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

I was expecting more (I might've over hyped about this one.) It felt a little overproduced, but they have a knack for it, the Fugees sound is very marketable. If things had been different, their version of Killing Me Softly never would've been recorded, and that's not the universe we wanna live in. I wish it was a little more artsy. I wish their inspirations weren't so constantly literal. I wish the album art didn't look so fucking badass, like a funked out godfather influence, when that's not what this project sounds like -to me-. It started off pretty hard, and there's undeniable talent. Lauryn's voice is like silk after a steamy shower, I swear, and it pairs so well with the group. She's also SO talented with that pen. I mean they all are, but she stands out for a number of reasons. It's not a bad effort. The skits might ruin the fun of individual songs, and as a project I feel like it could flow better but it's still definitely worth its listen. Press play if you wanna feel urban New Jersey energy, hardship, struggle, consciousness, values. I'd listen again. I would buy the record if it's easy on my wallet. 3/5

Reminds me of a more radio-friendly afrobeat with a commercial blues influence. There's beautiful details, so if you leave it on in the background, when you zone back in there's something special waiting for you. Not sure I'd listen again. 2.8/5

I'm not the biggest synth-pop fan, but on occasion when the talent is right I can find myself to tolerate it. This is that kind of exception. Having the idea of architecture, which later translated to industrialism, really made the sound make sense in my mind. I'm a bigger fan of the instrumental bits, the mopey goth vocals don't win me over— I recognize this is some base setting influence work and there's points for that. I would snag a copy at a discount price to have and VERY occasionally listen. I can also live without this record. 2.5/5

I was real excited for this, it's music I'm aware of but not familiar with. After a couple of listens, I can understand why it's never come up in conversation. I think this was impressive at its time, but now in 2025 it's soft background rock. Not bad but, nothing particularly amazing in the general scheme of it. I'm not a fan of the switching of vocalists throughout the project, it doesn't seem balanced, feels like a forced foot to be considered creative. Otherwise, the overall production is pretty good. We can hear that Beatles-rock era in the sound while still being a unique effort. "The Murder Mystery" is an amazing piece of work. I wish it had its own album, that'd probably be a 4/5 record. 2.8/5

Baby making music. You don't want something too generic in the background, you want something good that you don't need to get lost in. Set the mood, but focus on that other person. Having this in your library is like having a date night perfume. First listen felt a bit like background music, but the good kind. So I listened again, and my ear fell into a musical nook. I started hearing jazzy influences and solos. A bit of digging and I realize most of the solos are the co-producers flexing a bit, and allowing D'Angelo to not be the exclusive star of the effort. This man writes, composes and arranges pretty much everything on the debut, but he also plays about 90% of the instruments we're hearing. I might be exaggerating, but there's an orchestra and like 5 additional musicians, just off the memory of the absolutely beautiful credits. The end result is not bad, it's just not ~great~. I feel like there's a deeper appreciation to know this wasn't really a team effort, but the talents and influences of a young man in the '90s. This is my first time actually listening to D'Angelo, and I'm impressed. 3.4/5

This is a really good blues-rock project. The intended album art reflects a lot of what's going on. Gritty dirtied pub version of something we're familiar with, that we might prefer to keep clean under traditional standards. We're glad they went there. Starting off with Sympathy for the Devil? I was so excited, maybe more excited than I should've been. It balances out to something along the lines of just listenable, but really well made background rock. I could buy this record at a decent price, there's a time and a place for this sound, it's just not my typical day. 2.9/5

If you're gonna listen to only one of these 20 tracks, I think I recommend Don't Shoot Guns Down. It's got enough of the alternative sound and general message of the project, I find it's a selling point. When you keep listening there's also a more 2000s RnB influence, lots of quality production, and statement pieces on the reality of black human beings. On a personal note, I find it too literal. I can appreciate making the message clear and connecting with your audience, but I like being able to ingest a piece like Don't Shoot so that I slowly get a large picture/emotion/understanding. I'm not sure why this record is on this list and it makes me very curious about the book. As someone who hadn't heard of them, I find Sault a very impressive project, I can appreciate the talent on this effort. 3.3/5

