136
Albums Rated
3.87
Average Rating
12%
Complete
953 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
1970
Favorite Decade
Funk
Favorite Genre
other
Top Origin
Enthusiast
Rater Style ?
43
5-Star Albums
0
1-Star Albums
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Ray Of Light
Madonna
|
5 | 3 | +2 |
|
Street Life
The Crusaders
|
5 | 3.09 | +1.91 |
|
Country Life
Roxy Music
|
5 | 3.11 | +1.89 |
|
Clube Da Esquina
Milton Nascimento
|
5 | 3.13 | +1.87 |
|
Third
Portishead
|
5 | 3.13 | +1.87 |
|
The Holy Bible
Manic Street Preachers
|
5 | 3.14 | +1.86 |
|
Deloused in the Comatorium
The Mars Volta
|
5 | 3.19 | +1.81 |
|
Close To The Edge
Yes
|
5 | 3.19 | +1.81 |
|
Crooked Rain Crooked Rain
Pavement
|
5 | 3.24 | +1.76 |
|
Melodrama
Lorde
|
5 | 3.32 | +1.68 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Rubber Soul
Beatles
|
3 | 4.12 | -1.12 |
|
Heartbreaker
Ryan Adams
|
2 | 3.03 | -1.03 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Stevie Wonder | 2 | 5 |
5-Star Albums (43)
View Album Wall
Popular Reviews
Black Sabbath · 2 likes
5/5
Sharon someone has been in my room and gave 5 stars to this iconic album in my room. 10/10.
Missy Elliott · 1 likes
4/5
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.
Madonna · 1 likes
5/5
I have to apologize to Madonna. I always thought she was more of an icon than a musician. I was dead wrong. This is some of the best art pop I have heard in a long time.
The opening track, "Drowned World / Substitute", feels like a blueprint for a lot of FKA Twigs’s work. It pulled me in immediately. It is warm, pure, and powerful. The album weaves in some really beautiful cultural textures too. You hear Arabic leaning instrumentation blended with sleek modern synths on "Nothing Really Matters", then just a track later you get the Hindu inspired atmosphere of "Shanti/Ashtangi". That range over such a short stretch is impressive.
"Frozen" gives me chills every time. It is easily the best song on the album and it makes sense that it became one of her most popular. The mix of violins, synths, and percussion creates something almost religious.
This is a power album from a power woman. 9/10.
4-Star Albums (36)
All Ratings
Captain Beefheart & His Magic Band
3/5
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.
The Allman Brothers Band
5/5
A truly amazing live album performance and a real pleasure to listen to. The band plays as smooth as butter. Solid 9/10.
Thelonious Monk
5/5
Beautiful, Timeless, relaxing, I have no better words. 9/10.
Elton John
3/5
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
The Band
5/5
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.
Count Basie & His Orchestra
3/5
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.
Cornershop
2/5
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.
The National
3/5
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.
Frank Ocean
3/5
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.
Joni Mitchell
5/5
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
Nine Inch Nails
3/5
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.
Cowboy Junkies
3/5
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.
Kate Bush
5/5
An incredible listen. Running up the hill on it’s own is a 5/5. I would recommend this to everybody! 10/10.
U2
4/5
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.
Duran Duran
4/5
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.
The Monkees
3/5
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.
Ryan Adams
2/5
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.
LTJ Bukem
3/5
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.
Elton John
4/5
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 Springfield
3/5
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.
Eagles
4/5
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.
Elvis Costello & The Attractions
3/5
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.
Nick Drake
5/5
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.
Janelle Monáe
5/5
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.
Beck
4/5
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.
Black Sabbath
5/5
Sharon someone has been in my room and gave 5 stars to this iconic album in my room. 10/10.
The Stooges
3/5
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.
Marilyn Manson
2/5
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.
The Flaming Lips
5/5
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
4/5
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.
The Crusaders
5/5
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.
Primal Scream
3/5
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 Libertines
3/5
The perfect embodiment of a 3-star album. 7/10.
Beastie Boys
3/5
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.
Iron Maiden
4/5
“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.
Skepta
3/5
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.
