205
Albums Rated
3.26
Average Rating
19%
Complete
884 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
1950
Favorite Decade
Jazz
Favorite Genre
US
Top Origin
Wordsmith
Rater Style ?
13
5-Star Albums
5
1-Star Albums
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Maxwell's Urban Hang Suite
Maxwell
|
5 | 2.9 | +2.1 |
|
Siembra
Willie Colón & Rubén Blades
|
5 | 3.31 | +1.69 |
|
Brilliant Corners
Thelonious Monk
|
5 | 3.34 | +1.66 |
|
Ready To Die
The Notorious B.I.G.
|
5 | 3.36 | +1.64 |
|
At Mister Kelly's
Sarah Vaughan
|
5 | 3.38 | +1.62 |
|
Locust Abortion Technician
Butthole Surfers
|
4 | 2.39 | +1.61 |
|
We're Only In It For The Money
The Mothers Of Invention
|
4 | 2.46 | +1.54 |
|
Surrealistic Pillow
Jefferson Airplane
|
5 | 3.52 | +1.48 |
|
Timeless
Goldie
|
4 | 2.53 | +1.47 |
|
In The Court Of The Crimson King
King Crimson
|
5 | 3.61 | +1.39 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
The Joshua Tree
U2
|
1 | 3.66 | -2.66 |
|
If I Should Fall From Grace With God
The Pogues
|
1 | 3.33 | -2.33 |
|
Trio
Dolly Parton
|
1 | 3.13 | -2.13 |
|
Come Find Yourself
Fun Lovin' Criminals
|
1 | 2.93 | -1.93 |
|
Gold
Ryan Adams
|
1 | 2.83 | -1.83 |
|
Green River
Creedence Clearwater Revival
|
2 | 3.77 | -1.77 |
|
The Queen Is Dead
The Smiths
|
2 | 3.67 | -1.67 |
|
The Freewheelin' Bob Dylan
Bob Dylan
|
2 | 3.62 | -1.62 |
|
Licensed To Ill
Beastie Boys
|
2 | 3.55 | -1.55 |
|
Definitely Maybe
Oasis
|
2 | 3.53 | -1.53 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Nirvana | 3 | 4.67 |
| Radiohead | 3 | 4.33 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| U2 | 2 | 1.5 |
5-Star Albums (13)
View Album Wall
Popular Reviews
The Mothers Of Invention · 1 likes
4/5
This is art. It's my first Zappa project on this album generator, and it's cemented some thoughts and provoked others. The guy is indeed a musical genius. We're going beyond the traditional definition and more into the mixing and conceptualization of a record. The messages are strong and in-your-face, and they're built to make you question the society you're living in, the way the world works. It's the stuff I would've expected from the '80s, and for some reason I associate Frank with the decade, but this piece of work was making rebels way back in 1968. So yeah, who are the Beatles to you, and what does Hey Joe mean in the modernization of society?
What a fucking trip, man.
This was meant to be listened to on headphones or a well set up stereo sound system. It gets better with each listen, there's a lot to untangle.
4.2/5
Bad Company · 1 likes
2/5
Just a standard accessible "hard" rock sound. I was surprised the only track I knew was the title track, which wasn't even officially a single. Took me all fucking day to figure out why, Five Finger Death Punch made a version of the song. I'm not even a fan any more and I think I still like their version better.
I don't hate it, but I have absolutely no reason to put it on again, and I will totally judge people who hold it in high regards.
2.3/5
Slade · 1 likes
3/5
After a few background listens, I feel this is a cheesy example of early hard rock. It's not quite wowing me, though I can appreciate the production and the overall energy. I feel there's other artists at around the same time bringing a more genuine sound
A more dedicated listen and, aren't they British? I'd expect a sound like this to come from a southern US state. Don't know how to feel about that. Not worse than what I feel about their grammatical fuckery, it is an absolute pain to the eye sockets to read the track list. I'm not docking points for it, though.
This record doesn't need an expanded version.
2.7/5
4-Star Albums (68)
1-Star Albums (5)
All Ratings
Supergrass
3/5
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.
The White Stripes
3/5
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.
The Smiths
2/5
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.
Kanye West
3/5
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.
Bob Dylan
2/5
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.
Buena Vista Social Club
4/5
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.
Jorge Ben Jor
4/5
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.
The Beach Boys
3/5
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.
Alexander 'Skip' Spence
2/5
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.
David Bowie
3/5
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
Louis Prima
4/5
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
The Notorious B.I.G.
5/5
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
Jane's Addiction
3/5
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
Beastie Boys
2/5
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
Brian Eno
3/5
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
50 Cent
3/5
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
Radiohead
5/5
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
Nirvana
5/5
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
Oasis
2/5
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
Beck
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
Stan Getz
5/5
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.
R.E.M.
3/5
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
Cowboy Junkies
2/5
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
Motörhead
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
The Stone Roses
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
Country Joe & The Fish
4/5
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
Dolly Parton
1/5
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
Metallica
4/5
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
Bonnie "Prince" Billy
3/5
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
Johnny Cash
3/5
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
Nirvana
5/5
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
Stevie Wonder
4/5
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.
Small Faces
3/5
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
Joni Mitchell
3/5
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
Garbage
2/5
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
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
Mercury Rev
2/5
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
Lorde
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
Fugees
3/5
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
Songhoy Blues
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
Orchestral Manoeuvres In The Dark
2/5
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
The Velvet Underground
3/5
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
D'Angelo
3/5
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
The Rolling Stones
3/5
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
SAULT
3/5
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
Marvin Gaye
4/5
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
Jerry Lee Lewis
3/5
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
3/5
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
Sonic Youth
4/5
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
Franz Ferdinand
3/5
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
The Kinks
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
Ice Cube
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
The Temptations
3/5
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
Thin Lizzy
3/5
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
The Byrds
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
Simon & Garfunkel
3/5
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
Captain Beefheart & His Magic Band
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
Khaled
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
T. Rex
3/5
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
Norah Jones
4/5
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
Coldplay
2/5
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
Prince
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
Public Enemy
2/5
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
Neil Young & Crazy Horse
4/5
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
The Auteurs
3/5
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
Pet Shop Boys
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
Creedence Clearwater Revival
3/5
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
Butthole Surfers
4/5
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
Kendrick Lamar
5/5
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
Red Hot Chili Peppers
4/5
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
The Smiths
3/5
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
Echo And The Bunnymen
2/5
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
Sufjan Stevens
4/5
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
Radiohead
4/5
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
TV On The Radio
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
The White Stripes
3/5
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
The Flaming Lips
4/5
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
Yeah Yeah Yeahs
4/5
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
Suzanne Vega
2/5
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
Mudhoney
4/5
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
The Cure
3/5
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
Tom Waits
4/5
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
Queen
4/5
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
Wilco
3/5
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
4/5
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
Lauryn Hill
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
Femi Kuti
4/5
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
Pixies
3/5
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
The Specials
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
Maxwell
5/5
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
Sade
4/5
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
Talking Heads
3/5
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
David Crosby
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
Jah Wobble's Invaders Of The Heart
2/5
Conceptually, jack of all trades, master of none.
Mr. Wobble is a very decent bass player. I feel like he wanted to display some knowledge, but I'm not feeling the investment. I also feel the influences are being taken excessively literally. On occasion I'm impressed with the combination of ideas being displayed at the same time, but I get over it quickly. It might be my ignorance in the subject, but it's feeling superficial.
And just, you know, where are you from? The only thing that feels clear is the technical displays of talent.
2.2/5
The Band
3/5
I find it pretentious to name your band "Band". I do understand there's context to this, but it ages like milk.
I was able to appreciate the B side, but that first half was dull. I was preparing a 2 star review. Not that it's that much better when the continuous singles come up, but you start to understand the relevance and why it might be on this list.
I'm glad I gave it a listen, I don't want to listen to it again.
2.8/5
Billy Joel
4/5
Motherfucker made me cry on the A side.
I've consumed this for the first time, it's only been a day, the few songs I could criticize tend to grow on you. My least favorite track musically, Only the Good Die Young, is actually a pretty decently written piece of work. I'd like to hear the version from the universe where the drums were to Billy Joel's liking.
4/5
Willie Nelson
3/5
I'm glad I gave it a listen. There's some beautiful subtle details, especially with the guitar work, and the lyrics are enunciated clearly. This is a concept album done right.
A little too Americana for me, though.
I think I need more time to adequately rate this, it feels more complex and mature as the listens multiply, and it's an easy listen to repeat as long as you're in a relaxed mood.
2.8/5
Siouxsie And The Banshees
3/5
I've learned on this generator that I'm not a fan of post punk, and a lot of it has to do with the delivery of the vocals. That's the only party that occasionally irks me about this album, because musically, sonically, it's really solid.
There's a lot of talk about the peculiar guitar work, watching out for it with the context of decades between it really shows how prevalent they were in the sounds that influence the future.
I'd buy this record, but I'd jump at a version with less vocals.
3.3/5
Syd Barrett
3/5
As far as this slow folk-rock stuff goes, one of the better albums I've heard on this list so far. The few Dylan records I've been able to dissect haven't provided me the emotion this effort has, and it's still not something I want more of. Sometimes silly, sometimes sad, not really my thing. I do appreciate the expression on his vocals, and how his voice feels naturally suited for the genre.