I heard D'Angelo a little while ago, if that was baby making music, this will rock your world. We start off with the very well known title track, and we can expect that energy all throughout. Well composed, well performed, I would snag the record. I could've given it another listen to start enjoying those subtle background details. 4/5

I read piano rock and was expecting something like Elton John, got something more like a blue-eyed Little Richard. If you don't know who Jerry Lee was (like me) expect the gentrification of blues in its early transitions to rock. Most of what we're gonna hear is african-american compositions sung by a very talented piano player who has enough originality to add his name into a lot of the songs. The order of the tracklist is misleading. He did not start off with a bang, but the record does. It seems to have been a pretty amazing live event, but it's been reconditioned so I'm not entirely sure I feel like I've missed out. Lots of talent, not enough originality. 3.1/5

It's two Bob Dyland sounds, acoustic with a bit of harmonica, and the second half is backed with his band the Hawks. I wasn't expecting them to be so good, granted the only other Dylan record I've listened to is The Free Wheelin' Bob Dylan which felt like a dramatization of the first half of this concert. The Hawks feel ahead of the time, but a bit behind modern day, so today in 2025 it's listenable, it's impressive, but the entire effort only really stands out because of Bob Dylan's penmanship. I think this is a good record for those who are already fans. Otherwise, so many stretched out tracks kind of gnaw at me. It feels bad to ask an acknowledged genius to hurry tf up, but it's the feeling I got. 2.8/5

Let's just start this off by acknowledging that this cover art isn't just a painting, it's a piece by Gerhard Richter. Using art by one of the most important visual artists currently alive is a nod to what they're trying to do. We could dissect the image for hours, I'll drop it at: the color palette is so accurate. I've heard Sonic Youth before, I imagine they've never stuck because of the array of vocalists. Personal note, I don't think I'm a very big fan of Ranaldo's vocals. I'm not a ~giant~ fan of Moore's vocals either but at least they really sound like the energy or essence of the effort. Vocals aside, I'm a big fan of the entire musical experience. I listened twice, I wasn't completely won over during the first listen, but after a careful combing of the tracks, it's really hard to give this album a low score. Even the parts I don't like sound good. The artistry in the interludes? How about the musicianship in the constant solos? It's more than just solos, it's conversations of sound, it's math-y, and in that sense kind of jazzy, sporadic, fun but dark. It's not my usual thing but I would listen to this again. 4/5

Nostalgia! This is pop rock for me and I'll fight you if you say otherwise. It's also a very Killers indie vibe. Honestly, as someone who's not typically a fan of indie pop, this is so well done I could listen again. Big fan of the funky bass lines. 3.3/5

My first shot at The Kinks! And I get it, I get why it inspires, I get why it's a classic, there's a lot of really cool things happening all throughout the album. The B side is a little extra special to me, not really a fan of the way the record starts off but that's a personal preference thing, a little too kookie. I associated "The Kinks" as a name with a sound more punk than this. We're actually experiencing classic rock with British wit. And weird goofiness. I'd like this on my collection, not because it's my favorite rock album, but because even though it's dated, there's a lot of cool interesting twists. Great percussive work, entertaining and well composed lyrics, it's an awkward jam. 3.4/5

Today was a good day for a loud album, quite happy with the way this one panned out. I'm not the biggest fan of that 80s rap style where you yell but enunciate as well as you can and kind of box up your words so they punch/match with the beat, but that's what this is and— it's still pretty good.— There's strong social messages and extremist ideas. You can really hear Ice Cube's youth and pain, hence the loud vocals, beats, and generationally learned misogyny. It's a documented moment in time, and it's sad that a lot of it the record is still relateable decades later in 2025. Everything is well produced, well mixed, well executed. The skits aren't chores, they fit with the vibe of the music. Dated, hard hitting hip-hop. I see how it's still an influence. Put this one on to fuck shit up. 3.6/5