Missy Elliott
4/5
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.
The Pharcyde
4/5
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.
Stan Getz
5/5
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.
Beatles
3/5
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.
Pearl Jam
4/5
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
5/5
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
4/5
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.
Pixies
3/5
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.
Funkadelic
5/5
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.
Pavement
3/5
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
4/5
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.
Teenage Fanclub
3/5
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.
Nina Simone
5/5
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.
The Temptations
5/5
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.
Dolly Parton
3/5
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
4/5
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.
The Go-Go's
5/5
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.
Dusty Springfield
3/5
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.
3/5
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.
Rocket From The Crypt
3/5
A one-trick pony that doesn’t even nail the trick. 6/10.
Faith No More
4/5
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.
Janet Jackson
4/5
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.
Bob Marley & The Wailers
5/5
The absolute peak of reggae, really the perfect album to just sit and stare at something for 37 minutes and 27 seconds. 10/10.
Massive Attack
4/5
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.
Yeah Yeah Yeahs
4/5
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?
The Velvet Underground
5/5
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.
Milton Nascimento
5/5
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.
Jimi Hendrix
4/5
"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.
Johnny Cash
5/5
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.
Foo Fighters
3/5
Meh. 7/10.
George Harrison
5/5
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.
Television
5/5
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.
CHIC
3/5
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.
Jeff Buckley
5/5
Call me a performative male cause this shit slaps. 10/10.
Lorde
5/5
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.
The National
3/5
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.
The Everly Brothers
2/5
A date with The falling asleep halfway through the album even though it's only 27 minutes long. 6/10.
Elton John
3/5
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
The Dave Brubeck Quartet
4/5
Great Iconic Jazz album, though I prefer different styles. 8.5/10.
The Smashing Pumpkins
4/5
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.
Tom Waits
4/5
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.
Khaled
3/5
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.
The Rolling Stones
3/5
Love the rolling stones as icons but most of their early music is just meh. 7.5/10.
Depeche Mode
3/5
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.
Röyksopp
3/5
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.
Paul McCartney
3/5
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.
Johnny Cash
4/5
“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.
New Order
3/5
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 & Crazy Horse
4/5
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.
Frank Black
4/5
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.
The Mars Volta
5/5
"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.
Aphex Twin
3/5
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
5/5
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.
Kendrick Lamar
5/5
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.
Simon & Garfunkel
3/5
"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.
5/5
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.
Bob Marley & The Wailers
3/5
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.
Louis Prima
3/5
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.
Jurassic 5
4/5
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.
Bob Dylan
5/5
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.
Quicksilver Messenger Service
4/5
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.
MGMT
3/5
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.
Led Zeppelin
5/5
“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.
Beatles
5/5
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
3/5
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
4/5
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.
TLC
3/5
Fun album with a few real highlights, but it drags. Too many tracks, and several blur together. Still enjoyable overall. 7.5/10.
Fatboy Slim
3/5
The shirt on the album cover might be the hardest thing about this entire project.
The music is very repetitive. I get that this is intentional and part of the style, but I can’t actively listen to it on its own. It works well as background music while working or staying busy. I understand why it appeals to people, but it’s not really for me.
There are some fun highlights, like “Gangster Trippin,” but even that starts to wear thin after about four minutes. 7.5/10
Curtis Mayfield
4/5
Curtis Mayfield is one of the greatest soul vocalists of his era, no question. The album cover alone sets the tone. Strong use of color and genuinely impressive illustration work. It feels intentional and confident, not decorative.
The album itself is very good, though it does not reach the level of Curtis or Super Fly. A few tracks fall short, most notably “When Seasons Change,” which feels undercooked and lacks momentum or character. That said, the record delivers plenty of quality elsewhere. “So In Love,” “Blue Monday People,” “Billy Jack,” and especially “Love to the People” are smooth, relaxed soul cuts that play to Mayfield’s strengths.
The more gospel-leaning material, like “Jesus,” will divide listeners. I get why some people bounce off it, but the vocal approach works for me. Gospel phrasing and harmonies always earn extra points in my book, and Mayfield handles that style with conviction.