Easy to appreciate, easy to forget.
2.9/5
The Afghan Whigs
2/5
I can understand this one. If I'd heard of this effort during my angsty teens, I would've totally overlooked the vocals, enjoyed and sympathized with the general energy.
Today, I can't get past the vocals. I've decided I'm docking an entire star because of them.
The energy though, the pain, the concept, it's actually pretty cool. I like the direction, my complaints are with the producers and the lead vocalist's ego.
There's an extra decimal in there for the exquisite album cover. Had I gone in blind, I might've bought this.
2.3/5
The xx
4/5
I was very excited to see this album cover pop out. So very popular, iconic, and yet something I've never made the intent of listening to. Right off the bat, with the introductory track aptly titled intro— OH I KNOW THIS.
My brain felt the song was by Khruangbin, which no doubt have some xx influence in them. Along with I guess 80% of the indie rock from 2010 onward. I've heard and enjoyed their influence without ever needing to hear this record.
One could debate the effort is better off as a catalyst than its own piece of work.
It's still a solid project doing the job right. It's got some memorable moments, it's got room to breathe, just enough sonic variety to keep you interested for its duration. I think it was just surpassed quickly by a handful of emergent bands.
Historically, very important. I'd add this record to the collection.
3.7/5
The Rolling Stones
3/5
Did I really listen to this just because it ends with You Can't Always Get What You Want?
Stripped of its notoriety, it's that 1969 classic American rock sound. If you want that, this is a great album. Otherwise I find the bulk of it forgettable.
2.7/5
Moby
3/5
I gave this a solid listen in the morning, attempting to dissect the story or the purpose of the album. That was ok. Then I heard it later on in the afternoon, walking through a crowded city on my earbuds. Today there's a beautiful blue sky and a ton of tourists. The album put a pep to my step, it felt like I was featured in my own movie, or the protagonist of a of a lengthy well produced series.
The magic didn't finish at a particular track, it finished when I stopped appreciating the rest of the world with my eyes. It feels to me like this effort is great for a multisensorial experience, providing an enhancing audio track to the 'event' of our choosing. I find that really special, but also difficult to listen to on its own.
3.1/5
Sigur Rós
4/5
I've listened to this before, during periods of time when the mood is for post-rock. In those moments, this album is a standard. Its droning strings create this ethereal landscape that flows through the record exquisitely. I was not particularly in the mood for it yesterday, so it felt lengthy, occasionally a little annoying, so I'm rating this with the knowledge that it's not an every day listen, and that when it does hit the spot, it's exactly what you need.
One thing I did notice was that, although I've heard this album a handful of times, I had no memory of the songs, just the overall energy.
3.5/5
Violent Femmes
4/5
This is where Add It Up comes from! I practically know the song by heart, such nostalgia.
It also says something that I never thought to associate the band name with the track, just not my default genre or energy. The vocals are angsty, just barely good enough for commercial success, the pretentiousness is strong but it's definitely part of their likeability. The feel of rugged angry acoustics clash well with the lyrical content. It's a really solid album, on the musically elaborate side of alternative punk rock.
The Gone Daddy Gone rabbit hole was fun. I know of the Gnarls Barkley cover, so I paid close attention to the songwriting credits. I first thought the original might've been a work by Willie Dixon himself, reimagined by Gordon Gano, it's really just got a piece of lyric found on "I Just Want To Make Love To You" popularized by Muddy Waters, written by Willie. It's impressive to see how varied the influences can be, and how much of a spin they're capable of giving it with their unique sound and structure.
3.7/5
Madonna
3/5
I have, of course, heard the title track. I did not associate it with Madonna, though, but with the entire girl-pop 2000s sound, which is about half of this album. I feel like in retrospect, it pulled off a bullseye for what the era was asking for. What's going on with production here, it's crisp and funky and very electronic, where does the cowgirl even fit in, it's like Beyonce was taking notes for a post-pandemic banger.
This feels like it inclines heavy on the vocals though, especially on the second half, a few overproduced bits that feel a little cheesy, the album is maybe a song or two too long.
This is not typical sound, I don't think I want any form of physical copy, but I might listen to it when I'm in a 2000s pop production mood.
3/5
Taylor Swift
2/5
Going into this I was expecting generic contemporary pop for vanilla audiences. No surprises.
I also found beginnings of extremist feminist views, which I found a little disturbing considering this artist's reach, and the potential for exquisite composition that's been processed for mass appeal. Only after reading Imogen Heap's name can I feel her influence, it's subtle but it's there, but it's the swedish power house that really pull through with what some might call magic.
I call it carefully crafted predictability.
Not willing to listen to Taylor's version right now, listening to this alone shows too much dedication to the project.
2.3/5
N.E.R.D
3/5
That first listen felt a little bland, so I put myself in a different headspace, gave it a second shot, and it got a little better. I really like the influences, there's classic Beatles-like rock, there's funk and soul, honest urban influence. It's a well spiced piece of work, but I do feel like there was extra dedication for some standout tracks that hopefully hook you into continuing your listen. It's a fault of the CD era, where singles were exploited to sell an album. There's a few skippable tracks here.
Also, all these double tracks in the middle of an album. Attempting to force the listener against skipping tracks on an album like this can be both ironic and cruel. I feel like the purist in me doesn't mind, but it doesn't make me want to add it to a Spotify playlist either.
Otherwise it's a pretty solid effort, lots of respect, maybe too varied, so there's not a lot of hashing out on any one particular vibe. I see the potential for something stronger in a handful of songs.
3.4/5
Little Richard
4/5
It's hard to hate on this, the influences are so fresh and fun, as dated as it sounds it makes you want to move. I'm thankful for having listened, but I also don't feel any kind of need to have a Little Richard project in my collection afer this.
I appreciate the historic value, there's some added decimals in my final rating because of it.
3.7/5
The Clash
3/5
This is about as pop as I want my rock to go. Right now, 2025, a lot of this sounds like a commercial success, eager for mainstream radio play while maintaining classic grit. Rebel vocals with class, an obvious appreciation for the genres that built rock and roll. In fact, this often feels like a take on punk that didn't really go popular for at least another decade or two, maybe I'm just confused by how fresh it feels.
Impressive as I might find this, I still would've appreciated the full listen more in my teens. I feel like my tastes have shifted and I have a preference for more elaborate rock compositions.
3.3/5
Stevie Wonder
5/5
I fell deeper in love with this album trying to come up with reasons why it's not perfect. I can only critique 2 things right now: Stevie's choice of instruments can —sometimes— feel —a little bit— dated. And I guess the ending track could feel a little more powerful just to keep with the energy of the album. The track list still feels perfect.
So, I've heard this before. The songs I didn't remember by heart this time around, like Visions, were absolutely beautiful pieces of work. The pieces I did already remember fondly revealed layers of both instrumental and philosophical value. What a gem of a piece of work.
I almost cried. I love when music makes you feel.
4.9/5
Al Green
4/5
It was a nice surprise to see I hadn't actually heard this album before, I thought I had. I've only heard (and own) the 'greatest hits' compilation, which I would recommend above this to someone getting into Al Green for the first time.
As a fan of Al's vocals in general, I'm loving this album by default. I wouldn't trade it in for my record, but I appreciate the every-day-listen direction it's going in. Nothing too crowded, lots of talented nooks to enjoy, very pleasing to the ear, well produced.
It was fun accidentally finding out it sounds great right out of my mid-tier-phone speakers. It's like it was mixed with the fuzziness of the average budget sound system in mind.
3.8/5
The Waterboys
3/5
The most hardcore folk album, that isn't an obvious folk alternative, I've probably ever heard. There's a lot of talent and a lot of passion, and sometimes there's some really cool instrumental bits, it's an easy listen.
Inclines heavy on the traditional folk that eventually turns into straight country beginnings.The story-telling, decent as I might find it on a superficial listen, is not enough to bring me back.
I don't love it but I respect it.
2.9/5
Mylo
4/5
So, house music is meant to be repetitive, it's all about the club setting and ease of play for a DJ. I get it, and I usually have to listen to the genre with that in mind: it's meant for a live experience.
This project is surprisingly groovy, considering that repetitive state. The number of tracks that get to move my body is far greater than the tracks that don't.
Like the title track.
What a grating song.
Though, from an artist's perspective, conceptually, it's just as solid as the rest of the effort. As music for the sake of music, it's the only song I feel is skip-worthy.
I think the repetitive nature I'm impressed with is the reason some of the songs are slightly forgettable. It's easier for me to remember the album's energy than most of the tracks. I do have a thing for Sunworshipper and Drop the Pressure after just a couple of listens, though, so the capacity for being recognizable is in there.
3.8/5
Meat Puppets
3/5
I saw the album art and the wiki summary and I was not looking forward to this. After listening, I wonder if the cover art works better in person, because it does a pretty good job of summing up the sound. It's a naive abstraction, a display of irregular patterns. Messy but cohesive.
It felt like a dirty hardcore rockabilly project. A rebel sound, an energy that's willing to stick it to the industry and its generic standards. It's cool and fun to listen to, but I can't imagine actively seeking this out, or achieving a chaotic level of dopamine and thinking something along the lines of "this is a moment for the Meat Puppets!" even though that's the ideal energy for a record like this.