This album started real strong with the Sky and the Family Stone influence, with thick bass and strong vocal messaging. On the A side. Then that B side is a window onto what they were before this moment. I've heard them be better at being themselves. The A side could've gone with a driving force on the second half of the album but I'm not music producer. I'm confused why this is on the list. 3.2/5

This is a great way for someone who isn't very familiar with Thin Lizzy (me) to understand the general vibe. A little on the long side if you're not already a fan, but we get to hear a kind of 'Best Of' without feeling too cheesy. Not a lot of audience intervention so when it happens you can really feel the popularity of the track. I can appreciate the musical aspect, there's solos and constant displays of talent. A little overwhelming, but I understand why hearing this is important. They were ahead of their time. By modern standards they've been outdone, so I'm not sure I'll look for them again. 3/5

There's some cool songs on here, it's a very alternative folk sound, I do like hearing the psychedelic influence. I'm sure I listen to artists who've been influenced by this, be it this record or by other Byrds projects. It loses me on more than a couple of places though, very strong Americana that I can stomach, but still slowly annoys me. I wish those instrumental bonus tracks had been placed on the original track list. It is ahead of its time. It kinda feels like 1968, that's much stronger when you get a feel for the moog raga bonus track. Otherwise, original album sounds like an album I could've forgotten about from an indie band in 2018. 2.7/5

This work both solidified my appreciation for Simon and Garfunkel's talents, and pushed me away. The first half of the album starts strong with the extremely melancholy title track, then it confuses its listeners with a strong niche Latin American influence. The second half of the album sounds more like what I would've expected with my limited knowledge of the duo, except for that one ska or "reggae influenced" track that confuses the listener but is more easily appreciated on mainstream US radio. I liked it, but I can understand why it was met with initially mixed reviews, it's showing ideas from different cultures and that takes some time to get used to. It does feel cohesive, there's a ton of talent throughout the compositions in general, it's just feeling goofy to me in too many places. I'd snag a copy at a discount price. 3.3/5

I'm sure this was classified as noise by a lot of people when it came out. Perfect blend of relaxed acid-rock by today's standards. I like hearing Captain Beefheart's voice. Great background rock, not boring, a good dose of that '60s feel. 3/5

My ignorant opinion is that it sounds like a Bollywood soundtrack with a varied mix of influences. Western and otherwise. The truth is I'm probably only noticing the eccentric similarities between the Indian ragas and the middle eastern maqamat. Music nerds will appreciate that rabbit hole. This is my first time listening to the genre with intent, and I felt a little bit let down by the incredibly broad influence. I was hoping for something with more of its own culture, but ended up with a LOT of '90s technology advancement production techniques, influences from all over the world, a lot of western culture, but a lot of latin influence as well. A bit of digging, and that's a recent standard for the genre. I felt moments where the influence was stronger than the talent or the understanding of the base, just to really pull it off. I can appreciate the Algerian people can be exposed to these other influences, but I'm not sure it was a necessary listen for me with my general knowledge of music. OR, maybe this is one of the most solid renditions of the genre in modern times. We need some contrast to understand better. There's a couple of really good songs that stand firm on their own. There's a lot I could do without. The "Imagine" cover is something I can appreciate being reinvented in any language, but only for the benefit of others, you know? I'm not the one needing it. 2.7/5

Well, it definitely sounds ahead of its time. I would have never guessed 1972. '80s or '90s easy. It's hard for me to see this as glam-rock beginnings, but it's all there and it does make sense. It was a nice listen, I'm not sure I'll ever throw this on again. Nothing stuck. I found it hard to believe the singles were singles. Someone convince me otherwise, I might need perspective. 2.6/5