Overall, this is a strong album from an artist with an absurdly high bar. Not his best, but still well above average. 8.5/10.
Travis
4/5
I expected this to be a dull listen based on the cover, but it turned out to be a pleasant surprise. It is not an album I see myself revisiting often, but it never felt like a chore to sit through.
The opening track, "Writing to Reach You", sets the tone perfectly and immediately pulls you in. "The Fear" follows it up nicely with another laid-back, soft rock vibe that works well. Not everything landed for me though. "Why Does It Always Rain on Me", despite being the album’s most popular track, just does nothing for me personally.
Overall, "The Man Who" by Travis is a solid, relaxed listen that exceeded my expectations, even if it did not fully win me over. 8/10
The Pretty Things
4/5
That guitar riff in "Balloon Burning" really drove me crazy, and not in a good way. The rest of the song is great, with really strong harmonies in the chorus, but that AWWOOOOWOOOO thing is just too much and kind of takes over the track.
The guitar work across the album is still the main strength. It is a great mix of Psychedelic rock and Rock Opera and it still feels strong today. The album cover is amazing too, full of detail, faces, bombs, and things you keep noticing the longer you look at it.
The best song by far is "S.F. Sorrow Is Born." It has a bigger Rock Opera feeling than the others and it really sets the tone. In general, the songs that lean more into the Rock Opera side feel more creative than the ones that go fully Psychedelic.
"Old Man Going" gave me Black Sabbath mixed with Led Zepplin vibes and I loved it!
Overall, it is a great album with powerful guitar work, great atmosphere, and real personality. 8/10.
Various Artists
3/5
Phil Spector delivered the most aggressively, killing, joyfully, shooting, his, victim, Christmas album. 7.5/10.
Supergrass
4/5
These Brits absolutely know how to build a massive wall of sound. There are some fucking incredible Brit-Pop tracks here like "I'd Like To Know" and "Alright" and that opening run is pretty much Brit-Pop perfection.
Then "Lenny" hits and just kills the momentum. Not unlistenable, just completely misplaced. The second half is still strong overall, but if they had ditched "Lenny" and "We're Not Supposed To", this thing would have been a flawless ride start to finish. "We're Not Supposed To" honestly sounds like it was recorded mid psychedelic meltdown with a mountain of cocaine nearby.
Still, it’s a killer Brit-Pop record. Could have easily pushed into all-time territory without those two tracks. As it stands, it’s a very confident, very loud, very addictive 8.5/10.
Pulp
5/5
This album is in a different class of Brit Pop, delivering some of the highest quality music the genre has to offer.
A really strong album, especially as a complete work. It flows like one long song that only truly resolves when you reach "Bar Italia", which serves as a brilliant closer. There are several outstanding tracks here. "Common People" is the obvious one, but even without it the album would still be fantastic thanks to songs like "I Spy", "Mis-Shapes" and "Pencil Skirt".
I am genuinely happy I listened to this and I will definitely return to it in the future. 9/10.
Portishead
5/5
This album captures a tense feeling of dread about something you can’t quite define, like fearing something you don’t fully understand. It sits in that space the whole time and does it incredibly well.
The instrumentals are unique and genuinely cool, with a lot of tempo shifts and strange textures. “Plastic” sounds like it’s glitching out with error-like effects, and at times it feels like something hovering over you, always present and unsettling. The drums are great too, with unpredictable tempos that make every track feel unstable in the best way.
The vocals are fantastic, but that’s expected from Beth Gibbons at this point. And the guitar on “We Carry On” is dirty in the best possible way, adding to the album’s anxious edge.
Overall, it’s a dark, moody record that I’ll definitely come back to. 9/10.
The Charlatans
3/5
Honestly, I don’t have a strong opinion on this album. People will probably attack me for this, but it basically feels like 2000s Oasis. Yeah, I know they came first, but that’s the best comparison I’ve got. Solid but not something I would return to. 7.5/10.
The Stranglers
3/5
The album cover is eye catching. The opening track, “Sometimes,” comes in strong with instrumentals that feel distinctly rooted in the British punk scene but feel very different. Momentum dips a bit on the second track, “Goodbye Toulouse,” which feels repetitive.
