1001 Albums Summary

Has a couple fun songs at the beggining, but ends up being way too long and most songs in the 2nd half are a bit generic. Also not usually a fan of bands adding orchestral elements to their songs to make them sound more epic, and they do that a bit here.

The title track is some white boy reggae rock, not offensively bad but its kinda cringe. The 2nd song is a decent ballad and the 3rd song is a decent rocker. Everything else represents the all the things I hate about 70's rock. Boring

Drags on a bit towards the end when they start doing this cheesy singing and the interludes are pretty pointless, but the singles are iconic and some songs feature some of the craziest hip-hop production ever. Also my song is on here!!!

Cool sounds. Sometimes haunting and creepy, sometimes psychedelic and beautiful. Love the trip hop elements.

Really good album and its really easy to see why. Adele is a very powerful singer, the songs are really memorable and for a mainstream pop album the production is very well done

This album feels like being brought back to medieval times. What id imagine they would listen to in GoT when theyre not busy killing their enemies. Great ballads. Epic guitars, strong vocals, awesome vibe. This is the type of folk I like

Influential and important, but not necessarily good. Starts off solid but its pretty samey and towards the end the performances become less exciting and the vocals rougher. Sorry to all the punkheads who think its the best album ever :((

Shoutout to Pinja's dad for liking this. The covers are great country reinterpretations of classic songs. The other songs are also mostly great. The vocals stand out the most.

The guitar work on this album is infinitely groovy and fun, while also sounding completely unique. Tickles my ADHD brain in all the right ways. My only complaint is that some of the songs drag on a bit.

The same boring dad rock pastiche that Ac/dc did years before this band, so zero profit there. Unlike Ac/dc, The Cult actually has a decent vocalist.

It's a nice listen for sure, but doesn't stick out much in his discography and probably not something I would return to. Usually in jazz I'm looking for something more than just "nice sounding" and this doesn't do that much except for a few songs.

Grandpa vibes but in a good way. Just plain fun.

When I listen to this I feel like the dancing crab on the cover. It just sounds like the sweatiest rave ever that just doesn't stop. Those epic electronic bangers are really my thing. The beats, tempos and grooves are so insane and hypnotic. I wanna go to this guy's concert

I feel like if you asked ChatGPT to give you something that sounds like the 60's, it woukd give you this album. It does a lot of things, but nothing oarticularly well. The performances are just ok, the songs drag on a bit and it's way too long overall

Really lovely country album. You can tell he's a bit younger than on the other album of his we listened to, the vocals are maybe not as awesome but he makes up for it with amazing performances, a lot of country boy swagger and great live instrumentation

This one always felt a bit less special than his other albums, but maybe I just haven't given it a proper chance before. Theres a lot of songs that sounds more lively, more indie rock instrumentation but it actually suits him very well. The calmer, more gentle moments are also really beautiful and touching. Great album.

Out of all the britpop albums I've heard, this one easily packs the most punch. Usually the genre is more about those elegant, theatrical ballads, but this band gives some raw performances with a lot of energy (even a bit metal-esque at parts?). A lot of fun, probably my favorite new discovery from this thing so far. Only thing is that it's a bit frontloaded

Talking Heads are one of the most creative rock bands of all time, but this is only their debut and it feels like their potential isn't fully realized yet. It has their fun and over-the-top

Her vocals really make this album. Very good vibes all around.

Some decent rock eith a classic flair, but not super memorable

Amazingly smooth, groovy and chill. For a 2000s r&b album, the production is super lush and psychedelic and her vocals are really stunning. I also love the flow of this album and how the song transition into each other so perfectly.

This album perfectly captures the sound and attitude of Nirvana as a band, but also is an incredible dive into Kurt Cobain's mental health. The raw, noisy production and screamed choruses capture their punky spirit better than either of their previous albums, which also pairs really well with Kurt's lyrics. From the relationship with his dad on the intro to his relationship issues on Heart-Shaped Box and the feeling of depression on Frances Farmer, the album just paints such a vivid picture which hits even harder in the context of his suicide. The themes of this album are tied up perfectly on the last song of the album, which might be the band's best. In so many ways this is the perfect sendoff album and probably the best "final album" of all time and will always have a special place in my heart.

