Album cover doesn't look the way the album sounds. I'd place most of this in a 2000s pop punk playlist to make some stand out tracks within the mix. Great artistry in the musicality of it all. A little outside of personal taste, but it's easy to understand the inmense ammount of talent poured into this project.

When I think of The White Stripes, I think of Seven Nation Army, regardless of all the other amazing Jack White songs I've heard throughout the years. This album felt like that energy, matured. Still aggressive and rebellious, but also self reflected and aware. I can see the talent, but I also feel like if this is a high quality highlight, there's not much else for me to see here.

I used this album as an excuse to actually hear an entire Smiths album, anything Morrissey typically has a half a song duration period for me. I can understand a lot of the artistry in the strings, and probably need a second or third listen to start appreciating the lyrics fully. Still, as I expected, personal and biased opinion, not very impressive.

I'm not the biggest Kanye fan, I'd never heard this album all the way through and some of these songs are a part of my childhood memories, so it's nice to put context to them. I've always thought Kanye was a better producer than rapper, and even though he shows some impressive rap stunts, I don't find it redeemable in general. I'm picky. I don't find the album has maintained a futuristic style, though it does have its own sound and it stands out as iconic. I do feel nostalgia, I do feel 00's retro. I would not put this on my regular rotation, but the production work is something I can't deny (if not occasionally overproduced), and would be happy to give it a listen if anybody suggests playing the record.

Occasionally I do look for something harmonica heavy, and this is great for that mood. Otherwise, I don't imagine myself replaying the work. I appreciate it for its contributions to the art, but it's a pretty difficult listen if you're not hoping to be transported to the 1960s.

I'm gonna feel some positive bias because the sounds are mostly those I grew up with. That being said, the production on this is versatile, exploring the family of the Latin Caribbean genres while maintaining cohesion. There might be a song here or there that feels over produced or misplaced, but as a whole it's a gem. I'd recommend this album if you're exploring Latin music in general.

Passion! When I think of the music from Brazil I think of samba, I think of bossa nova, I think about the language and the percussion. This record is something else (although the percussion is absolutely delicious.) A very passionate and intricate display of local sounds, maintaining a modern feel after decades. It's hard to believe this banger is from the 70s, it could have easily been produced in the 90s-00s, so I feel it ahead of its time, or better yet, with an excellent air of timelessness. Excellent use of funk and afro-beat to compliment the local sounds. Critiques? Maybe a track or two could lean more on the memorable side, but this comes from someone who barely understands the language. Otherwise, as a project in its entirety, it's pretty solid.

When I think of The Beach Boys, I think of their classic surf rock sound. This was something else, a combination of pretty good production, near psychedelic vibes, combined with the idea of summer or islander energy. I was pleasantly surprised when I heard effects popularized in dub or other Jamaican genres, giving me that gringo-beach feel. I wasn't very impressed with the social pieces, they felt overproduced and in that sense, not genuine either. Still! Pretty decent listen, I'm glad I heard this other side of the band. I'm not gonna actively look for this record, but if I spot it at a good price, I'd buy it.

With minimal research I was expecting a pretty bad album. In reality its production method was ahead of its time, you have to understand what overproduced means before letting your heart accept something so raw. It has a few awesome moments, a few pieces that could've been knocked off. I'd rate it higher if it was a shorter play, but we're talking 69 minutes of what feels like a rough compilation of tracks, it can get excessive. I don't hate it. 2 stars.