3.1/5
Lou Reed
4/5
I've heard some Velvet Underground and it wasn't for me, so I tiptoed into this project, but this is so much better. I can instantly appreciate the Bowie production, but what really gets me is how without Warhol, this album wouldn't have been half as good as it is. Andy is such a killer muse. Not really my favorite music producer.
This project feels like American '60s rock with Bowie influences and eclectic Warhol ideas. Even though it might sound a little dated, it holds up real good half a century later.
I wouldn't mind a copy in my collection, I could also live without it.
3.7/5
Ravi Shankar
4/5
This is my second Ravi Shankar album, and let me just say, listening to this exposure-therapy-style helps it seep into the crevices of your mind. I bought the Six Ragas album, my first, because the sitar is a beautiful instrument and the album art alone was worth the price at the time. I dissected that by reading the album notes and understanding the exercise and display of instrumental intimacy. There's an alternate education in these albums, it feels about as impressive as classical compositions. That Six Ragas album was a tough pill to swallow the first time around, and I really appreciate in ~this~ effort that there's just a few key moments of explanation integrated into the audio track so that those of us without the knowledge can learn to appreciate the presented genre.
Take an extra decimal for being Norah Jones' daddy and helping form her background.
3.8/5
Green Day
4/5
The first few tracks had me worried this was going to be a mediocre listen, then I felt the transition of instrumentals from track to track or within the songs themselves and I started appreciating the ideas more. It's not just about the lyrics, the composition can translate as much of the message as the vocals do. A few more listens and you start to internalize and understand those introductory tracks as setting up the bases for the type of story we're going to be experiencing. It's been really well mixed and thought out.
I'm not typically a pop punk fan, and that's what this feels like, but on the top shelf of the stuff. Billy Joe's vocals sound like they belong with the sound of the band, and they all step up constantly. It's an easy listen and I could listen to it again.
Definitely not gonna listen to these songs outside of the context of an album. Individually, most of this falls short, except a couple standouts like Basket Case.
I'm feeling thankful I got to listen to this one.
4.1/5
Jack White
4/5
I've heard this before, I guess it didn't stick at the time but it's definitely memorable. I appreciate this more than the White Stripes albums that I've dissected recently, his voice really meshes with the sound, which often takes these sick peculiar roads. Bluesy, country/folky, and mixed with some interesting production quality. This was meant for a stereo system.
It's really cool but I can live without it.
3.9/5
Bob Dylan
3/5
I believe I've had two prior Dylan albums at this point in my 1001ish albums journey, and this one has been the most listenable. What I really mean is, even though this piece is also divided in two halves, it works really well as a singular project. The energy is there all throughout, and you can tell Bobby was ahead of his time and trying to get his listeners into the new electric rock sound.
I can live without this.
2.9/5
Parliament
4/5
This deserves a good sound system. I gave it a morning listen on my cellphone speakers and it was a pretty good experience, if not somewhat average. Play this on a Bose system and we've got a more impressive scope of the talents. What a sexy set of bass lines, what excellent funk. Love when Bootsy's vocals slide by, or when the sci-fi interreacts with your experience.
I'd love to have this record in my collection.
4.3/5
The Stranglers
3/5
They feel like if the Doors did prog-punk with a less charismatic vocalist. It's the vocalist that makes this the kind of effort I wouldn't normally visit twice, dead-pan delivery that was "refined" or abused in the '80s. But give this a couple of listens and you realize why they're on this list, it's not boring, it's thought, and it's the evolution of multiple genres. I wish I could appreciate it more, I won't be listening to them on a regular basis, but at least I can put a name to the Peaches song, and appreciate what they did for future generations of punk and sub genres of rock and roll. Some of my favorite punk bands were definitely influenced by this sound.
3.1/5
King Crimson
5/5
I've heard of this, and I've seen the cover art a thousand times, I was expecting prog rock of top tier quality. That much is evident right away, track one side A, what killer riffs and displays of talent. 21st Century Schizoid Man is a work of art from the moment you read its title until its thick bassline decides to leave your mind's eye.
The rest of side A was so unexpectedly beautiful. The rest of the album really doesn't feel quite as dark and terrifying as the album art does, which ends up reflecting the introduction better than the overall energy. The two songs that follow that intro went in a direction I wasn't expecting. It's artsy, in the sense that the typical mainstream listener would have to pay extra attention to understand the layers of talent. We're paying attention to the empty spaces, to the subtleties of the instruments, and I'm sorry, we're also gonna play the fuck out of the flute. Jethro who? Ian McDonald has some of the most impressive credits I can remember on an album of this magnitude, with his wind instruments and keys becoming essential to the energy of the album.
I was unaware I'd be falling in love. What a beautiful listen.
4.7/5
Sepultura
4/5
When I think about Sepultura, I only think of Roots, I feel that album is kind of universally agreed upon in the heavy metal community as 'the' hardcore Brazilian metal project. When I'm in the mood I like to put it on, it's probably been some 6+ years in all honesty, but it's a near perfect soundtrack to Latin rage.
This album art is a bit better than that of Roots, it also strongly and accurately represents the energy of the project. Nightmare fuel, the only reference I had before giving this my first listen.
I felt straight up thrash metal, very little Latin or Native American influence, although it's mentioned there, it's like adding a pinch of salt to a large cauldron of noise stew. They're not even practicing their native tongue at all, it was a little confusing to me how US based it sounds.
Now, on the thrash side of things, very impressive. I've heard Megadeth albums that have felt less rugged and powerful. I'm sure I'll be coming back to this, maybe even more frequently than I visit Roots.
4/5
Calexico
2/5
I don't feel like this band has reached their fullest potential here, I think they've displayed the possibility of it. In this project there's a few songs I could repeat, I could also easily never look them up again and not feel a thing about it.
I'd rather see them produce somebody with a stronger sense of direction.
2.1/5
Creedence Clearwater Revival
2/5
What a let down.
The album immediately preceding this, from the same year, had such a great initial connection with me that I was honestly expecting to at least appreciate this one. Near the end of the original tracklist we see some greater musical investments, which doesn't make the strong dose of Americana at the beginning any easier for me to consume.
I suppose it's not bad Americana by any standards, but doesn't have enough spark to pull me towards it, as a non consumer of country related sounds.
2/5
Cream
4/5
I'm very familiar with this one. I remember giving it a listen when I wanted to see where Sunshine of Your Love came from. That track might be the highlight for many, but the entire record has this classic rock energy that's just a little more gritty than The Beatles. It's clear, well enunciated, slightly fuzzy '60s rock and roll.
The B side is a bit less energy than its opening, might be too easy to skip the ending on a vinyl. Still a project I reach out for.
4.2/5
Def Leppard
2/5
This sounds like commercial hard rock. I was excited to listen to a band on so many people's T-shirts, but I'm feeling indifferent with anything they might've inspired after this. Maybe this is what's been copied by rebel ballad singers for the next few decades. It's not the worst rock I've ever heard but I don't want it near my speakers.
1.7/5
G. Love & Special Sauce
3/5
This is the first I hear of G. Love and the first couple if minutes were creating a cringe response, but as the tracks progressed I was able to appreciate the talent needed to execute this. It's also not just another band attempting this combination of rap and blues-rock, it's the beginning of the sound. My mind went back to Flobots, but this project precedes that by a lot. This is from 1994, mentally I was allocating this about 10 years ahead of its actual release.
So overall it feels gritty in a silly way, the blues influence is strong and works pretty well with the lineup, mostly bass and drums. G. Love's vocal execution isn't my favorite, but I don't hate it. Kind of got this slick white guy vibe, open mic jazz poetry kind of thing. It's a mood and it's a solid project for the mood. I'm impressed with the sound. I still wonder if, when I ~am~ in the mood for something like this, I'll reach for this or Flobots, Bluezeum, or even a more refined approach like Gorillaz.
3.3/5
Run-D.M.C.
3/5
This was a fun listen, but I've heard all the major singles before. It's so easy to fall into sounds that have been around you since birth. I recognize this isn't usually for me, and I probably won't be playing them more frequently after this either.
Fun. Choppy, but well thought out. Musically it sounds like the 80s, but the level of production surpasses the typical drum machine sound. I'm sure this is a few key production techniques away from being a project I really love.
3.4/5
Bob Dylan
3/5
This is my fourth Bob Dylan album in this journey, and honestly it's the best one I've heard so far. It's definitely a solid studio effort, you've got a particular energy from start to finish. There's a quality in his lyrical process which is appreciated, definitely noticeable how it's set the foundation for future genres.
I'm not sure Like A Rolling Stone should be the number 1 song in any list, there's a couple of other songs I feel have more weight on this very album. Maybe I need more than a day to let the lyrics really hit me.
I would snag a copy of this for my collection, at the right price.
3.3/5
Sinead O'Connor
2/5
Like female lead pop rock but with a dash of Christmas music sound even though the content has nothing to do with Christmas so it just feels..?
I struggled through this. I can hear this bridging gaps between the 80s and 90s. Her voice on its own is very pretty a lot of the time. Otherwise, the whole of the project is just a no for me.
