 7.5/10.
Why are 80s synth pop vocals always so monotone and sung through a megaphone.
Even though I get why Depeche Mode is influential and I respect what they did, the whole synth pop thing just never clicks for me. The vocals always feel too tacky. "Never Let Me Down" works for me, but the moment it moves into something like "The Things You Said" I lose all interest. "Strangelove" hits the right spot with that groovy bassline before it shifts into the more synth heavy sound. "Sacred" starts strong and then turns into the same familiar synth pop texture that I just cannot fully get into. They are good songs and the craft is obvious, but nothing really sticks for me. When a genre is mastered this well, the songs can end up feeling too similar. "I Want You Now".... stop moaning in my ear, thanks! You know those very specific sounds that make your whole body cringe; The knife scraping a brick sound in "To Have To Hold" is that exact sound for me.
Still, the album is great. They knew exactly what they were doing, and even with my bias against synth pop I cannot go lower than an 8/10.
It's warm and peaceful but at the same time not a single song stuck with me. I normally don't agree with the critics but Pitchfork says it perfectly: "Röyksopp are, ultimately, too beautiful to hate and too harmless to really love." 8/10.
If bipolar were an album standard, this one nails it.
You get a sharp track like "Junk" sitting right next to something as forgettable as "Valentine Day". The writing swings from sharp to straight FIRE like "Talk like a baby golly golly golly golly goo-goo-ah".
The cover is the real standout. Clean photography, strong idea. Then you hit "Kreen-Akrore" and wonder what Paul was thinking.
The highs are real highs. The lows tank hard. Still lands at a steady 7.5/10.
“Hurt” is probably the most painful song to sit through. The ache in it, the nostalgia, the entire story around it, all of it comes together as one of the clearest expressions of human misery and sadness. Cash delivered something that cuts straight to the bone.
He proved you can take a covers album and make it feel alive, raw and completely your own. “Personal Jesus”, “Bridge over Troubled Water” and “Hurt” show exactly how he did it. The first part of the record hits harder than the rest. Beginning with the two strongest tracks sets a level the rest cannot quite reach.
In the end this album works as a final gift from Johnny Cash, a man many had written off long before this moment. Rest in peace Mister Cash.
8.5 out of 10.
People are going to hate this take but the vocals drag the whole thing down.
The instrumental work does the heavy lifting. "The Perfect Kiss" has that almost Boney M Rasputin groove and it actually goes hard. "Sunrise" is the obvious highlight with clean, memorable guitar work that sticks. "Sub Culture" is a mess. The vocals sound half asleep and the backing track doesn’t bother to wake them up. The whole thing just lies there. "Face Up" is even worse. The vocals are straight up out of tune and I genuinely don’t understand how people rate it that high. That track alone drops the whole album another point for me.
The album has real sparks of brilliance and plenty of ideas worth taking notes on, but those eighties vocals feel lazy and end up holding everything back. Solid record that never fully lands. 7/10.
Neil Young sits comfortably among the top folk artists, and somehow also earns a spot as one of the weakest folk vocalists out there.
The irony works in his favor. The voice might be rough, but the songwriting is undeniable.
This album carries some of his strongest folk cuts. "Down By The River" is iconic, the harmonies are tight, and you can hear exactly why Crosby, Stills, Nash & Young exploded once they joined forces. The guitar work on this album is great, such simplicity but with so much feeling and soul. The record holds its ground from front to back, but it never fully lands that knockout moment. A track like "Running Dry" tries to be haunting but never really breaks new ground.
Neil Young is absolutely one of the greats. This album is iconic, no question, but he’s put out work with more weight and more staying power. Solid, memorable, but not his peak. 8.5/10.
Black Francis reminds me of our dutch national hero Frans Bauer:
https://www.wablieft.be/sites/default/files/styles/max_size/public/media/images/6%20Frans%20Bauer%20copy%20universal%20music%20I%20DeGreef.png?itok=fC-uYtPQ
Very high intensity album that lasts more then an hour, overall the album is very strong! The bassline on "Freedom Rock" really stood out to me, very fast, dirty and heavy. The mix of slower songs and out of nowhere a speedy rock song is great. Why does "Big Red" have a score below an 8.0, in my opinion it's one of the most fun songs of the album. Overall an 8.5/10.
"Cicatriz ESP" felt exactly like getting abducted by jazz playing aliens in the sewers.
The album cover hooked me before I even pressed play, and the music lives up to that first punch. The guitar on "Son Et Lumière" is so sharp and hypnotic that I faded straight into "Inertiatic ESP" without noticing.