I was really excited for this album for various reasons. First and most importantly, I've never heard a Bowie record all the way through, I was not disappointed. Secondly, I'd heard that 70s Bowie was particularly instrumental because of some conflicts in his contract and a creative way to stick it to the man, but that's a memory and I'm not sure it's 100% spot on. There were undoubtedly some quite beautiful musical arrangements that, for the sake of my personal taste, I would've rearranged in the album to grab me quickly and make me yearn to replay. The record starts off with Watch That Man, pretty catchy, well produced, and it expresses immediately that there's an American music culture influence. While letting us know its north is appreciated, it's also the part of the album that makes me not need to revisit it. I listened to it twice just to make sure I'm not jumping the gun. If the album started backwards, starting off with Lady Grinning Soul and ending with Watch That Man, just in thought, feels like a better way to appease to my personal tastes and the way I appreciate rock. Alternatively, starting out with Time on the B side, one of my personal favorites from the project, and ending with the A-side to lull you into the core of its influence, might be a cool way to appreciate the project. If I think about it that way, I'd definitely snag this on vinyl if I see it around at a decent price. Not looking to pay collectors' prices for this one though. 3/5

90's kid here, when I go out of my way to listen to this kind of early New Orleans jazz I look for Louis Armstrong, maybe with the vocal style and clarity, a little Frank Sinatra or Dean Martin, but this was something completely out of my radius. Eventually everything clicked when I heard Jump, Jive, An Wail, classic childhood memories attached to it. VHS and all that jazz, was it Matilda? I'm really happy I have a new artist to add to the rotation, and new names to be on the look-out for. Fell in love with Sam Butera's work. Love that, although for today a little context helps, but for the most part the album cover looks like what we're listening to. Joyous, playful, loud. I want a physical copy in my collection. 3.8/5

It was important for me to separate art from artist for this record, the Puffy influence is strong, and can harm the experience if you're sensitive to the reality of recent events and information. I've always liked Biggie, but I've never heard an album through. This was an experience akin to watching The Godfather for the first time. It's a masterpiece created for adults, that children will definitely enjoy if they can get their hands on. It's raw, honest, and extremely cliché gangsta rap, sex, drugs, and suicidal thoughts are the core of this record, but it comes from a place of experience, it's genuine and that can be shocking. There's a lot of rappers out there with a story to tell, where Biggie stands out is in his complete domination of the word as a concept. From meaning to sound, the way he plays with words feels so effortless, beautiful, and cunning. It's a talent that has inspired a lot of modern day greats, directly or indirectly, and hearing this in an album that starts itself off with an appreciation for hip-hop roots is just such a delicious flavor for the ears. This is already a classic kind of album, and it shows appreciation for similarly stunning previous projects— all the way through. I wasn't expecting to enjoy listening to this so much. The production is arguably really good in some tracks as well. We can say dated without sounding terrible, as it holds strong today regardless. 4.6/5

Heading into this blind, not sure exactly what to expect, reading "Up the Beach" and... what an intense, slow moving mind-fuck to start a project off with. Afterwards I was able to check myself and understand the vibe, of course I've heard Jane's Addiction before. Perry's vocals are carved into the back of my mind. We're gonna be listening to low-key angst. Slightly funky, definitely on the produced-hardcore side. It's a flavor and if you're feeling like sticking it to the man but not really, this would be the soundtrack I'd put on. I was real happy for the intro to Ted, Just Admit It, and then it turned into the mood again. Maybe I'm too into jazz. It's not a bad album, just not something I'd typically feel like putting on. 2.9/5

I wasn't a big Beastie Boys fan before, and I'm still not. Yes, there's a couple of iconic tracks that are completely necessary to talk about the music of today, and there's another few that do sound particularly good in a car. Other than that, to me it feels dated. Its reference to hip-hop beginnings doesn't feel like something that holds up outside of a frame, it's very clearly 80s. No hate, no love. 2.2/5

I felt so ignorant looking into this. I've never heard of Brian Eno, or at least my brain hasn't latched on to his name, but I do love me some good ambient music and this is definitely GOOD ambient music. What a beautiful set of tracks, it brings me peace. It's mood music, to be expected, but it's so delicate and intricate. Keeping an ear awake to listen to the details is very satisfactory for this project. I could see myself purchasing this record. 3.4/5