“Hanging Around” is a standout, channeling subtle Talking Heads energy that works really well and adds personality to the record. Unfortunately, the album starts to lose focus toward the end. Tracks like “Ugly” and "Down in the Sewer" fall short of the earlier highs and lack the sharpness and creativity that define the stronger moments.
Overall, it’s a solid album with clear highlights, but the back half doesn’t fully deliver. 7.5/10.
Ramones
3/5
Close your eyes bro. What do you see? Nothing? That's what this album would be without "Blitzkrieg Bop".
Influential, no argument. Also stiff, dated, and mostly dull. The attitude mattered more than the songs. What once sounded dangerous now sounds flat and repetitive. Fun is supposed to be the point, but it barely gets there.
Historically essential. Practically very boring. 7/10.
Jorge Ben Jor
4/5
Jorge Ben is a brilliant musician who should never be overlooked, and this album is further proof of that. While it is not my personal favorite of his catalog, I still enjoy it a great deal. I lean more toward Fôrça Bruta.
The blend of Brazilian samba-rock with funkier Afrobeat influences makes for a consistently engaging and enjoyable listen. That said, it does start to feel a bit repetitive toward the end, partly because I do not understand the lyrics, which limits my connection to the songs.
Even with that personal drawback, it is a strong release and easy to recommend. 8.5/10.
Orange Juice
3/5
Is that Anakin Skywalker on the album cover?
Not really sure what to think of this, to be honest. There are some decent songs on here, like "A Million Pleading Faces," but in general I don’t like the vocal style. The instrumentals are great though, with a good mix of guitar, bongos, drums, trumpets, and much more. I don’t think I’ll revisit any of these songs. 7.5/10.
Daft Punk
3/5
Daft Punk the best thing to come from France since the Revolution in 1789!
Daft Punk is my favorite Electronic Duo/artists, for real. Out of any electronic genre, house, techno, EDM, whatever, they’re the ones that stand out to me.
I mostly listen to Random Access Memories and Discovery, but Homework is still a fun album. It just doesn’t have the variety of Random Access Memories and, in my opinion, it’s trying to do some of what Discovery does, just not as well. Still, there are some generational bangers on here like “Da Funk” and “Around the World”.
And please for the love of god can somebody destroy any and all traces of "Rock'n Roll". That song is horrible. 7.5/10.
Pavement
5/5
To be honest, I really didn’t like Slanted and Enchanted and wasn’t excited at all to jump into another album. But wow, this completely blew my expectations away. What a great opening track. “Silence Kid” immediately sets the tone with those cool, distorted, slightly crooked sounds that feel both loose and intentional. Their music fits the artwork perfectly, like it all comes from the same strange, half-broken world.
Pavement has such a unique and experimental sound. It feels like a mash-up of genres that shouldn’t work together but somehow does. This was a genuinely fun album to listen to front to back. There are a couple of minor duds near the end, “Heaven Is a Truck” and “Hit the Plane Down.” If those were cut, this would easily be a 10 out of 10 for me.
Still, this album is iconic, distinctive, and clearly built to last. I’ll be coming back to it again and again. 9.5/10
Dire Straits
5/5
Top tier dad rock, no question. Hard to believe this was their debut album. Dire Straits came out of the gate fully formed tight band, smooth production, and Mark Knopfler already playing like a guy who’d been doing it for decades. His tone and phrasing are untouchable, and those riffs? Straight iconic.
Everyone knows Sultans of Swing, and yeah, it’s a masterpiece, but Down to the Waterline and In the Gallery are just as good maybe even better if you’re paying attention. Down to the Waterline sets the mood perfectly with that clean, moody intro before it locks into that effortless groove. In the Gallery is gritty, bluesy, and has that storytelling bite that only Knopfler could deliver.
The whole album’s got this laid-back confidence. For a first album, it’s insane how refined and self-assured it is. It’s iconic, influential, and a reminder that great music doesn’t need to be loud or complicated it just needs to feel right. 9/10
Lauryn Hill
5/5
Do I really have to write a review of one of the most influential female Neo-Soul and Hip Hop albums of all time?
