A nice early-morning album to wake up, grab a brush and put a little makeup

It had its highlights, but much of it felt resigned to shock rock. The missing link between Mott the Hoople and AC/DC.

One of the greatest drumming records of my lifetime

Some interesting production techniques, but felt a bit tiring by the end

Felt so massive but could’ve been twice as long…did the original LP end with that teasing intro to Mountain Jam?

It’s actually incredible how much they manage to do with such a narrow palette

Everyone wants to be Special but there can only be one Specials

Phenomenal sound. Would sit on the record shelf between TV on the Radio and Parquet Courts

Thin Lizzy strikes again. Some excellent prog elements sets them apart from being just that “bar band” sound

A great sound, but I often found myself wishing I were listening to the original versions

Impressively and surprisingly consistent. “Embryonic Journey” is one of the greatest compositions of the decade.

Absolutely beautiful and devastating. A perfect album for early mornings or late nights.

I wasn’t familiar with most of these standards, but when I was, I was amazed at how much Charles made these songs his own. An excellent themed album that manages not to feel like a gimmick.

Very cool

The guitar-playing is stellar, yet it blends so well that it isn’t a “guitar record”

I could not find a happy balance between easy-listening and sonic experimentation

The death of rock n roll?

Some great riffs, and some great tracks, but a lot to get through

A lot of energy, but that’s about it

They can make some decent music when they aren’t being complete tools

To the point

Like an ambient Tom Petty, or a smoothened out Kurt Vile, but less interesting than both

I like Eurydice’s wordplay, but otherwise had trouble getting settled into this world

Amazing how the production can be so lush, with a full band, strings, horns…without sounding ostentatious or over-the-top

Is it any wonder?

It’s hard to go wrong with productions by Pete Rock, Premier AND Q-Tip

This gets wonderfully weird but I think it’s really well sequenced and makes me want to listen to it all the way through. Some days it’s a 5, today it’s a 4.

The combination of instruments on this album feels so natural and full, but I never hear this type of arrangement. I also feel like the percussion was punching up a lot of these tracks but wasn’t getting a lot of credit considering the drummer isn’t one of the listed “artists.”

Partial credit for the creative arrangements…extra credit for Sugarcane Harris

This one was hard for me to get through. It’s interesting to me how the 90s sometimes gets talked about as a renaissance for rock, or the last time it was a relevant form. Maybe it has to do with the way bands stripped back some of the excessive and synthetic-sound studio techniques of the 80s. I love some 90s rock but albums like this feel like they didn’t have much they were trying to say.

I can tell this band worked really hard on this album…to hone in on all of the elements I dislike about 80s production and arranging and distill them into one album

Not long enough…

I love Ella, but I guess I’m learning that Gershwin is pretty hit or miss for me.

Some killer tracks, and I loved when the album went really out there, especially the intro. But did not care for Elton doing “reggae”

I honestly never get tired of hearing Q-Tip say he’s gonna clean out your ears

A nice early-morning album to wake up, grab a brush and put a little makeup

They’ve got the vision, now let’s have some fun

Yodeling, bass slaps, experimental tape effects, and 8-minute vamps? What more could you ask for?

I really wanted to enjoy it…

Very cool sound. I can hear a lot of people who followed in their footsteps…Beach House, Phoebe Bridgers, Mac Demarco…

This young Bowie guy’s showing lots of potential

Shout out to all the internet sites

Some creative production techniques and it did feel cinematic as he intended, but I think a lot of the appeal is shock factor and not something I’ll probably return to (apart from the great Labbi Siffre sample on “My Name Is”)

This gets wonderfully weird but I think it’s really well sequenced and makes me want to listen to it all the way through. Some days it’s a 5, today it’s a 4.

Some good tunes on this, but mostly forgettable

I haven’t delved deep into any of these performers’ catalogs, but I was completely struck down by these performances. The production is sparse, allowing their voices to stand out, on tracks that sound so timeless that they could just as likely be heard on 78 shellac discs or a cut on Zeppelin IV

I can’t believe I forgot about Part VIII

This mostly seems to rely on the strength of its singles. Unfortunately, the version I had access to uses the singles mixes, so I don’t know quite what the original LP sounded like.