This is Emo Rock with actual bite. People call it "Panic At The Disco but good" in the comments and it fits. The vocals go high, dramatic, and huge. You can hear how bands like "Nothing But Thieves" could have been inspired by them.
A confident record that never loses its grip. 9/10.
A hugely influential album that shaped the future of electronic music. I get why it matters, but it doesn’t fully work for me. It's great as solid background sound, but I can’t stay locked in for more than an hour. The legacy is undeniable, but I’m rating it on my own taste, not on its historical weight. Strong record, just not one I love. 7.5/10.
Aretha Franklin, one of the most powerful female vocalists in history. Her voice is soothing, relaxed and absolutely powerful. Nobody else sounds like her. The songs here aren’t always the most adventurous or groundbreaking, but she refined Southern Soul to the point where even a plain tune turns into a masterpiece the moment she opens her mouth. Highlights on this album are "Chain Of Fools", "Nicky Hoeky", "A Natural Woman" and "Ain't No Way" (my personal favorite) which gives me goosebumps every single time.
She will forever be missed. One of the greatest of all time. 9/10.
The Flow on "King Kunta" turns me into liquid.
I mean one of the best Hip Hop albums of all time. His lyrics are the strongest, his vocals are great and split across multiple personalities. The soundwork is nuts with songs like "U" hitting hard with those chaotic drinking effects. The jazzy instrumentals fit Kendrick’s style so well that everything he does just moves. Some highlights are of course "Alright" which might be one of the best Hip Hop songs ever, "Wesley’s Theory" which is a great opener, and one of my personal favorites "I" with instrumentals that make you dance against your will.
Overall this album deserves to sit in the top list of all time. The only reason I can’t give it a 10 is pure personal taste in vocals, with tracks like "For Free? Interlude" and the beginning of "U" taking me out of it even though I get the meaning and why he goes for that sound. I base these reviews on feeling. Still a 9.5 out of 10.
"Scarborough Fair / Canticle" makes me want to die an honorable death trying to save the princess.
Paul Simon and Gart Funkelbunklekadunkle or was it Fart Garkunkle or Bart Gartuncles or Bart Lartbrukel or maybe klart startwartmartfunker. None of that was funny and I know it, but the man deserves a medal for surviving childhood with that name. Jokes aside these two are legends. The harmonization they hit on "Scarborough Fair / Canticle" is straight up magic. They had stretches where they were way ahead of their time while still sounding very sixties. The album isn’t perfect though. Some tracks are dated and some are just boring. "The Big Bright Green Pleasure Machine" feels like a cookie cutter sixties track that never wakes up. Solid 8 out of 10.
Yes give me more 10 minute songs!
With only 3 songs you get the full quality of what Yes could do in their prime. Big organ sounds, sharp rhythm work from the drums, guitar parts that cut through without showing off and a bass line that refuses to sit still. Slaps, runs, weird accents, all of it. For early 70s rock this is absurdly tight.
"Close To The Edge" feels like five or six ideas smashed together in the best way. Great lyrics, sharp shifts from loud organs to slap heavy moments to bright synth lines. It never drags. It just keeps unfolding.
"And You And I" opens soft with that calm guitar part, then drops in those strange talk box textures and warm synth layers. It stays peaceful but never boring.
"Siberian Khatru" hits immediately. Funky bass, fast riffs, synth and guitar parts that almost sound like trumpets.
The whole thing shows why Yes had such an impact. A lot of these sounds are still copied today. Strong album. 9/10.
Why is bro staring at me?
Overall It's a solid Reggae album, but definitely not Bob Marley's strongest. There are iconic tracks like "No Woman No Cry" and some really groovy ones like "Them Belly Full," but nothing that keeps me coming back. 8/10.
One of the looser, more alive albums of the 50s. Most records from that era feel locked into their lanes, but Louis Prima cuts through all that. He is not reinventing anything, he just attacks the material with so much fire that it feels fresh anyway. The album cover sums it up in one shot. Loud, goofy, full of motion. Outdated in spots, but still a genuinely fun listen. Solid 8/10.
The only Jurassic (park) where the bars actually worked. (GET IT GET IT!!!)
Great albumcover, great opener on their spotify description: "Though there's actually six of them, Jurassic 5 got everything else right on their self-titled debut EP." and some solid 2000's Hip Hop. Some really solid bass lines on this album with songs like "Freedom" and "Break" getting carried by the bass. Overall great vocals and lyrics, it really feels like the inbetween era of 90's rap and 00's rap, with a lot of flows giving me NAS & Wu Tang vibes but with 00's instrumentals.