1.6/5
Dusty Springfield
4/5
I think a lot of us have Tarantino to thank for keeping Son of a Preacher Man alive, which was the only song I knew to associate with Dusty before listening to this. That's not on this project, so I wasn't expecting to know so many of these songs. They're really just soul/Motown standards of the era, and a lot of them still get recognition today.
Dusty's voice has the body for this kind of music, she damn near grazes the line between blue-eyed-soul and the good stuff that turns your stank face on. It's enough to overlook the mistakes from the original release, and the length of the very neat rerelease 33 years later.
3.9/5
Peter Frampton
3/5
I'm glad I got to hear where Baby, I Love Your Way comes from, or at least the album that popularized it a year later. Otherwise, I can see why his prior studio releases weren't really successful. It's missing a little magic, and a lot of the magic is right at the end when Do You Feel Like We Do finishes the album off with a bang. The middle felt like well produced filler. He's a real good musician, it's fun to watch the live recordings.
2.9/5
Thelonious Monk
5/5
This effort has a timeless sound. Such an influence that I can imagine more than a handful of acts bringing similar quality to some of my local jazz clubs and bars. To think this album could be my parent, and yet has the smooth glow of genius traveling through it from start to finish that I could just fall in love with. Don't look into my soul like that, Thelonious.
Let's just finish this off with the quality of that album cover. This is 1957, no Photoshop. A well dressed Monk circles himself with five* of his own bodies, joyfully looking out in every direction. Not a hand or a finger in sight. This feels normal in passing, and when you pay attention you see there's something extraordinary happening in plain sight. Let the image sink in, then mix it with the music.
4.85/5
Holger Czukay
4/5
Went into this with an open mind as I didn't expect a pioneering example of samples to be so smooth. That first track is a great introduction, it's groovy, strong early '70s energy that's gonna last all throughout. It wasn't until the last track, Hollywood Symphony, that I understood the album. It's like an audio representation of that moment of cinema. Hollywood Symphony though, that's a trip. What drugs was this man on? It's so overwhelming, but clearly beautiful. It strongly reminds me of an acid trip in a busy city. And the way he mixed that volume, mad genius. Immersive and annoying but for a reason.
3.7/5
Yes
3/5
Ok so, I like prog rock. I've heard Yes before, but not an album. This is what I was expecting, maybe slightly let down by the end of it but I'd buy this record if I saw it at a decent price. Then again, this listen just affirmed that I should buy 'any' Yes album if I find it at a decent price. The production quality and the musicianship is exquisite, especially for the year, early '70s with this shredding potential.
I'm happy to have heard this, I just don't know if I feel the need to revisit it. Fits into a cluster of albums worth giving a spin when the mood is right.
3.4/5
Radiohead
4/5
I was able to listen to this on my way back from work. I walked from the capital about 4 hours through the city to my home during a festive Saturday night. This album was an exquisite companion, adding textures and depth to things I feel used to, to moments we let slip through our fingers as if we had infinite moments to spare.
It's still an odd project, not my favorite by this band, but there was something about the background of everything else when this is playing that I appreciate.
Then I listened to their compilation of this record and the prior effort. Kid Amnesiac would've been one of those projects where I ask it to be cut down. Luckily for me it's been done, and Kid A is that perfect version. I suppose every once in a while we're just in the mood for straight up Radiohead, and when that's the case, this extension of an album might be listened to again.
3.8/5
Run-D.M.C.
3/5
I understand the historic significance of this album, I'm going to focus the rest of my words on how it feels to me. Because that choppy '80s sound usually bugs me, but there's something about the production on here that integrates really well with their
Vocal
Chore-
Ogra-
PHYYYYY
I also find it cheesy, but as a founding structure of hip-hop, I can't hate on it too much. I appreciate it's a short listen, it's fun and packs a quick punch, just a spurt of energy.
I'd buy this record.
3.3/5
Booker T. & The MG's
4/5
I got so excited when I saw this album art. This is one of those records I already knew I'd buy blind, its title track is just too much of a groove, and I believe it's also the only song from the effort I'd heard before. What's really impressive is how Booker's organ can carry life and happiness, even when it's not technically supposed to. That flavor over blues makes the genre a little less sad, like splashing a vibrant yellow. A bit more on the green side, one might say.
It sounds dated, but it's so well-executed. This is the type of work I'd expect to cross generational barriers with ease.
4.2/5
Ryan Adams
1/5
I gave it a shot, it's a little cheesy, it's very cliché. Feels like canned 'murica. I attempted to give the extended version a listen, I like going for the vibe the artist wanted. I made it to track 19 before I just gave up.
No redeeming historical value or significance as far as I can see.
0.8/5
Solange
4/5
This one started off real strong. I felt it lose potency along the way, and by the last few tracks I was hoping it to finish. Maybe I need to let the details seep in a little more, or maybe it'd actually be beneficial to shave off 5 minutes somehow.
I find it very strong conceptually, being brought to the adult table, listening in on family and the hows and whys we are often excluded from at a young age. In that sense it's a beautiful piece, very emotionally aware, very open and intimate.
3.8/5
Sabu
4/5
¡Un discazo! ¡Y del '57!
Sabú, un boricua de la temprana diáspora, al quién yo desconocía, crea una rumba junto a su combo que pudiese retumbar un callejón festivo al sol de hoy. Es un sonido que no me hace pensar en ningún momento a la grabación de estudio, es algo que se encuentra en la calle tropical con percusionistas en euforia. Y aquí está, tal como debe sonar, disponible para reescuchar de modo digital. No me imagino salivarme para escuchar el lado A y culminar con Asabache, que joya. Esa me recordó a El Nicoya de Santana, pero realmente tiene texturas más profundas, un sabor más auténtico.
4.1/5
Pixies
3/5
Well, this is different than Surfer Rosa. Sometimes I think I like it more, other times I feel it hits different but in a generally similar intensity. A little more melodic I guess. I'm glad I heard it but I might never put it on again.
3.1/5
The Sonics
2/5
I appreciate the historical influence. With all the Jack White I've heard already on this journey, no I really see it. It's a really moved, "aggressive" rock and roll. It's fun, it's electric, it's low budget and low fidelity so it's also influencing that iconic raw sound.
It also feels like the appropriation of black culture so it can be found digestible by a narrow minded population. It doesn't sound fun enough to make that feel any better. There ~is~ a handful of tracks written by their lead, Gerry Roslie, but let's be honest here, the covers are the tracks that have stood the test of time.
My rating for this one is a battle between a fun classic sound and cringe.
2.4/5
Neu!
4/5
I went into this expecting something else. The artwork, the font, the very clear '70s rock vibe was screaming out to me, and I wasn't expecting it to be any better mixed with krautrock. This ends up being possibly the foundation for the prog-rock bands I'm into. I can hear that early influence, and it's an easy album to imagine in a more modern setting. The mixing on this bad boy. Goddamn.
Also, we're heading into this primarily instrumental project, halfway through you get these random vocals. What a fun little mind-fuck. It's an entire trip, meant to be heard beginning to end, presenting some real key modern-rock features.
Happy I heard this. Would be so much fun to spin occasionally.
4/5
Elvis Presley
2/5
This is my first time listening to an Elvis record. His voice is pretty here, this is the debut so I didn't get a lot of the ahuh-huh tone we tend to associate with the star. Instead, this piece of work reflects the beginnings of the appropriation of the genre. We've got some grade A writers on here like Ray Charles and Little Richard, and these Elvis versions aren't necessarily better, just slightly whiter.
It's not a bad listen but it literally shows me what direction to head in when I find it losing momentum.
Props to the guitarist though, keeps the record going.
2.2/5
The Mothers Of Invention
4/5
This is art. It's my first Zappa project on this album generator, and it's cemented some thoughts and provoked others. The guy is indeed a musical genius. We're going beyond the traditional definition and more into the mixing and conceptualization of a record. The messages are strong and in-your-face, and they're built to make you question the society you're living in, the way the world works. It's the stuff I would've expected from the '80s, and for some reason I associate Frank with the decade, but this piece of work was making rebels way back in 1968. So yeah, who are the Beatles to you, and what does Hey Joe mean in the modernization of society?
What a fucking trip, man.
This was meant to be listened to on headphones or a well set up stereo sound system. It gets better with each listen, there's a lot to untangle.
4.2/5
Baaba Maal
3/5
Spiritual strings. You can hear the tradition being passed down in that slow evolving perfection of a process. I see myself walking through a market in Senegal, listening to this somewhere, and contemplating the beautiful culture.
This listen, especially initially, would've benefitted from my having some form of cultural attachment to it. The latter third of the rerelease pulled at my emotions. I don't know if that's because of the process of the entire listen, or if the marketing team figured which tracks were sticking so they could increase sales. I appreciate the listen, don't know if I'll look for it again.
2.9/5
Various Artists
3/5
I hadn't really heard about Phil Specter prior to this, though obviously I've heard his work and influence. Right here we're getting a classic American Christmas album. It's on the better end of cheesy holiday music, with "Christmas (Baby Please Come Home)" giving a quality display of artistry. It's well written, well composed, and well executed, kind of gives you an idea what the record is gonna be, but it's the only original track on there. Everything else has been produced to hit the mood in a simple but effective way.