This record is stacked with beautiful songs like "Ex-Factor", "Doo Wop (That Thing)", and "When It Hurts So Bad". The combination of her lyrical skill and one of the greatest voices of her generation makes it hit on every level. Even the cover of "Can’t Take My Eyes Off of You" is overflowing with soul and groove.
Her impact still shows today. Some of the biggest modern Hip Hop artists have built huge records off samples from this album. Drake with "Nice for What", Kanye West with "All Falls Down", and J. Cole with "Cole Summer" are just a few obvious examples.
She is an all-time legend, and this album belongs on every serious greatest of all time list. 9.5/10.
Sonic Youth
4/5
Don’t kill me, but just from the album cover I always thought this was some kind of Oasis side project. Obviously not the case.
Goo is packed with thick, heavy noise rock guitars, and that is easily its biggest strength. The instrumentals on “Tunic (Song for Karen)” are especially strong. That track is pure post-punk grit done right. Songs like “Dirty Boots” feel fully realized, confident, and dangerous in a way that makes the whole record feel important.
That’s also why the weaker tracks stand out more. “Mary-Christ,” “My Friend Goo,” and “Scooter and Jinx” are not bad songs, but compared to the best material here they feel underwritten and a little rushed. They interrupt the momentum instead of adding to it.
On my first listen I was not sold on this being anything special, but the second time around it clicked. The textures, the guitar work, and the overall attitude started to come together in a way that made the album feel way more deliberate and powerful. 8.5/10.
Madonna
5/5
I have to apologize to Madonna. I always thought she was more of an icon than a musician. I was dead wrong. This is some of the best art pop I have heard in a long time.
The opening track, "Drowned World / Substitute", feels like a blueprint for a lot of FKA Twigs’s work. It pulled me in immediately. It is warm, pure, and powerful. The album weaves in some really beautiful cultural textures too. You hear Arabic leaning instrumentation blended with sleek modern synths on "Nothing Really Matters", then just a track later you get the Hindu inspired atmosphere of "Shanti/Ashtangi". That range over such a short stretch is impressive.
"Frozen" gives me chills every time. It is easily the best song on the album and it makes sense that it became one of her most popular. The mix of violins, synths, and percussion creates something almost religious.
This is a power album from a power woman. 9/10.
The Psychedelic Furs
3/5
Sorry to say it, but that opening track was so annoying to me. The synth sounds out of tune. Correct me if I’m wrong, but it genuinely sounded like one of those anti-cat alarm devices you put by a pond.
I thought the whole album was going to suck after that. Thankfully, it got a lot better.
The second track, “Pretty In Pink,” almost feels like a David Bowie song, and that’s where the album finally clicks. My personal favorite is “Into You Like A Train,” which nails that 80s feel while still carrying some early punk attitude.
Overall, it’s nothing special, but it has a few real highlights. There aren’t any truly bad songs besides the opener. 7.5/10
Beatles
3/5
I know Ringo is short but damn, they did our man dirty on that cover.
A very solid pop rock album for 1963. I get the low score because of what we expect from The Beatles later on, but if you judge this album on its own and forget the legendary stuff that comes after, it holds up really well. Songs like “It Won’t Be Long”, “All My Loving”, and “Mr. Postman” are iconic in their own ways and still hit.
Mr Postman is a personal favorite for me because of the legendary meme: https://www.youtube.com/shorts/Hu0KpdW4U0c
It is not their best work and it has definitely aged, but it is still a fun, energetic listen that shows how strong they already were this early in their career. 7.5/10
The Cars
4/5
I don’t know why I always thought this album was from the early 90s. The cover really looks like it could belong to a grunge or punk record.
Musically, though, it’s very much rooted in the 70s. It often reminds me of artists like Crosby, Stills, Nash and Young, and even the Dutch group Doe Maar, especially on songs like “My Best Friend’s Girl.”
There are some genuinely great tracks here. “Just What I Needed” isn’t a complex song at all, but it’s incredibly catchy and has a great groove.
I might be mixing things up, but I clearly hear Brian Eno and David Bowie influences on tracks like “I’m in Touch with Your World.”