It took me years to get into this album. She's got this smooth, smokey, sultry voice that works great on its own, but the production includes a well played and minimally applied set of strings. Percussion is applied like a light seasoning. We're here for her voice, to hear the subtle emotional differences that build on the work of her pen. It's so delicate, it takes a genuine listen to feel it. That can take time, and right off the bat I remember how this might feel bland. It feels long but it works well in the background. Not personally ecstatic about the idea of an extended deluxe version right now. But it's a really good vocal appreciation project in its original tracklist. 3.5/5

This album started off real strong with Politik, and I was ready to be swayed in Coldplay's direction. It then turned into exactly what I was expecting. It's well produced, they're all talented, the vocals are attractive. It feels very commercial, doing all the right things to call attention without too much risk. 2.3/5

Today I learned what the Minneapolis sound is. It's hard for me to really enjoy this combination of a very organic bass coupled with machine crisp percussion. It's the sound that comes to mind when I think of the '80s, I've never loved it, and I'm learning that I've never given Prince a thorough listen because that sums the better part of his catalog. I now know what to expect. There's some Kanye level ego here. Hypersexual, dramatic, intense, and very catchy. It's easy to dance to, even if it's not my thing. I actually enjoy the lengthened tracks with the use of the Revolution, I just wish the composition featured alternate instruments. It works real well conceptually from start to finish, cheesy as it may feel. 2.9/5

I really wanted to like this. We're talking #15 on Rolling Stones top 500? The fact that it was ever considered so high speaks of its historic value. If only I didn't feel so negatively about drum machines and choppy production. By the time it's switched up, I've grown tired of Chuck D's blocky vocals. Nothing to criticize, I place the entire positive aspect of the project on his bars, which are frequently way above standard, packing a punch that does fit well with the music. 2.3/5

This feels like the missing link for me. It's a solid step between the thought out lyric/vocal combo of folk oriented beginnings of rock, and the freedom of amplified electric technology. I'm impressed with what I've heard, and I'm still feeling like I need more listens to digest this properly. My rating may fluctuate with time. My mental image of Neil Young was a variety of Hollywood Neils before today. There's a lot more respect now. 3.6/5

Ok, it's not bad. I don't know if it belongs on a list of musts, but it can be enjoyable. It can also feel long and it's a 45 minute project. I'd listen again, I wouldn't judge anybody for loving this, I just don't find it particularly special. 3/5

This has been 80s percussion week on this 1001 albums journey. I'm not sure if it's the exposure therapy or there really is a more human element here. The album can be enjoyable, but difficult for me to listen to seriously all the way through. Definitely sounds classic, though. I could tell three songs in why this would be on the list. I wanna listen to 1999 again because it doesn't seem right in my head that I could connect with this better than Prince. Even though I don't see myself ever hoping to listen to this again. 2.6/5

This was fun! I like keeping it to the original 7 inch experience, it's just right for what it is. Impressive! Very clear, rugged, dirty, modern rock and roll. I would love to have someone else say they'd like to listen to this or some CCR in general. Because I don't think it pulled me in enough to make me come back to it. 3.3/5

It's art rock, so it's meant to be heard the way you'd appreciate an art gallery. The lyrics aren't always stories, they're usually facts or symbols presented in a way that feeds you the intended energy but let's you do the math. I'd set up a listening party for this with Scotch and The Shining muted in the background. Recommend following along on Genius in case the conversation throws you off the cryptic messaging. 3.6/5

Another album fit for an art gallery. If you're not into it by the time Wesley's Theory is over, it's probably not the day for you, consider leaving it for later. I hadn't heard this in a few years, it's aged really well. It's incredible how throughout the project there's knowledge being spread in layman's terms, an effort for the people. And right off the bat we get the jazz inspiration, the similarities on tonal work and energy are scrambled together between the jazz itself and the spoken word. You can expect this to evolve while leaning into culture all the way to the end, conceptually nodding towards other caterpillars in history. I'm rating this high, so I'm nitpicking, I'll dock a few decimals because of the lengthy ending. I find it very literal, though that first listen packs its punch. I just feel it belongs on a kind of "director's cut" for the people that treat listening to this like sitting down with popcorn for a movie. 4.8/5