I sometimes feel like the Beatles are too well documented, in a way that makes them seem flatter, less human and more spectacle. But there is something beautiful about being able to follow the musical journey of someone from the age of 15 who then goes on to make music like *this*.

I didn’t really know what to expect but I enjoyed most of it, even if I found some of the lyrics a bit corny. I’ll probably return to this album at some point to see if it grows on me. I miss the days of truly hidden tracks.

Such a stunning debut…it has so much personality and its own distinct sound. Not my favorite Tribe album but this was a pivotal one in my education. The samples themselves are a library into entire musical worlds. “Get the force like Wan Kenobi.”

Turns out to make a great album you don’t need fancy effects, lofty conceptual work, or postmodern medleys. Just good songwriting and a lot of feel. Not to say the Band aren’t capable of heady work, as I’m sure a lot of effort went into that unpolished, off-the-cuff “feel” of the album. I still don’t know how they got that ribbiting bass sound on “Cripple Creek.”

Excellent songwriting, of course, but I also love how well she fuses the 90s rock ethos with Magical Mystery Tour circus sounds. I previously only knew one album by Mann and on this one I heard some Laura Nyro-like arrangements that honestly shouldn’t work but manage to sound great. I just wish she dug into more of that funky intro on “Could’ve Been Anyone.”

A lot of great beats and some incredible cuts. It’s a sound which is so tied to its era, that nowadays it feels more like a novelty listen than something on regular rotation. It’s between 3 and 4 stars for me.

Debbie Harry is obviously a star but this isn’t the most memorable record.

Definitely dropped me into an early 2000s time warp. I would’ve probably be really into them if I knew them at the time. But, as it is, I’m enjoying it more as a novelty than anything else.

Nothing is made in a vacuum, but there sound is so instantly identifiable and seems to have been developed so completely by their second album. This is definitely a record where I’m not even marking the passage of tracks, it just exists as one work for me.

Sounds of Television and Talking Heads, a strong example of early 2000s rock. Although “Take Me Out” will always be on a level of its own, this album was much more interesting than I knew.

I am usually tired of hearing The Beach Boys, since I find a lot of their musical tastes off-putting, but this had some really wonderful tracks. Was also surprised by the burgers skit, felt very modern, except for the fact they made it the finale!

Powered by sheer charisma and persona building, I can hear how this has influenced a lot of people to come. But more importantly, it is an arresting listen on its own.

I’m not sure what to make of this. At first it sounded like Gainsbourg-esque spoken word riffing on the subconscious over nice musical textures. Then it took a left turn. And another left turn. And another. This is maybe the most postmodern album I’ve come across. For something so extreme, it seems only fitting to give it a mundane rating. Glad I came here, don’t think I’ll return.

Definitely not my favorite work by MJ or Quincy, but there’s a lot of powerful vocal performances and a strong hit/filler ratio. “Man In the Mirror” might be my favorite 80s track by MJ.

Some of Jay Z’s lyrics are crude, some tracks feel like marketing material for his other businesses, and some contain gems: “You’re a candle in the sun, that shit don’t even out” While Jay’s contributions are mixed, Kanye’s productions, without fail, are exceptional. I would give them six stars if I could. But it’s not a Kanye album.

(Duplicate) I wasn’t familiar with most of these standards, but when I was, I was amazed at how much Charles made these songs his own. An excellent themed album that manages not to feel like a gimmick.

I don’t think I really “get” R.E.M. An extra star for “Ignoreland”.

Serious Beck makes serious music

This was so good but I think a lot of its power was front-loaded. It seemed to lose steam in the second act, which is too bad because it could’ve easily been cut down to a regular-length, 5-star LP. As it is, there’s still a lot of great tracks here.