"A Day At The Races" relax man, what a perfect high tempo Hip Hop song, the vocals on this with some switches to even faster tempo's, really got me wondering how I didn't know about these guys. Some really great features on here like Nelly Furtado with the most catchy song on the album "Thin Line".
Overall a fun listen! 8.5/10.
I went into this scared of the worst vocalist in history, but came out very impressed.
But for real I really wasn't going into this album with a smile, I listened to 3-4 older Bob Dylan albums in the past and it felt like the worst experience, but this opened my eyes for this guy. The lyrics are always great with Bob I never denied this but the more high tempo bluesy feeling with the electric guitar made it a really really enjoyable listen. The openingtrack "Subterranean Homesick Blues" got me into the vibe straight away. The one thing I will never get behind though is the damn Harmonica, there are few instances that I thought it enhanced the song. "Mr Tambourine Man" is a classic and songs like "Outlaw Blues" might be simple blues songs, they are executed clean and confident. Overall I am pleasantly surprised by Bob The Master Of Bad Vocals Dylan. 9/10.
Great album cover artwork. Strong jamming throughout. Overall, a fun record that feels like The Rolling Stones had a baby with The Allman Brothers. Some tracks do not offer much depth, but others, like “Who Do You Love – Pt. 2,” really shine as perfect, loose, jam-driven songs. It is an enjoyable listen from start to finish, even if it does not break new ground. Solid fun. 8/10.
Album gets carried big time by 3 songs: "Time To Pretend", "Electric Feel" and "Kids".
The rest of the album is okay, some real duds mixed with some decent but forgettable songs.
Overall the album itself is decent at best, but the highs on their own are legendary. 8/10.
“Black Dog” is the best opening song in the Led Zeppelin catalog. Prove me wrong.
This is the best Led Zeppelin album without question. The sequencing is unreal and the range is insane. You get raw, heavy rock like “Black Dog” and “Rock and Roll,” then it pivots into something more restrained but still intense with “The Battle of Evermore,” and of course the crown jewel, “Stairway to Heaven.” That song alone would cement the album’s legacy.
Not everything lands perfectly for me. “Misty Mountain Hop” has great moments, but Plant’s vocals drift into whiny territory and pull me out of it at times. “Four Sticks” feels a bit generic by Zeppelin standards, especially surrounded by songs this strong.
That said, the highs are so high they almost erase the flaws. The first half of the album is absolute perfection. The second half dips slightly, but never enough to derail the record.
A timeless album that still sounds massive and confident decades later. It would be a perfect score if not for that small drop in the back half. 9.5 out of 10.
What an album to have as my 100th album on this site!
After a second listen, it finally clicked. These guys really are the foundation of so much modern music. The chemistry on this album is just unreal. McCartney’s bass lines are out of this world, Lennon’s voice has that raw power, Ringo’s is a drummer (the cutest), and Harrison’s guitar work is quietly brilliant.
Starting with "Come Together" do I even need to say it? One of the greatest songs ever made. That bass line will be the first thing I learn when I pick up a bass. "Something" is a perfect follow-up. "Maxwell’s Silver Hammer" isn’t really my thing, but I can respect it for what it is. "oh! Darling" Has great raw vocals (makes me think of "I'm in love with my car" from Queen.
What really hit me is how seamlessly each song flows into the next. Abbey Road was clearly built to be experienced as a full album, not just a collection of tracks. Not suprising results but one of the best albums in any genre. 10/10.
Dolly Parton is outstanding at what she does, but the genre itself just does not do it for me. Too many of the songs blend together, relying on the same banjo, basic drum patterns, and simple guitar work.
That said, Dolly’s voice is flawless. On tracks like “Coat of Many Colors” she is genuinely brilliant. There are also moments where she pushes country into more interesting territory, like “Traveling Man,” where the electric guitar and strings actually add some bite. Unfortunately, those moments are short-lived, and it quickly falls back into familiar, predictable territory.
The strength of the first two tracks keeps this album from dropping lower, but it never justifies a higher score. Solid, well-executed, but largely unexciting. 7/10.
Miles Davis is a favorite of mine, but his early work leans more toward technical perfection than what I think he does best. His real strength is the soulful tone and the willingness to experiment, and that comes through more clearly later in his career. This is still a strong record, especially for the 1950s, but parts of it feel dated now. Solid overall. 8/10.
Fun album with a few real highlights, but it drags. Too many tracks, and several blur together. Still enjoyable overall. 7.5/10.