That said, there are a few things I don’t love about the mixing and instrument choices. The worst example is “You’re All I’ve Got Tonight,” which leans way too hard on the same synth chord repeating through almost the entire song.
Really cool album, I will listen to it again. 8/10.
Miles Davis
5/5
Miles Davis & John Coltrane on one album? That’s just unfair to the rest of the world of musicians.
I don’t need to explain how iconic this album is, it’s literally one of the most listened to and most respected jazz albums of all time. It’s the reason many people start to listen to jazz.
Miles Davis is an icon, not only by playing but by being himself. With Iconic quotes that perfectly describe this album such as: “Don’t play what’s there, play what’s not there.” or “The thing to judge in any jazz artist is, does the man project and does he have ideas.”
The amount of artists Miles Davis inspired is beyond what you can imagine ranging from jazz artists like Herbie Hancock, to Rock artists like Radiohead, David Bowie, Brian Eno. Prince and even with genres like pop, R&B or Hip Hop the influences don’t stop with artists like Lana Del Rey, D’Angelo and Kendrick Lamar all being inspired by the legend.
I don’t really have anything to say about the music because it’s either already been said by countless before me or it’s way above my musical knowledge.
It deserves to be a 10/10 only because of the effect the album had on the music industry.
Bonus:
I saw so many more iconic quotes I never heard of until today that I want to add a few of these here:
“A legend is an old man with a cane known for what he used to do. I’m still doing it.”
“Anybody can play. The note is only 20%. The attitude of the mother****er who plays it is 80 percent.”
“Jazz is the big brother of Revolution. Revolution follows it around.”
“At least one day out of the year all musicians should just put their instruments down, and give thanks to Duke Ellington.”
Roxy Music
5/5
I’ve been seeing this album and hearing about Roxy Music for almost five years, and for some reason I never gave it a proper listen until now. I’m genuinely glad I finally did, because this is a really fun record.
Great opening track. “The Thrill of It All” does exactly what the title promises and throws you straight into the album without hesitation. It’s also fun hearing Brian Eno’s synthesizer work here. It’s still mostly in the background, but you can already hear ideas that later become much more prominent in his solo work.
I’m completely in love with the weirdness of “Bitter Sweet”. It’s overdramatic in the best possible way and leans fully into its theatrical mood. “Casanova” is packed with perfectly layered sounds and easily the grooviest track on the album. It had me nodding along uncontrollably for its entire 3:27 runtime.
I’ll definitely be coming back to for Country Life. It’s fun, catchy, and confidently strange. 9/10.
Cream
3/5
Cream on my Gears
Sade
5/5
Imagine having Diamond Life as your debut and then going on to make even greater albums. That’s Sade for you.
The band is smooth, funky, jazzy, and razor-tight. Sade Adu is one of the most elegant singers of all time, delivering effortless vocals while strutting barefoot across the stage. It honestly doesn’t matter which song is on. Everything Sade touches is a gift to any music lover. 9.5/10.
Dusty Springfield
3/5
Dusty in Memphis is polished to perfection. The production is tight, the arrangements are smooth, and everything is executed with real craftsmanship. But in truth, 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 leans more toward refined background music. It’s good, but it doesn’t leave much behind once it’s over. Like many 60s records, it focuses on perfecting the sound rather than pushing boundaries, and it falls into that camp.
A very respectable album overall. 8/10.
Radiohead
4/5
Please stop crying in small constellations, little man.
Even though I love Radiohead, this album didn’t fully land for me. That said, it’s not completely fair to say I didn’t like it, because I still gave it an 8/10.
Some tracks like "Pulk / Pull Revolving Doors" and "Hunting Bears" honestly feel like they should’ve stayed in the studio bin.
Still, there are some genuinely great songs here. "Pyramid Song", "Dollar & Cents", and "I Might Be Wrong" do a lot of heavy lifting and make the album an enjoyable listen overall.
For me, this sits in Radiohead’s bottom three albums. Solid, but far from their best. 8/10.
Manic Street Preachers
5/5
The body of goddess.