I don't think there's single 50 Cent song I know and enjoy that isn't on this album. Look no further of you're looking into him, in my admittedly ignorant opinion. Listening now, front to back for the first time ever, it kinda falls short. There's not a lot to say, the message is being the best, being cool, attempting to be some form of badass or gangster role model. A lot of the best tracks aren't about anything very profound, which on a conceptual level feels like a loss of potential. I will say, all the rhymes sound pretty great, esthetically speaking there's something special. The 00s hip hop sound is active here, definitely sounding dated already, but it's the same production that stands out. Great weaving of tracks to make a positive experience, and there's definitely a deep understanding of what sounds work together to achieve a commercial success. It's like The Backstreet Boys of rap. I'm not sure it would hold up the same if it came out as is today, it's too emotionally guarded, toxically masculine. 2.6/5

I've wanted to buy this record for years, but I've never listened to it start-to-finish. Sometimes the trailer is enough, and you know you're gonna be into it. You know? So in the grand scale of things, no surprises. I think I'd already heard the stand-out tracks, and not to call everything else filler, but they work like a brush stroke queuing your eye to the next key representation. This is the euphoria of quality musicianship and the freedom of only having to overcome creative hurdles, then sticking that landing. It was an extremely easy listen for me, but I like the abstract idea of emotion as sound. 4.7/5

Prior to this album I'd only heard Nirvana's Nevermind, it's an album I go back to often, though I wouldn't call it one of my favorites. To me it just feels like a standard for what rock should be. It's imperfect, catchy, talented in all directions. It also holds a grudge and has nasty shit to say because it's blunt and honest. In Utero is that same feeling, amplified. I feel so blind having known about a few of these songs, but not listening to this project. 4.5/5

One listen all the way through was enough. It reminds me of the rock of my youth, which is impressive to see both the mix of their influences, and their influence on a lot of the mainstream acts of the 90s and 00s— I can give it points for that. Otherwise, it's just too easy for me to leave in the background. 2.3/5

I've always appreciated Beck indirectly. His influence on other artists, respect you notice but don't immediately look into. I could not name a single track of his for the life of me. Here I am now, listening to a Beck project for the first time. Sadness. Maybe it's loneliness, maybe it's appreciation, it fluctuates and feels organic. But the project itself, its feeling, it's sadness. The musicianship is great, if you love a well played guitar this album should stand out. Personally, recognizing his vocal dominance as an instrument, I still can't find myself really appreciating the way his voice sounds. Hard to ask someone else to sing it the way he does, though. I'd have this in my collection. There's a mood for this and it hits the spot. I'm just not in that mood right now. 3.4/5

This record is a valued part of my collection already, but I took this listen to take it in on its own as a project or work of art, and I'm gonna try my best not to be completely biased. Even with a critical ear, it was a fabulous listen. We are not listening to this work because we love Gilberto's voice. If you don't like Astrud's voice I might not trust you, but Joao's is just another instrument to aid the masterful team of musicians on this record, including himself. His use of guitar is nearly the definition of bossa nova, teamed with Jobim (another near definition of bossa) as a composer, and Getz's beautiful display on the sax, this album was made for relaxing moments in the sun. It feels like waking up slowly because you've got the time.

There's a few catchy moments. I can appreciate its historic value, but I'm not looking to replay it. Maybe that's what I need for it to grow on me better. Time will tell. 2.7/5

I was expecting country, and I got 50s rock vibes with an angelic female vocal performance. A little twang, a little blues, if only my parents were into this, the nostalgia would take it through the roof. It's not a bad listen at all, it's just not gonna be on my rotation any time soon. 2.3/5

As soon as the recording starts off, we hear Ace of Spades and I knew I was in for a nostalgic trip. The energy is the same all throughout the live performance, which is awesome, but I'm sure for a lot of people it can be a little too repetitive. It's impressive, though, to hear such consistent clarity on a live performance, especially one with such a harsh energy. The vocal performance feels to me like what rock and roll should be. Rough but calculated, it carries an emotion that fits with the rest of the band to represent the rebellious, struggle-forward nature of what it means to be a rock star. Glad I heard it through! 3.3/5