Pretty good range on here, given that I’m not really familiar with early 00s electronica and I started to get away from feeling that “every song sounds the same.” Not sure that I will listen again, but it certainly felt like an inspired work.

I feel a lot of nostalgia for this album. After learning more about the making of the opening track, I also feel a lot of emotion and my experience of it is irrevocably changed (not for the better). It’s hard for me to judge this one on purely musical terms. Some tracks are great, others are just fine. My rating on this could swing wildly from day to day, so today I’m putting it in the middle.

This was a nice surprise. Never heard of this one but there are some great tracks, especially "Wishing Well." Another debut that feels well sculpted and self-assured. I’ll definitely be returning to this one.

Sometimes it feels like to make a respected 90s rock album, you don’t need great musicianship or powerful songwriting, you just needed the right "vibe." When people point to the decade as the last time rock had mainstream relevance, I don’t think it’s because the music was so good and successful. I think it’s because, with some very notable exceptions, it was too self-absorbed and fractured for people to care about. Was going to give this 1 star but I like the guitar work on "Hanging Out and Hung Up On the Line."

This was my first time listening to the entire album. It’s not my favorite Kanye record, but I love the creative sampling and enjoy the incredible wordplay, even if he makes himself sound like an asshole (which may be the point). I also enjoyed the metal influences. This was a long album, but engaging.

This has its rough moments (when I heard the first track I assumed Martyn’s voice was shot, which wouldn’t be very surprising given his lifestyle). But it also has moments of brilliance (the sparse, restrained production of the closing track was everything that the opener was not). Altogether a mixed bag, and not the highlight of his catalog.

Sounds like a supergroup with the members of Jet and Cage the Elephant. Has all the raw power of such a collaboration, but is lacking in clear focus or sheer hit-making ability. Some great moments (the drumming on “Big Sleep,” for example), but not consistent enough to merit a 4.

I definitely have a bias when it comes to Dylan, but it’s been about 10 years since I last listened to this and I think it holds up great. It’s no surprise that his songwriting is strong but it’s quite a feat to carve out a fresh sound when you are in about 40 years into your career. He even manages to not sound very sarcastic on “Make You Feel My Love.” And props to the producer who brought you the soundtrack to Red Dead Redemption 2.

A nice blend of classical and jazz. I’d like to hear more of that style. It has its obvious highlights. The rest of the album is very good, but not as memorable.

I’ve never heard this album before, and I didn’t check the runtime before playing. After the first 20 minutes I thought, “this is a really fun time, a solid 4 stars.” Then the album kept on going and going. And each track just added layers and range and by the time I got to “Die Trying” it was unforgettable. Other favorite tracks include “All Day Love Affair” and “Sometimes.”

It’s been a while since I’ve listened to this in full, and I am appreciating it in new ways every time. I always loved “Expecting to Fly” and the orchestral/jazzy arrangements on the record. This time I really enjoyed the James Brown homage “Good Time Boy.” In terms of rating, this is right on the line for me, 4.5 stars. It’s strong throughout but at 34 minutes there’s not much room for error.

I gotta admit, I don’t get it. I had heard about this album and was so ready to enjoy it (I don’t know Bruce’s discography much) but found this underwhelming. There’s some good storytelling, but that’s about it? I didn’t find it very exceptional, mostly just…inoffensive. Maybe in other circumstances I’d rate this a 3 and I’m just reacting to high expectations. I don’t know, but each time I relisten to bits of it I’m less enthusiastic. The piano riff on “Something in the Night” reminded me of Candi Staton’s “Young Hearts Run Free,” which just made me realize I’d rather be listening to that.

One of the challenges to this project is jumping into what seems like an artist’s magnum opus without much context for their earlier work. Even the title track here suggests a departure of sorts from earlier work, but I have to take it on face value. I remember the days when CA was getting lots of airplay on MTV, but this is my first time listening to one of her albums in full. I enjoyed most of it, with great songwriting and production that makes this feel more than just a pop time capsule. There were some really incredible songs, and some that were less so. I wavered a bit, I think this is somewhere between a 3 and 4.