Went into this expecting to grow tired of a lengthy funk rock album, I wasn't expecting it to be such a solid effort with stand-out classics. I was NOT expecting Under the Bridge after the title track, or at all. So, it's been a beautiful experience. Great track list. Blood Sugar Sex Magik isn't philosophically mature, but academically, sonically, it gets something right. There's youth and carelessness, and enough self awareness to have respect for the genres and artists it's building on. This is a bad-boy ladies' man soundtrack. 3.7/5

This is my second time listening to an entire Smith's project. This effort is earlier than The Queen is Dead, and I wonder if that's why I like it more. I feel the instrumentals are pretty here, meshing, in my opinion, better with the vocals than the slightly more angst gaze I'm more familiar with. Still not something I'd put on. Sounds like melancholia with a smirk. 2.8/5

It sounds dated in general. I think after the title track there's some details in the production that stand out, I guess that's what makes this album a "must". I could've done without it. Feels like alternative Smiths. 2.3/5

So I know this artist exists, but this is the first time I knowingly listen to them. It's not bad at all, conceptually I'm not in love, but this was made for the people of the Midwest USA. I remember getting to Chicago and thinking it'd be a great end to the project, but that's barely half way through the effort. By the time we get to the end we understand there was so much more in store. So, yes, it's a bit lengthy, but how could you be short when you're attempting to embody the history and lore of an entire state. It took me over 12 hours to finish the album, it's too lengthy for a regular work day, but I'm impressed. My rating here has to be based on this single listen, real possible the rating can get better with time. Also possible I never decide to put it on again. 3.6/5

I'm happy I found this album today and not in my adolescence. Fast forward some cultural experiences and a few music festivals, and we've got the basis for a strong appreciation for the mix of influences that lead up to this project. It starts strong, real strong, I was curious how much I might've loved this album, but that leveled after some intense musical exploration that I believe they refined in the years that come. I still definitely want this record in my collection. It's particularly tasty on a good set of headphones. 4.4/5

I can appreciate this. It's got this experimental side, just starting off with the dirty guitars and an assortment of winds. What. I'm happy I've been introduced. This reminds me a lot of the Omar Rodriguez Lopez Group, but what I appreciate about the ORLG experience is the vocalists are chosen based on how their voices carry with the music, and I don't always love the way these vocals work with this sound. Maybe I'll get around it with time, because I love a lot of bands with vocalists that don't mesh with me, and I'm definitely gonna be listening to this again. 3.8/5

I think with the context of so many of these classic rock records, it's easier to understand why Jack White's got all the spots he has and shares on this list. Credit to Meg for her work here, but on the grand scale... There's an understanding about the direction rock and roll is going towards, and this project is a well executed snapshot of the evolution of the 2000s. Unless you're in the mood for a soft-spoken Nirvana alternative, it's an easy one to forget. I'm sure I've heard this record before but I only remember Fell In Love With A Girl. Great track to be reminded of once in a while, on a superficial level I feel like it outshines the track list a bit. The rest of it is perfectly listenable. Musically and melodically solid. Probably just takes a vulnerable ear to grow addicted to the provided style. 3.3/5

I gave this one a listen a few months back because it was the mood at work, I tend to think about it and put it on every few years ever since I found it in my late adolescence. It may not officially be a "concept album", but one thing The Flaming Lips always seem to nail is the conceptual side of their release. It's like their modus operandi is to tie everything together so it feels cohesive, and in that sense, even though I'm ignorant to a large chunk of their discography, I think it's safe to say this is some of their best work. We're stating this because it was meant for a broader audience than a lot of their significantly more artsy projects, but without sacrificing the effort that goes into the details. Quality musicianship on a beautiful project. 3.8/5