Let's just take a minute to admire this album cover. There's a deep abstraction in greens with very clear citrus references, and red white and blue strokes coming in from the right- leading to a centered band name and album title. The Stone Roses. It took me a minute to imagine a field of roses in petrified rock form, as if caught and stunned by the gaze of Medusa. So the album starts with an obvious display of talents right off the bat. And then.. it maybe loses me. And then it picks me back up. There's a lot of mixed up influences in here, and it can read awkward the first listen through. It makes a lot of sense for this to be an album that grows on you over time. I think there's a very classic rock background that I might personally get tired of easily, that often gets drowned out by talent. Also, that ending? That's how you finish a piece of work, what an outro. I'm very confused about how I feel about this album right now. I might love it later, I might not. I can admit there's a lot of thought and effort put into it and I really appreciate that. Not feeling let down. 3.1/5

If I were a child of the 60s this record might be up there next to Cream, The Animals, The Zombies... But I was not a child of the 60s, and maybe that's why I'd never even heard of this project before. I wasn't expecting to be impressed, I was expecting a fuzzy mess of individuals who liked to have a blast with their instruments. Everything felt bigger than that. Calculated freedom from beginning to end, and not just the musicianship, but the overall production. It must be an absolute blast to listen to this with a quality set of headphones. It does sound dated, it's a classic sound. It's very psychedelic, progressive, and solo-forward. Think, Tool goes back in time to influence The Beatles. 3.6/5

I don't think this will change your mind if you don't already like country, which sucks for me. There's no further depth in the lyrical process, the instrumental work isn't bad, but doesn't feel to me like it stands out with much frequency. It does feel like a classic piece of work, the vocals mesh very well and I can totally understand this being popular among a demographic other than mine. It's the sound you would associate with the southern USA. 1.2/5

My go-to Metallica album is S&M, and prior to this project today, it's the only album I'd ever heard front to back. It's safe to say I'm only a general fan, having been thrusted into thrash metal in my adolescence, but dabbling in way too many genres. As far as Metallica goes, I always felt I knew a good chunk of their best tracks. At no point does this record fall short. The last few tracks were new to me and goddamn, what a way to pack a punch and pull it through. How am I just hearing Orion for the first time today? The sensation you get when you let this album into you is something like revenge and euphoria blended and purified. It was nice to hear the songs I enjoy as metal standards in their original grit. Will definitely be repeating this listen. 4.4/5

I would add browns to this album art, visually I was swayed to expect something sonically darker. It's quite a beautiful listen, the darkness is hidden in the lyrics with a gloomy haze and empty spaces to let everything sink in. I would replay for the mood. Feels goth without being too punchy on the drums. 3.2/5

This was real easy to listen to. There's something in the way Cash delivers that I've always been a fan of. I grew up listening to A Boy Named Sue, and then the Walk The Line movie came out and a deeper appreciation followed. This feels like a more humbled project, but that could just be the aging tremble in his voice. The lyrics, as should be expected, hit really hard. There's a handful of tracks I don't find myself loving, but the good ones are SO GOOD. Hurt is on this album, hard not to give the track its own 5/5. That doesn't make up for areas where the music wasn't speaking to me, and a cultural difference might have something to do with that. 3.3/5

It's been a few years, but this album was a standard play during my adolescence. It's a rock sound that feels like the essence of rock— grainy, noisy, rebellious. Starting off with Smells Like Teen Spirit really sets the mood, while commencing to let you know there's a refined production. I recently heard In Utero front to back and thought the experience was better, though we could argue the amount of well produced hits on Nevermind stand out on their own without needing the help of the rest of the album (which isn't short of great.) This effort is catchy but raw. 4.6/5