The album is niche, but I've found myself in this vibe, and I can see myself looking for this one in very particular dates some years in the future. It's great material for your Christmas playlist. I'm sure I'll be googling "Ike and Tina producer murderer Christmas album" to find this one when the mood hits.
2.7/5
Would rather be listening to:
Willie Colón & Héctor Lavoe - Asalto Navideño Vo. 1
Nirvana
4/5
This album generator has graced me with Nirvana appreciation. That doesn't mean I need an acoustic Nirvana recording, I think the mood for Nirvana rarely merits an acoustic version. This is still a lovely sound, and it's offering something special for the fans, authenticity and intimacy. I feel like Kurt fucked the intro to Come As You Are, but we're human, and his vocal performance is top notch everywhere else. We also see the interactions between the bandmates, the audience, the energy of the night, attitude and respect. It's probably my 2020s devolved cell-phone-brain, but visually this was a chore.
I like this one, just because I'm a fan. I'm not super excited about the covers, I prefer their original work. I'm sure a lot of people could get into this project because it features a lot of quality Cobain poetry under a more generally accepted guitar sound. Otherwise, it's fun to see the body language, the cigarettes, the sarcasm.
3.8/5
Blue Cheer
3/5
I've been listening to this in the background all day. Just a tiny bit of context and maybe 4 or 5 listens, it's a fun half hour bit, great for walking around at a mall, driving aimlessly, rolling a doobie. I figure I could see myself -really- into this in 1968 or the early 70s because there's not a lot of this hard rock sound being developed.
Now I sit down and realize, these are pioneers. This is potentially the first metal album, the foundation for grunge, and it's got an obvious bluesy background that they definitely make the most of.
Can not imagine the extremes this album was used for, psychedelics and the Vietnam war is just a base historical pretext. This one's all about context, and in that sense I really appreciate the album, but I live in an era where there's enough music on streaming services to fit my exact mood, and this will probably never be my mood.
2.8/5
Crowded House
3/5
Very wholesome dad rock. Not quite as sexy as Steely Dan, not as "raw" as Bon Jovi, this is more acoustic, musically elaborate, melodically competent pop-rock. It doesn't stop being what it is because it's well executed. It's easy to appreciate, and I find it curious I hadn't heard about them or this album before, there's a lot of classic radio standards that aren't as well made as this project is. The whole album has potential, it's really impressive.
It's still fundamentally boring for me.
2.6/5
Ray Charles
3/5
Not what I was expecting. It's like crossing fundamental country lyrics and melodies with Ray's silky vocals and a big band kind of vibe. It's got a classic feel to it in that sense, well produced early '60s music for everyone. And this time in the albums generator journey, it's appropriation of a white American standard for the benefit of anybody willing to listen.
I feel like Seth McFarlane must love this. I'm not quite enchanted with the compositions or the history of the era. I'm more swayed by the amazing instrumental sections that collect behind and in between the lyrics.
3.2/5
The Young Rascals
3/5
I figure they have the appeal of a boy band, but it's so early in the music game that it's not this over saturated syrup of production techniques and data analysis. In fact, this is a (probably relatively) self produced album, which makes the commercial appeal of the record extremely interesting. These are artists how we imagine they work when we're children, before you realize how complicated the processes can be. On that note, Beatles level of commercial melodies, but the Beatles DID have the big bad producers to fine tune the effort. You can tell, but over the course of decades, the production team really makes a difference.
I probably would've appreciated this more in the '70s than today.
2.7/5
Janelle Monáe
3/5
It's easy to understand why this would be on the list. You see so many classic influences, from David Bowie to Stevie Wonder, and they're being used decades later for the blending of genres with more contemporary legends like Big Boi— that dash of OutKast elevates the experience. I feel like the vocal aspect is a little forced at times, like pushing to achieve something grand, and it's achieved, I just don't love noticing that effort. That might be the concept's fault. I do like the way the concept of the record gave the experience a north, and even though it doesn't begin or finish the story, it feels like a complete record experience. I also feel like it forces the artist to explain things so that it makes sense, but it makes a more dense experience. I imagine this was a killer live performance, though.
Not something I'd revisit.
3/5
Sheryl Crow
2/5
We gave this a reluctant listen at 3:AM on January first. I just wasn't expecting to be wowed by Sheryl Crow, I couldn't name a song of hers, and after listening to this record I still can't. It was a bad idea to give this a listen on my phone's speakers, it strips too much away from the experience. A listen on some decent earbuds and at least it's not terrible. The overall production is pretty top notch honestly, smooth and well executed. It's pop rock, I think the appeal leans heavy on the songwriting and that aspect didn't click with me, either.
1.7/5
The Doors
4/5
This has been my first studio project by The Doors themselves. In my teens I got myself "The Very Best of The Doors" which is over two hours of compiled material without the mixing and conceptualization of a dedicated project. Curiosity killed the cat, and my desire to put on the Doors with much frequency.
This project here, however, this was a cohesive piece of art. One of my favorite Doors tracks is Peace Frog and it was great to feel how the band intended that to come up, and later drift onto the next song. The production work is quality. I've heard some questionable details on some of these earlier records, but Morrison Hotel has nothing but competent artists making everything work together as a single project.
Jim Morrison carried the band with his clear and pleasing vocal projection mixed together with some pretty creative song writing, but it doesn't take much to see everyone involved brings a lot to the table.
I wasn't expecting to enjoy this so much. I feel like it changes as I listen to it.
4.2/5
Eric Clapton
3/5
The A side started off so strong with Motherless Children, I was ready to be wowed. There's 3 tracks written by Clapton, and a few more with his arrangements, which makes up about half the effort, and it's cool. It's just not really "wow".
It's perfectly listenable. I'd rather listen to Disraeli Gears.
3.3
Peter Gabriel
2/5
I think my main issue is with the computer musical instrument. There's some cringe musical influence elsewhere, the filtered funk bass stands out... Otherwise, this is a technically solid album. It stands out on a good sound system, you can tell there was care going into the way the musical variety sounds. I don't doubt anyone here is crazy talented in their fields, and I wouldn't judge anybody for putting on ~this~ particular album on a car ride. It's just a very well executed hardcore '80s sound, and that's never been my thing. After various listens I consistently found myself clocking out and thinking of other music in my mind.
Listenable. Points for that.
2.4/5
Nina Simone
4/5
This effort feels short and intimate, but it's just a label making profit off unreleased material. Good for us, but I could tell this track list wasn't set up with purpose. It goes from pop, to deep social commentary, to romantic, and it scrambles up into something you can very comfortably leave on in the background. There's a handful of songs that merit so much more than the background, though. A deep emotion that's almost more acted out than sung. You'll feel all the greys between love and pain, because she crafted each interpretation into a treasure.
Makes me curious about albums where she took the conceptual lead. The only song she wrote here, Four Women, is easily the star, and it's clear it's because of her vision and the capacity she has to tell a story.
4.1/5
Bad Company
2/5
Just a standard accessible "hard" rock sound. I was surprised the only track I knew was the title track, which wasn't even officially a single. Took me all fucking day to figure out why, Five Finger Death Punch made a version of the song. I'm not even a fan any more and I think I still like their version better.
I don't hate it, but I have absolutely no reason to put it on again, and I will totally judge people who hold it in high regards.
2.3/5
Jefferson Airplane
5/5
Of course I've heard Jefferson Airplane before, and I always thought I liked them more for their influence. This was the record I should've listened to back when I got curious. It's simple, short, and gives a very clear view on what the band is about. This was the counterculture. Love, life, and drugs to enjoy them with.
I don't know why I thought Somebody to Love was a Janice Joplin track. What an exquisite track for the setlist. Another song that pulled my attention was White Rabbit. I've loved Hiatus Kaiyote's version since it came out, and to feel the depth Grace Slick intended was a great way to help finish off the album.
It's a fun short listen, so I gave it maybe a dozen spins, and it honestly keeps getting better with each listen. I can imagine all the young adults in the late '60s gathering around the record while they smoke their doobies, but this one is pretty spectacular for the modern day listen, too. It's a good vibe for relaxed driving, walking on a bright sunny day, or doing your household chores. Go ahead and play She Has Funny Cars and tell me it doesn't add to your current experience.
I admit, their philosophy meshes with mine, so I'm sure there's some bias on the rating here.
4.5/5
Rush
3/5
The first three times I played this I found it hard to focus on the music. I think this is conceptually dated, in digital it doesn't work as well as the physical LP would.
Pick a side, do you want the theatrical rock opera, or the heavy hitting singles?
I appreciate this on the list because it feels like getting a few different angles on one band, and I'm looking forward to hearing more because of it. I'm a bigger fan of the less theatrical B-side myself, though I love the prog-ness of their rock opera.
3.4/5
Van Halen
3/5
I downloaded a best of Van Halen compilation in my teens, so it was really nice to get reacquainted with some of these. Eruption was a 5 star song back in my iPod smart playlist days. It was also a blast to hear Jamie's Crying and You Really Got Me again, as someone who finds Van Halen generally mid-tier, those few songs really hold their own weight.
As far as the sound goes, ignoring how ahead of their time they were because this feels like a cemented '80s vibe and this is a late '70s debut, it's just ok metal with a really good guitarist. That's a mood, and it's generally what you hope for in a good rock band.
I can live without this but I'm glad it exists.