The mood, educated with a short fuze. This is very alive, lots of energy, punk influenced indie rock of the 2000s. This is THE rock and roll sound I associate with the turn of the century. The stuff that was edgy when you heard it on the FIFA main menu, on the iPod ads, or the background music for that particular brand of edgy youth. It made me miss Le Butcherettes, same ballpark different league. A second listen in the evening and I start to piece together the mesh of sounds they're throwing, it's generally pretty nice, it also has some very occasional cringe. It's not perfect, but it's raw so it proudly displays its efforts. It was fun, I wanna do it again sometime. 3.7/5

I blame the era for the blocky choppy way of putting words together, and this is a singer songwriter effort so it's an album of the stuff. I had a hunch the lyrics might be the redeeming factor, but after a careful combing, ugh. I just find it cheesy and excessive. Most redeeming factor is her voice, which isn't bad, but isn't great. We're not sticking around for the melodies or exquisite vocal skill. 2.2/5

This missing puzzle piece is teaching me that grunge is one of my favorite genres. It just feels to me like what rock should be. Gritty, dirty, tastefully screamed and yelled. This project is fun and deep and cohesive, and it's just an EP. I love a well produced EP. If you're into prog-punk, I recommend Crackman - Campo-Formio as another example of the EP as it's own solid project. The debut ends with a bang, In 'n' Out of Grace is the perfect outro to keep thinking about the energy after the audio finishes. Then I heard the extended version, and you know, after becoming a fan three or four listens in, the long playing format is great just to keep shoving a similar sound down your earholes. To appreciate the project as it's own thing, I'd stick to the initial 20-something minute experience. You don't need more than the original six tracks to understand the message. 3.8/5

I'm not typically a big goth-rock fan, but it did take me 5 tracks to realize that's what this is. There's some really good instrumental sections, some classic lyrics, overall it's a pretty impressive piece of work even if it's not what I'd rather be listening to. I'll add some points because this is where Lovesong comes from, I'll dock the same points because Robert Smiths' vocals don't mesh with me. 2.7/5

This doesn't work in the background. It's a piece of art with intention, it's easier to digest if you're actively listening, or have already understood the general energy. I think. I'm surprised I felt so much by such an unconventional voice in so little time. I also feel like it has the replay value of a concept album. 3.5/5

The first time I heard this record was Dream Theater's fault, they published some inspiring covers and had the Tenement Funster, Flick of the Wrist, Lily of the Valley medley as a single prog rock piece. All these years later and I can now understand how this was a step in pop direction. Killer Queen was never my favorite single but it explains it better. This was made for mass appeal, and if something was gonna feel progressive, they'd officially cut it so it feels like a separate piece of work. All kinds of genius on this project. 3.9/5

There's definitely an artsy side to this record, and there's a ton of talent being poured into the project. I don't personally love how it feels like a band of good boys doing ok things, maybe it just feels this way because of my passing listen. Well produced. I would hear it again but I wouldn't seek it out. 3.2/5

The Beatles won the popularity contest so everyone knows their songs. They are really fun to sing along to, and this album is full of the catchy memorable stuff. I'd argue the songs that aren't singles are often even better than the radio play. The album is well produced in every sense, but especially in that it all ties together from beginning to end, it really does feel like a project, however dated it might sound. They're not the first and they're not the last to make a simple catchy track, but they're definitely some of the most covered, it's like the sound was built to add onto it later. After hearing and loving a lot of that, it's nice to catch up with the source material. Can you believe fake McCartney really thinks Lucy in the Sky isn't about acid? 4.3/5

What I'm learning here is I really love her voice. I love it in spoken word, as rap, and her vocal range in song is also gorgeous. I find it impressive she produced this on her own, and I also think that's why it falls short for me. I was really expecting to be blown away, maybe the expectations were also too high. The way she raps is starting to sound dated, but it's still aesthetically pleasing. A lot of the work with the pen is intimate, delicate with a punch, but I've been exposed to enough material for it to occasionally feel slightly superficial to me. Conceptually, not very raw. 3.2/5