I was so excited for this when I saw it was coming up today. On paper it sounds like an amazing recipe, and the tracklist was unfamiliar to me. I ~have~ heard a couple of these before, but it was still a very fresh new experience. First listen, I wasn't very impressed. I read something about this being the fourth of a spurt of five classic Stevie Wonder records, and I was just dumbfounded. I felt like I'd heard better Stevie Wonder songs out there, and the singles on the project weren't as good as the singles I've heard before. They didn't feel like singles. The album was pretty great anyway so I gave it a second listen, and then it clicked. It's not just the music, which is masterfully produced. It's the energy, the concept of production and the literal production. Listening to this record all the way through is like candy, it comes in an ideal package but makes you want to consume more of it. I love the transition from track to track, the mesh of instrumentals, the details within the vocals, the lyrics and their slow burn. It's just more of a mood than a handful of great individual songs, but then when you get all personal with a track and you start to feel it and really listen to it, you realize the record is composed of Great Individual Songs. All the way through. I could argue any of it could be just a little more catchy, and a lot of these songs are too good to just be leaving on in the background without paying attention. 4.3/5 With a realistic cap of 4.7 in the future. One day isn't enough to digest a project like this.

This record starts off real strong, then it kinda wobbles a bit, like a child learning to ride a bicycle. A little research and I get what's happening, this was created with vinyl technology in mind, so when you think a concept record as a concept from start to finish, well this one has its fairytale on the B side, and the A side is a regular spin with tracks that display the band's influences and talent. On a CD or digital format, we're hearing a sudden rock opera childrens' story after half the album, and it promises to play until the project finishes. It's hard to swallow the spoken parts on that second half, I think being a UK native might've helped, and maybe it makes sense when you figure it's a literal fairytale. Doesn't aid replay value for me. I'm also not very impressed with the art. Yes, it's the stuff the people into this sound, at that time, consumed, and so it's an odd and playful detail for the original physical copy to come in a tin, but it has jack-shit to do with anything going on in the record. A few decades later, it's only confusing. Conceptually it feels like there's information missing. There's a few cool songs though. Nothing I'm rushing to add to a playlist. 2.6/5

The first time I heard Joni Mitchell, I don't even remember what record it was, but I should've started here. A lot of respect has been built after this listen. She exceeds the expectations for a singer-songwriter. The voice and the pen as instruments. Roller coaster of a record because even though I can appreciate the entire project, not every track speaks to me. Just a matter of preferences. 3/5

I think I hadn't heard this because it wasn't marketed in my direction. It was an alright listen, if it had any nostalgic presence I'm sure I'd be stuck to it right now. There's a couple pretty catchy songs, especially if you repeat the listens. Don't be afraid to try this one twice if you generally enjoy a pop rock vibe. It's very 90s pop rock, empowered fem pop punk vibe with a more alt sound. It's impressive for the moment it represents, but I can live without it. The album art pretty much describes what you're in for, great visual work. 2.4/5

This was the Bowie record I've been waiting for. It sounds classic from the start. Repeated listens reveal hidden gems within already solid rock and roll compositions. There's details that are easy to remember, catchy enough to have you singing along without the music playing. This project explains the David Bowie hype in a way I can accept, and maybe even lean into. I actually want this record in my collection, I look forward to giving it an occasional listen in the future. On a personal note, this is one of the few records where I'm a much bigger fan of the A-side than the B-side. The latter half definitely stands on its own, but that's probably because it feels like a project with the structure of a well told story. As a concept album it doesn't struggle to hold itself up. It doesn't feel like anything is sacrificed for the sake of the story, and the story isn't imposed in a way that could ruin the effort, either. Masterful. 3.8/5

No hate, but is this really a 'must'? I feel like I've heard a lot of this before in every day life, or tracks that sound like this. Early Beatles-like influences making a listenable album. Not really inspiring me to replay it. 2.2/5

I could see myself buying this record for its art alone, but now I've gone and heard the album. Sigh. Credit where credit is due, Lorde has a lovely smokey voice and an obvious knack for the pop sound. I hadn't heard anything on this project, and by the second listen I could really understand the value of her song writing ability. I'm not a fan of that commercial, ready for radio sound, so I can live without listening to this ever again, but I can still acknowledge the effort. I can see why the art is a literal painting, it ties in well with the quality of the production. 2.4/5