I honestly had never even heard of Manic Street Preachers. Not once. But this album is phenomenal. There’s so much anger and grit packed into it. You can tell it’s from the 90s within five seconds of the first guitar kicking in.
It would not surprise me at all if songs like “She Is Suffering” were a big inspiration for artists like Turnstile. The vocals across this entire record are incredible. It feels like a mix of 90s grunge and punk, but also something bigger and more dramatic. Almost over the top rock or metal.
The instrumentals stand out just as much. “Archives Of Pain” has one of the dirtiest bass tones you can possibly get. “4st 7lb” is a track I cannot fully explain. I do not know why it works, but it absolutely does. One of my favourites on the album for sure!
After reading more about the band, it made the whole experience heavier. Why is it always the most impactful, best lyricists who end up with the saddest endings? Rest in peace Richard James Edwards.
I am genuinely happy I stumbled upon these Welsh lads. I will definitely be coming back. 9/10.
Bruce Springsteen
4/5
Sorry Bruce for always putting you in the same group as Bon Jovi.
The album opens with so much energy and power in “Thunder Road.” It’s already better than anything Bon Jovi ever did. That momentum keeps going with songs like “Backstreets,” where Bruce sounds intense and fully committed. The lyrics are strong, even if I sometimes struggle to catch every word because of the twang and rasp in his voice.
“Born to Run” is of course the highlight. It captures everything that makes him great: the huge vocals, the dense layers of instruments, and the theatrical, expressive delivery that keeps the song unpredictable from start to finish. It really feels like his masterpiece.
I’m still not a Bruce Springsteen fan after listening to this album, but I’ve definitely gained respect and a better understanding of his music. 8.5/10.
Tears For Fears
5/5
I have a very big bias toward 80s synthpop. It’s the genre that the typical “80s music is the best music” crowd always rallies behind, and that honestly made it hard for me to really look forward to playing this album.
I’m very happy I did.
I really loved songs like “Shout,” which of course I already knew, but it sounds so much better when you actively listen to it. That very 80s synth looping throughout the track works perfectly, and there’s some really nice, subtle guitar work layered into the mix that gives it more depth than you might expect.
There were also songs that surprised me, like “The Working Hour.” Roland Orzabal’s vocals are amazing on this track, and the smooth trumpet work adds such a rich, atmospheric feel to it. It’s one of the standout moments on the album for me.
I have mixed feelings about “Everybody Wants To Rule The World.” It’s an amazing, undeniable masterpiece of a song, but it’s overplayed. It’s also become the flagship for the stereotype that “the 80s were the last good era of music,” which I really, really hate. That said, I did enjoy it more in the context of the full album. It fits naturally into the overall flow.
One of the reasons I think I love Tears For Fears more than a lot of other 80s synthpop is the vocals. A lot of vocals from that era feel lazy or strangely mixed, like they were recorded in a completely different room. Here, the vocals feel present, emotional, and properly blended with the instrumentation.
There is one song that brings this album down for me: “I Believe.” Everything before and after it has such a great tempo and feeling, and then this track comes on and it just feels slow and boring. It really interrupts the momentum.
If “I Believe” wasn’t on this album, it would have scored even higher for me.
Still, this album truly belongs among the greats. 9/10.
The Mamas & The Papas
3/5
The mixing always feels like they are running around you while playing.
Probably the cutest sounding band with almost as many scandals as Fleetwood Mac.
The music itself feels very dated, but the production and multilayered vocals are still iconic to this day.
The highlights for me are “Monday, Monday,” “California Dreamin’,” and “Straight Shooter.”
There are no bad songs on If You Can Believe Your Eyes and Ears and not counting "California Dreamin'" does not feel like a legendary work in today's music world. 7.5/10.
Stevie Wonder
5/5
I have no words for Stevie Wonder. Every time I play one of his songs it hits me all over again. The depth, the soul, the feeling, the sheer musical power this man carries is unreal. He isn’t a national treasure. He’s a treasure to humanity. When he goes, a piece of the world’s soul is going with him. I’m not breaking down any of these tracks. They don’t need it. It’s perfection. Straight 10 out of 10.