3.2/5
Django Django
4/5
I didn't like this the first listen through. On a superficial level, it's generic. It's the sound a lot of indie bands want to achieve, very inspired by culture, classy but innovative. At one point I found myself thinking it was like Simon and Garfunkel on an alternate universe.
I ended up highly appreciating the effort. It's not gonna be a favorite, or a typical play, but I'd love to have this LP and give it a sophisticated spin every once in a while.
3.7/5
Rod Stewart
2/5
I was excited, on paper this is held on such high regards. It started off incredibly too Americana for my tastes, and halfway through, I'm bitch slapped with Amazing Grace. Musically it picks up afterwards, but not enough to make me appreciate the effort as a whole.
I didn't know I was gonna be such a Rod Stewart hater.
2.1/5
New Order
2/5
I wasn't expecting to like this, and I didn't. I can say there were a few tracks where I saw an upside, and I can totally see why this record would be on this list. I'm glad I heard the whole thing through, just to be absolutely sure I'm not missing out. I'm not a fan of the excessive use of synthesizers, or the vocals...
I gave it a second listen at the end of the day. I think it got worse.
1.7/5
Nick Drake
4/5
Between the art, the description, and the fact that I have no recollection of the artist, I just wasn't expecting to get too into this album. In this case, the artist wasn't around enough to push his own sound onto willing ears, making this more of a cult listen. A little digging and we see this genius left us early due to depression, and you get it. He wasn't really going to show off and make a following, this was way before SoundCloud. Something so precious can remain hidden fairly easily if you don't stop to look back or pay attention as it's happening.
This project is musically exquisite. The lyrics feel thoughtful and tender. The concept is pulled off, the album is its own energy. I appreciate the sound of Nick's voice. I could only enjoy this more if I were already a dedicated folk fan.
4.2/5
U2
2/5
I've listened to a U2 album before, The Joshua Tree, but I don't really remember the record. I don't remember it being quite as annoying as this effort, though. It's just so blatantly commercial, which I think was the idea, get to as many people as possible... The production here isn't bad at all, it's just painfully dull for me.
2/5
The Monks
4/5
This started quick and strong. I see how it influences punk, that first track reeks of pure punk energy. The rest of the album fluctuates a bit, which I think makes the overall concept feel a little less than amazing. Nothing wrong with the tracks, it's just a bit ADHD from one to another.
I would still own this record. It feels like the perfect cross between 60s rock and punk rock. I loved the way the vocals feel and screech against the electric rockabilly setup.
3.9/5
Kendrick Lamar
4/5
It's been maybe 5 years since I last heard this project front to back. There's a few songs I didn't remember, but for the most part it inspired the same feelings. It starts off really strong, the skits all help add context and don't feel as excessive as they might have in a '90s project. Most importantly, replaying the album sheds light on the concept, because even though the project has the structure of a well told story, the lyrics for the entire project work together outside of their order to complete details that add texture to the message. It gives me goosebumps just to think about how everything connects.
This isn't the gangster appreciation music a lot of similarly situated artists bring, it's on the conscious rap side. Incredibly, it achieves quality lyrics over sexy beats, aiming for mass appeal and succeeding. I talk about artists making their concept work or not, and this is a hip-hopera, a short film for the ears. Most of it feels raw, and some of it might sound excessive, but the story telling isn't sacrificed and it doesn't feel cliché.
I believe this effort becomes stronger thanks to future albums. You start hearing repeated material, fallen brothers, sex addiction, and the moral dilemma of having murdered a human being, a sibling of skin. There's no evidence outside of the K.Dot musical universe, but rap snitch knishes.
I remember it was hard for me to enjoy Kendrick's work at the beginning as someone who dislikes organized religion, because his messages feel very Christian. Again, future albums clear things up. Christianity is the common ground, for the masses, to understand the moral issues being presented. It's a cultural language that he's constantly using for the message of it, not to convert you.
As far as debut efforts go, this is so ridiculously strong. Even the various pieces of album art integrate perfectly with the energy of this release. It does drag a little, I think we can blame the concept of music as film for the length of the effort. That and, well, it's a very complicated message with too many intricate details. It's hard to appreciate that lengthy listen the first time around, it detracts from the initial experiences.
4.4/5
Elbow
3/5
I think it's art rock because the combination of dense intricate lyrics against strong emotionally guided instrumentals is a little bizarre, in a creative way. The production is a little too clean for me, I feel like I prefer my indie gritty, otherwise I'm looking for pop. Right?
There's a few tracks, no more than half the album, that I can recognize as extra special because of this combo of exquisite lyric and sonic composition, but the production quality on everything else (and during some of these standouts) makes me not want another listen.
2.7/5
Talking Heads
3/5
There's something about sounding 80s that Talking Heads do right here. I think all the Afro influence has a lot to do with how pleasing and interesting a lot of the songs are. As much as I appreciate the way they worked it, this is not something I would find myself in the mood for.
3.2/5
Portishead
4/5
I can definitely enjoy a well played bass line with my earbuds, but giving this a listen in the car so I could literally feel the bass on my body definitely elevated the experience. I think this effort shows the positive direction where layering samples with original work forms into a pretty unique experience, less cliché or harsh than a lot of earlier examples I've heard on this list.
I hadn't heard this one in a while, I remember liking it more than I do now. Still, I'd keep a copy of this in the car. Really well produced.
4/5
Eels
2/5
I feel like I'm a pretty big Shrek fan, that first movie was on heavy rotation, it formed childhood nostalgia. It was a surprise to me when I found out one of these songs was in the montage skit. I'd already heard this project twice and it had never rung a bell. The point is that for me to not immediately remember this, it must have been real fucking bland.
No disrespect to Mr. E, there is technical talent on here, but the project feels like it's meant for wholesome background music because that's likely what the production team wanted.
2.2/5
Johnny Cash
4/5
I've believed Johnny Cash is my favorite country artist for a while now, and this list has done nothing so far to change my mind about it. Even so, it's not like this piece of work is right up my alley. I respect the persona, the cadence, the energy. I think it's pretty cool how rowdy the crowd/inmates get. I'm not typically one to applaud censored music (I've been listening to the original release), but for this one it just puts you right in the middle of that historic moment. I'm from the other side of the world, but Johnny mentions this is being broadcast to England and I can just imagine myself in an English suburb watching this on a boxy tv. You can catch the full show on youtube, it's a different track list, feels just as raw as I'd hoped.
This is the album that first features A Boy Named Sue, there's a lot of history here, Shel Silverstein being such a well known children's poet and making very adult poetry. If you're looking for a rabbit hole, go find the second part of that piece. It's amazing how far a good writer can go when they're not being held back.
I think overall this isn't an album I'd listen to very often, but if I had a physical copy I'd give it an occasional spin. It puts you in a good mood, it's a fun listen.
3.6/5
Lou Reed
4/5
This is a fairly well pulled off concept album. There's enough ambiguity to keep it from being a total cliché, but it still has an energy that feels like a well produced musical, for better or worse.
The storyline is intense. The musical composition of it all dramatizes in a way that I might associate with cinema, which makes the album kind of versatile. You can leave this on in the background for an easy listen, or you can pay attention if you're looking for an emotional roller coaster.
I find it very impressive this came out 3 months after Transformer. That's two solid efforts back to back. I might be turning into a fan.
3.8/5
The Pogues
1/5
My brain isn't ready for this punk crossover, and I know that's got to do with my own ignorance. If I knew more about Irish folk, if I invested more time into Celtic music in a very general sense, I'd probably appreciate this more. But those vocals, that cadence, the speed, it beats at my eardrums like something is not quite right. I understand what's happening, and I get how it influences bands in the future, bands I can appreciate more. It just doesn't help me appreciate this one by a lot. The Battle March Medley was the only track that made me stop to consider my opinion, and as that's the instrumental track. I figure my issue is mainly the vocals.
1.3/5
GZA
4/5
I've always associated Wu-Tang with exquisite cadence, but this effort was never on my radar. To me this is just a Wu-Tang effort completely fronted by GZA as the main lyricist, and his pen is on fire. It's beautiful when you stop to understand the message and realize how the words don't only mix and match seamlessly, but they also paint a picture that's been pieced together in an abstract way. This is also a fun one for the samurai metaphor just because the street/urban aspect is so raw and rugged that thinking back on the way of the samurai adds the context of that lifestyle. It's hard to associate violence with honor, and it's exemplified heavily on this album.
Esthetically, the effort is still solid some 30+ years later. Conceptually it still holds, but it's leaning extra hard on the drug-dealing money-making reality of many underprivileged Americans, which I suppose is a little more frowned upon today. I'd feel it drag if it weren't so well documented and executed.
It is what it is and it's done right.
4.1/5
Elastica
3/5
I was expecting a wreck with this one. On paper it sounds like nothing I'd be into. I hit play, and the first track wasn't so bad, but nothing beyond '90s pop-punk. This effort is saved by those very basic punk influences, a low bar to pass but it's executed correctly. Arguably very well produced, lead vocals fit really well for the genre, but in my opinion the overall energy is also on the boring side. I gave it a good few listens to see if anything would stick any better. The mood on it fluctuates, never feeling any better than average.