1001 Mediocre 90s Alt Albums to Listen to Before You Die. I enjoyed “Look At You” and “Traveler” but mostly I would just prefer to listen to Zeppelin or Dinosaur Jr instead.

This was quite enjoyable. I knew some of the Cash “revival” recordings but never listened to a full album before. I especially liked his versions of “First Time Ever I Saw Your Face” and “Danny Boy.” I’m having trouble giving this a rating. I think the whole album is solid, but I don’t think I’ll be returning to all this material. This is right on the line, 3.5. I know some might feel it’s sacrilege to give this less than 4 stars, but today I’m rounding down.

I always enjoy Radiohead’s music, but it often doesn’t fully sink in for me on the first listen (as with today’s album). This has a lot of beautiful textures. I admit I have no idea what most of the lyrics were. My favorite track on this go was “Myxomatosis.” Radiohead is sometimes regarded as a heady – even pretentious – band, but tracks like that remind you that they are capable of creating some killer riffs. Looking forward to future listens.

“I never felt magic crazy as this / I never saw moons, knew the meaning of the sea” I wish I could explain why this album rocks my fucking socks off. It’s got excellent musicianship and songwriting that really pulls you in, but there’s something more than just the core component parts. It’s the vastness of a lush, carefully orchestrated album that still finds sparseness and plenty of room to groove. I love this cross-section of jazz and folk, and think there’s so much fertile ground there. I also enjoyed the instrumental suites that made it feel like a symphony. Perennial favorites are “One Of These Things First” and Pat Arnold and Doris Troy on “Poor Boy,” but this time around I was really enthralled by “Northern Sky.”

This was really on the line for me. I actively disliked most of the album, which is not something that comes up often on this project. I don’t know which is worse, (subjectively) bad music or mediocre music? I’ve encountered more of the latter on this project. Maybe I would’ve enjoyed it more if I were it was 2001 and I was rolling on E in a club at 2am, but alas I am judging it as an album in 2025. There were sections that I did genuinely like, however. Especially longer instrumental tracks that were a little out there, like “Röyksopp’s Night Out.” I enjoyed a bit of dancey experimentation and heard directions where this record could actually be more appealing. So this rating managed to achieve the staggering heights of 2 stars.

This reinforces my feeling that 90s grunge/alt-rock are is more about vibe and emotion than any other quality. It’s a genre I didn’t spend much time with before this project, and so far this album is one of the better examples. To my ears, it’s essentially a decent punk album with great production and some pop sensibilities. I can’t understand 90% of the lyrics, and the musicianship isn’t stellar (though quite good for a punk album). It’s not that original (see my thoughts on it just being another punk album). But it definitely suggests a *mood*. And it’s a little more restrained/palatable than some other grunge albums I’ve heard. There’s a nice balance of heavy to lightness throughout, and it’s well paced. It suggests that someone knew what they were doing in the control room. And whoever decided to put a cello on “All Apologies” is a genius.

Even though this is getting 3 stars, I have to say I’m pleasantly surprised. When I first saw the band name I thought, wtf. A quick glance at their discography did not encourage things. It seems like they are leaning in to some sort of 80s Orientalist marketing. But at least the music on this album had something to offer. This was an interesting listen because it charts a certain progression in rock music at the early 80s. I’m hearing echos of the New York Dolls and the Sex Pistols, with a moderate dose of sleaze (not as much of the heavily processed sleaze found on other records of this era). Listen to the bridge on “Malibu Beach Nightmare” and then the intro to “Pretty Vacant.” I’m also hearing the foundations they laid for future artists like Rancid and QOTSA (“Mental Beat” sounds like it could be an outtake from …Like Clockwork). The album was a fascinating glimpse into a particular musical moment, threading the needle of glam, punk, hair metal, and old-school rock-n-roll. I’d be interested in returning to it and better understand the cultural conditions that led to a band like this coming out of Finland.

This is a duplicate selection for me. Original review below, from when I was less verbose. Some interesting production techniques, but felt a bit tiring by the end