This is my first time listening to a Femi Kuti album, I've heard maybe two or three Fela Kuti albums, and we're along the same vein here. It's too easy for me to appreciate afrobeat, in this case there's details and musical elements that surface with multiple listens. I'm surprised this is over an hour long, I didn't feel it! The bass lines are feeling extra '90s jazz, and the conversations between the musicians in general is exquisite. This record has the energy of a live performance, a difficult concept to accurately present. I'd buy this record for the collection, but just because I like the mood the genre puts you in, not because it feels like one of the top afrobeat records I've ever heard. It's definitely quality, and it's a great starting point if you haven't been properly introduced. 3.7/5

I remember giving this one a listen when I got curious about the origin album of Where Is My Mind, but I didn't remember until I got to the track. At the time I wasn't very impressed with everything else, today I really dig the direction the ideas are being flung at, though I still struggle to find it memorable. After several listens and conceptual placement in time, I can see how relevant this has been to the development of rock. I wouldn't mind having this in the collection, but for a very occasional listen. I'm surprised I don't remember the album art. Aesthetically kind of plain, dark box inside a white box. It's the details that give it any more depth and meaning and I'd say the music works about the same. 3.4/5

That first listen was special, full on classic roots intro, taking each upcoming track to ease into more modern approaches of reggae and ska. Beautiful! This is also my first time dealing with Elvis Costello, on production here, and I'm pleased with the resulting album. Not my favorite vocals, but the lyrics are fun to dissect over time. 3.6/5

My first listen appreciated the first half of the record more so than the rest of the project, but I was still enjoying the mood. The replay value is insane here, the original version of this record teases you at the end with one of the climactic tracks from the middle, giving you just enough of a taste to consider a circle back. Repeated listens got me appreciating the concept. It's a love story that's been chopped up into individual songs displaying genuine human emotion, that also happen to work really well together. The influences here, I can hear Marvin, Michael, lest we mention the all-stars that are literally playing the instruments. I wasn't expecting to be this impressed with each different aspect of production, while also enjoying the music for what it is as it comes out. 4.5/5

Starting off with the climax was very smart for this record, Smooth Operator is enough of a reason to have this album on the list. But the entire project, a dissection of love-related emotion, is worth its listen. I was hoping I'd like the effort more, especially since its clear '80s era music I actually enjoy— the percussion here isn't a machine and I think it makes all the difference. Everyone in the band is pretty tight, though. The bass, cheesy as it often is, actually slaps if you consider isolating the sound. The sax? So easy to go overboard, presented consistently in a tasteful and talented manner. Sade's vocals merit their own review, they're so fucking beautiful. I like the cassette version of the album, where after Why Can't We Live Together, we get to hear Love Affair With Life. Both tracks are excellent ways to finish off an album, but there's something special about the production of Love Affair. I love it but I thought I'd love it more. 4.1/5

I don't remember my first experience with The Talking Heads, but I had a negative bias as soon as I saw their name come up. It started off pretty funky, though, different to what I was expecting. It does end with '80s-era sounds, so I see how this record in particular might've influenced future projects, but I would tag this outside of your stereotypical album by decade. It has a timelessness to it. I guess I'm not a huge fan of the vocals, which in turn aren't inviting me to explore the lyrical content with too much depth. Credit where it's due, it's a well produced piece of work. I'm hesitant with my rank because I could see me warming up to the sound. 3/5

I could appreciate this effort. I don't know how to articulate why it's not immediately something I feel like repeating, because so much of it has ideas and energy that I typically highly appreciate. I would listen to this again if someone suggests it. I'd buy the record if I find it cheap for an occasional spin when I flick through my collection. My brain feels it's very classic rock. That ending sticks to you. 3.2/5