2.8/5
Deep Purple
4/5
First impressions, ugly badly executed album art is trying to make me understand that they "are" rock. Cheesy. The visual is the first negative step towards my slow-burning appreciation for this album.
On the first listen I was wondering why this effort and not Machine Head, the vibe felt similar and I breezed through this listen with the attention of background rock, no obvious 'singles'.
On the second listen I started hearing the heavy metal roots, the speedy guitar, the energy of the heightened vocals, a solid step away from blues rock and into heavy metal.
By the third listen I was looking up and understanding the history. This is 1970, the middle of the formative years for what heavy metal is going to be, and this album forms an integral part of that DNA. Not that there isn't some points we could knock down within the lyrics and execution, like the stereo track guitar solo at the end, it's not exactly a plus.
In the general field of it, as an album in its entirety, it's not only solid, it's timeless. There are bands today who could only aspire to achieve such energy. I do feel a little less cheese and a little more hook could've taken the effort over the top, but I wouldn't go back in time and risk changing anything here. This effort has caused too much impact to have had it any other way.
4.3/5
The Sugarcubes
3/5
I was fully expecting to hate this. Post punk with eye shattering album art. Conceptually, later on, it all kinda works. It's a satire, it's poking fun at the evolution of the genre at the moment, catching on to double standards and calling them out. It makes sense it'd present itself as an exaggeration of happy colors with stick figures sporting genitals.
As someone who doesn't necessarily love the genres they're poking fun at, I ended up really enjoying this. I think they went beyond what radio had to offer, just a bit. Fun for an occasional listen, and I don't doubt some of the melodies will be showing up in my brain in the near future.
It was fun listening to those early Björk vocals.
3.3/5
Kraftwerk
4/5
This is a concept album done right. It starts with a 20 minute car ride, the title track, the big hit. I can see it being tedious upon reception, there's a particular mood for hearing a similar beat for half of your listening experience, like a long car ride or an early morning ritual. The ride continues with a musical rendition of what I imagine is a night full of shooting stars, followed by peak darkness at midnight, and a morning stroll. It feels like 12-24 hours condensed into 40 minutes of beautiful electronic music.
I've heard Kraftwerk before, I know I own some digital release remix, but I can't remember where it came from and nothing in the Kraftwerk rabbithole rung any bells. I'm so glad I climbed down, though. This album in particular is a great experience, but getting into their most well known singles lets you understand exactly how fundamental they are for the future of EDM.
Easy repeated listen. Would love any version of this album on vinyl.
4.3/5
Penguin Cafe Orchestra
3/5
Soothing. It feels adequate as background music for a children's story, but not the nonsense quick fix we're getting used to today. Instead it's sophisticated, it's thought out, it's peaceful and it feels complete. This piece of work is great for moving slow, breathing steady, partaking in a bit of playful mindfulness. I'd listen to this again, but for that very specific mood. Makes for a great physical purchase, would love to stare at this album art on a 12 inch release.
Sounds like you're entering a cozy café where all the baristas wear penguin masks. It's surreal in a relaxed way.
3.3/5
Isaac Hayes
4/5
This was a slow burn for me. I was listening to it in the background today and I felt it fall short, later on I realized that's because this isn't meant for the background. Sit down and use your ears real good for this one. This is soul fundamentals, and it's fresh. His vocals are an instrument of their own, the man has a beautiful voice, and his energy is eternal.
That first track sets the perfect tone. It reshapes a popular song into something so full of emotion that it distorts. It lays a badass undertone to start things off, rocking out with the Bar-Kays, who merit way more visible credit for this effort. It's then drawn out, experimented with, played and displayed. You can feel that dynamic on the four tracks that make this record. It's playful, it's sensual, it's intense, it's a beautifully executed project.
I feel like I might possibly love this more in the future. My rating expresses a single day of exposure to this gem, where I find this as something I highly appreciate but not necessarily a project I'd listen to frequently.
I would still buy it.
4.3/5
Raekwon
4/5
The first listen felt raw and lengthy, but it contains enough charisma to invite you to another. Conversations that lead to the message of the song, effects that insinuate ideas without being a cliche. The gunshots sound like they were ripped out of old western films. It's an exquisitely produced, creative piece of work. RZA is the solid backbone of these Wu-Tang projects, bringing something different than the mainstream with equal impact to dress the lyrics with his sound. It's no wonder their logo is one of the most recognizable hip-hop symbols the world has to offer. It defines that classic 90s rap sound.
My verdict for the day is I should listen to this again when I'm angry. I feel it'd soothe me, it might also be easier to lend an ear to the lengthy displays of theatrical penmanship. A bit tough to chew, definitely appreciating GZAs phonetic finesse. Raekwon has the flow, it's fun to listen to, but dissection feels like it takes time, and this project seems to have many layers.
Let's see if I think back on this one the next time somebody actives my sociopathic thoughts.
3.6/5
Curtis Mayfield
4/5
It took a real listen in the afternoon to realize this beautifully embellished gem is a strong political piece of work. It's thoughtfully crafted to make ears understand a message. The vocals are beautiful, understandable, and accessible. The entire project feels this way, and this is where I appreciate the artistry, because this is Curtis Mayfield in near complete control over an effort, bringing us something technically and emotionally solid. The biggest thing that happened with this listen was my appreciation for the artist. The album itself has such intense stories and messages that regular play won't be my thing. I bring it down a notch because of this, but I raise the same bar for its exquisite use of music to prove a message. At the same time this album is a nod to the soul connoisseurs so they have a trophy album that doesn't need to be flashy.
This is not an album I'd previously heard, but I have a strong bond with the trumpets on Love to the People. I took myself an hour trying to figure out where I'd heard it before. In the end, I'd heard it sampled on one of my favorite Brock Berrigan efforts, Daily Routine, the track is called Cruise Control and it takes advantage of the funky trumpets feeling happy and alive.
This album deserves to be heard, even if you don't end up liking it.
3.8/5
Neil Young
4/5
After my last Neil Young experience I was fully expecting to appreciate this effort, and the effort did not disappoint. It's a short and intimate listen, it feels like snippets of deep conversation with the artist turned into subtle arrangements that capture fleeting moments and difficult times in a very beautiful way. I'm happy I know this album now, for when the melancholia only merits reflection. Memorable project, couple of flat out amazing songs all on their own.
4.3/5
Peter Gabriel
3/5
I'm surprised I don't hate this. It has a lot of elements I place between the classic '80s sound and what I consider '90s soft rock. That's all pulled off thanks to some exotic and really well pulled off creative decisions. Like that marimba, pops up every once in a while and steals the spotlight. There's some industrial backbone in here too.
My main complaint, it feels a little mainstream a lot of the time. I wondered if I wouldn't be better off just listening to a Phil Collins album. It's a different vibe in the long run but the idea was there.
If I ever catch that sick album art when I'm flipping through records, it's getting the fuck bought out of it. It's a cool display album, even if it's not entirely my thing. I like how it ends.
3.1/5
John Martyn
3/5
Not sure what I was expecting, it reads as trip hop influences on wiki, but the art gives me prog rock vibes. I think what's really curious here is the Jamaican influence, and on more than just the track with Scratch. I appreciate taking it in and turning it into something unique, it stands that way still today. I don't think this influence was eagerly mass produced later on, just part of an attractive niche.
His voice grew on me. I'm more used to this vocal playfulness from female singers. It was a bit of a shock initially, got past it quick, it's a little different but it's talented.
I don't feel I've ever heard any of this before, not even the single. I can see why, it's a lot of well pulled off production that doesn't really stick to the back of the mind. I'd buy the record at a decent price, and I'd be happy to hear other projects. This one was fun for work-day-background-music.
3.3/5
Goldie
4/5
I hate the art for this record. It makes sense though: it's 1995, a pretty exotic electronic genre called jungle is being pushed to a futuristic sound we're gonna be recognizing as drum and bass. We portray this as metals in fancy colors out together by early wonky versions of Adobe Illustrator. Add a skull and we're talking bad boy goes steampunk.
The record itself is wonderful. It's like a sativa, you're accelerated but it's a peaceful trip. This one has some quality stereo mixing that works beautifully in the comfort of your headphones, but I felt myself appreciating it more through a good set of speakers. You need to feel how the bass interacts with your body on a physical plane before you can really judge this.
It's not gonna be my favorite release the genre has, I'm partial to Pendulum's Hold Your Colour for emotional reasons, but it's definitely getting replayed. All this texture of sound from a graffiti artist, it has a time and a place but this is the good stuff. As a visual artist, I'm inspired. Brand new Goldie fan.
4/5
Elliott Smith
3/5
Nothing I've heard here sounds new, but it's put together really well. Sad acoustic pop with Beatles-ish lyrics and melodies. It doesn't quite sound like the album art, it's not grungey, his voice has a higher pitch than your typical male. It's not angsty, it's like a delicate assertive melancholia.
I can see myself in the mood for light music with very nice production, and potentially thinking back on this effort.
3.2/5
The Streets
2/5
I was excited to hear this, I tend to enjoy the urban UK scene. This project might be the reason why, demonstrating to British artists that they can be themselves, and that bringing your culture to the front is the point of rapping.
This fell short to me for a couple of reasons. The talk-rhyming feels like too many steps backwards, hopping from 2004 to early '80s rap or the '90s poetry scene. Conceptually it's kind of cool, in theory, but then musically it also feels choppy to me. I can see myself potentially enjoying it more if I'd been an adult when it came out, dissecting the art of the release and pairing it with culture and philosophy —at the moment. Before what it inspired got to exist. Today, 2026, I've already enjoyed the sound that comes after this burst of UK rap, I've heard how it's been refined, and that's what I'd rather listen to.
I wouldn't recommend this album.
1.8/5
1/5
I remember hearing Achtung Baby on this generator and thinking back on a memory where I found Joshua Tree a little less annoying. Hearing it again today, I take it back. Hearing this in my youth probably cemented my steering away from U2 before I understood that was a mechanism I had.
The first few tracks are slow, a little bland, fairly commercial. It then shifts to a dark and mysterious vibe, but without feeling dark or mysterious. It doesn't feel genuine. That slight grunge feel they slap on doesn't really help the overall energy. It's too pop on the pop-rock scale for me, and I don't get what it inspires or why it's historically significant.
With or Without You, for better or worse, is a really sticky tune.
1.4/5
Pearl Jam
3/5
I think this was an important listen on a personal level, understanding that I'm a grunge fan makes this a mandatory effort to hear at least once. It's not quite what I hoped for, but I enjoyed it about as much as I was expecting. It's not music to break shit with, but don't tempt the mood. It's a heavy sound with talent involved, at the same time it's also digestible, not overly studied or overdone. I do find it a little too radio-friendly for my tastes, and maybe that has to do with the strong classic rock influence this album seems to be known for. Still, there's undeniable talent everywhere, I just don't see myself coming back for more.
3.1/5
UB40
3/5
UB40 is one of those reggae bands I've heard of heavily, I'm sure they've toured near me sometime in the last 15 years, but I never got around to searching the music. Had I not done the research today, I could've been fooled this was a straight up Jamaican ensemble, the level of production is up there on the top tier I expect from the reggae capital.
Sometimes this is the type of reggae album we want. It blends into itself really well, it's got that bass heavy sound with an ear for details. It's great for zoning out and zooming back into the sound at random moments. It's great background reggae. As someone who appreciates the genre, I'm perfectly aware there's a world of more elaborate sound, of music that begs to be heard or displayed at the forefront of your activity, Dennis Brown comes to mind. This is not that, inclining more towards the meditative dub roots. I can appreciate it, but it's not love. It's a strong 3 for me, and a real easy purchase if I ever see it when I'm crate-digging.
3.4/5
Willie Colón & Rubén Blades
5/5
Willie Colón is an asshole, but he's mainly an asshole because he's so aware of his impact on salsa music that he's a stuck up arrogant little bitch. He's not wrong, and he's probably the reason this particular effort made it to the list. It's also arguably Ruben Blades' best piece of work, and it's definitely his most recognized. The entire A-side is the kind of hits all Latin communities will recognize, but the album as a whole is a salsa standard. You won't meet a cocolo that hasn't heard these songs, it's like sacred pages.
The production quality of this effort is of the top tier, it would've been a hit regardless because of Ruben Blades' poetic story-telling capacity. He really paints a picture with his words as he admires the musicality of the genre. We start off with the classic Plástico, a song about shallow, hollow, plastic individuals. After the main descriptors he mentions a classic line that echoes towards the end, it feels something like "Recognize you can see their faces, but not their hearts."
That's followed by Buscando guayaba, this song is a little more vague about the search for ones treasure, how hard it might be to find the fruit, but it lends itself to potentially imply a romantic encounter or even the highest high of a drug. The point is an incessant search for that highest quality, and what it might mean to finally snag it.
Finishing off the A-side is Pedro Navaja, the lyrics to this have the potential for an entire movie, or at the very least a well shot short-film. It follows a trenchcoat thug, Pedro, he feels cool, walks with security, flashy gold tooth. He catches sight of a woman, presumably a prostitute having an unlucky day, and he marches towards her with a fist in his pocket. As he hurries behind her, she pulls her .38 Smith and Wesson from HER coat pocket to place in her purse so it's no longer in the way, when he pounces and presses his dagger into her— only to receive a gunshot in return. She stares at him bleeding on the ground, and says she thought she was having a bad day, but Pedro is worse off, he's just lost it all. Despite the bang, there were no curious neighbors, nobody cared for what happened, except for a drunk who stumbled onto Pedro's body. He took the revolver, the dagger, and the few dollars Pedro had on him, he then leaves singing the outro to the song: Life is full of surprises.
My original vinyl copy has Plástico all scratched up and for good reason, it's hard not to dance to that track. The next few songs keep with the idea of the record, they hold their own weight, they're recognized classics for the salsa loving community. Then it gets to the end with the title track. The title of the album falls short when literally translated, "Plant" or "Planting" doesn't sound as pretty as the metaphor, it has more to do with reaping what you sow. The title track finishes the album off with the message: our future is the children, the love with which you plant that seed will provide the fruit of tomorrow.
4.8/5
Morrissey
3/5
I've learned in this albums generator that I'm not a huge Smiths fan, so being confronted with Morrissey this morning had me groaning. I feel I can appreciate this effort a little more, I think toning down the music to focus more on the lyrics works well for him. This isn't to say it's musically dull, maybe a little more commercial than I tend to appreciate, but plenty of talent is involved.
If this is considered his best solo work, I'm not impressed.
2.7/5
A Tribe Called Quest
4/5
This has the feel of a verbal slow burn. There's weight in the lyrics, and there's probably equal and more immediate impact in the quality of production. That jazzy hip-hop energy has always been pleasing to me, I like the heavy organic bass lines and the fleeting moments turned into loops, it's the type of idea that sparked my appreciation of samples and their origins in my teens.
This sound is the perfected evolution of jazz with boom-bap. A few listens in and the sound is sticky, catchy, there's beats and lyrics that stick to the back of your mind when a silence fills the air. I think ATCQ mark a transition in rhyme style where the cadence feels more natural, but it still feels a little blocky which, on a personal level, takes it down a couple of notches. A lot of the songs are a fun listen regardless, I'm a pretty big fan of "What?" because of how the rhyme scheme forces you to think about what's being said, it turns the experience into something more dynamic.
I'd listen again. I'd buy a copy at a decent price. I'd recommend it to anybody looking for a classic oldschool rap album, or jazz lovers looking to get into hip-hop.
4.3/5
Slade
3/5
After a few background listens, I feel this is a cheesy example of early hard rock. It's not quite wowing me, though I can appreciate the production and the overall energy. I feel there's other artists at around the same time bringing a more genuine sound
A more dedicated listen and, aren't they British? I'd expect a sound like this to come from a southern US state. Don't know how to feel about that. Not worse than what I feel about their grammatical fuckery, it is an absolute pain to the eye sockets to read the track list. I'm not docking points for it, though.
This record doesn't need an expanded version.
2.7/5
The Beta Band
4/5
I'm impressed. I was expecting something less mature, and more pop. The effort is still commercially accessible, it definitely pulls a lot of inspiration from a very large pool of talent and blends it into something unique, while still giving that cool-kid indie-rock vibe. It's not a cookie-cut band giving people what they want to hear, it's more a group of creatives making new decisions over a genre that suits the upcoming generation. It sounds newer than it is, I can imagine the influence this must've had.
I see myself putting this back on in the future. Maybe snagging a copy for the collection. Definitely keeping an ear out when I see their name swing by.
3.9/5
Sarah Vaughan
5/5
What a show! Her charisma is so authentic, she radiates the energy of a sensitive genius, with emotions that could potentially trip, but only ever enhance the entire concert experience. She proves here that she's a professional, handling each challenge, melodic or otherwise, with grace and soul.
Driving this up a notch to eternal classic status is the palpable culture of the moment. I enjoyed the host's introduction, the audience's banter, the mid-set accidents, and her seductively talented trio. Finishing off with a song you don't necessarily know the words for is about as fundamentally jazz as you can get, my amusement and admiration multiply after each listen, and I've only been aware of this effort for half a day. Props to the sound engineers on this project, conserving this moment in history is a gift to humanity.
I'm trying to find something wrong with the record. This could potentially be a perfect 5.
4.9/5 —or higher
Supergrass
3/5
Supergrass was my first listen on this generator, but it was the next effort "In It for the Money". I remember thinking it was well made, but not tailored to my tastes at all. I think the same applies for this effort but with better material for singles. I was shocked when I heard Alright and could finally put a band name to the song.
The quality of production is very nice, the musicianship isn't lacking here, but aside from a few solid tracks, I find the effort mostly forgettable. I'd have preferred a Best Of compilation, or a good live show, at least as far as must-hear-albums go.
3.2/5
Fun Lovin' Criminals
1/5
I'm upset at how bad these lyrics can be, I think it's offensive this is on anybody's "must listen" list. The rhyme scheme is elemental a good 80% of the time, and I'm probably being nice about that number. I could maybe appreciate the genres getting play time via the band, but the way the lyrics integrate just ruin everything for me. It's been done before and it's been executed better. The story telling and concept is interesting, but not handled in a way that saves this.
I gave it a second listen. The band itself is solid, I'd listen to an instrumental version. The lyrics and cadence dock two entire stars from my rating, and I use a decimal system.
1.3/5