The beats are vibey and well made, but sometimes a bit too minimal and repetitive. Still, some.made me bop my head. The guy is a bit less interesting on the mic than i remember but not bad either.

Maybe the band's most fun album, because it just sounds like all the members are sitting in the studio, smoking joints, jamming and enjoying themselves. There's great band chemistry amd all the sounds just come together really nicely. Both the slower, bluesier songs and the more lively ones are great. L'america is the only dud, the rest is pretty tight.

This shit's goofy but in a good way. The term "Svengää kuin hirvi" was invented to describe music like this.

Very dreamy, jangly, fun and playful. Like the Smiths but without their boy-ish attitude. More mature in a way, but very good. Towards the end gets a bit samey tho.

Interesting music. Sounds like nothing I have ever heard before. Some sunny vibes from a small village where all the people are meeting and playing their instruments.There is a sense of community and culture in the music. It's cool but not something I would revisit

Cool take on singer-songwritter music. Sounds like something from a spy movie. Great vibes. I like the piano parts especially. Some songs are a bit more forgettable but nothing bad.

The best combination of rock and reggae I've ever heard. Really great bass, guitar and drum playing on the whole album. Got my head bopping a lot. As with almost every Police album the beggining is stronger than the end but it's still great overall.

This is some great pop punk, because it captures the emo spirit of the genre (upbeat sounds, dramatic lyrics) without losing edge. Combines the catchy melodies of pop with rocking production of punk without sounding too clean or stale like a lot of albums in this sound.

Has a really pretty first song that feels like an uplifting dream. The rest of the album kinda feels like they're trying to recreate that but it's not as good. Goddess on a Hiway is a bop tho.

Still can't believe these guys aren't irish. Anyways they have their very distinct sound with the vocalist's kind of intentionally sloppy singing and their combination of soul with rock. The performances are very energetic, the sounds are super lively. I love the jazzy sounds and the songs seem to have positive messages which is also cool. I prefer their next album but this is still great stuff.

Some fun and very funky tunes in the first half. Too bad the 2nd half is mostly some random jamming and rambling without too much direction. Some songs like Free are even a bit bland. Also what's up with the moaning background vocals on Lady Cab Driver?

Kind of all over the place stylistically, but I think it works as an advantage. Starts off super strong, later it gets a bit inconsistent, but still interesting. A lot of cool ideas and sounds is packed into these songs. Even if the performances aren't always amazing or super captivating the songs are mostly enjoyable.

Kind of another one of those albums that starts off with a great song and the rest is kinda inferior. The sounds are nice but it's mostly some sleepy folk rock fusion. I do like Stars All Seem to Weep with its Trip Hop prpduction tho.

So I used to have this as a 10/10 and even tho I don't think so anymore, it's still a wonderful album. Really captures the essence of the band. With the gorgeous, lush arrangements, boyish lead vocals and Morrisey's poetic and dark lyrics this is really THE trademark Smiths album. The intro is one of their most bombastic and even kind of aggressive with that amazing bass and walls of guitars. I Know It's Over is one of their most beautiful ballads while other songs like Cemetery Gates or Bigmouth Strikes Again combine beautiful, summery vibes with deeply ironic lyrics. Again, it's just so representative of their sound. And of course there's 'There is a Light That Never Goes Out', maybe their most iconic song? I love how the song is disguised as a love song, but deep down has a very sad and suicidal double meaning. Would be a perfect closer to the album, but then we have to sit through another song of Morrisey talking about tits. The closer is kind of unnecessary, Vicar in a Tutu is a bit of a weaker song, and the chorus of Frankly Mr Shankly is a bit corny to me, but all the other moments here are either gorgeous, funny, depressing or all 3.

Kinda sounds like something I should dislike because I think a lot of electro-pop from that era has aged really badly but I have to admit that this is well done and just a good time. Uplifting, fun, anthemic, but maybe better in small doses because it does get kinda tiring. The songs are good individually but doesn't work that well as an album.

Kinda weird and spooky but not really enough to be interesting. The performances are okay but lack energy, the screaming is kinda goofy and overall a bit in-one-ear-out-the-other

It has some great parts, especially the guitar solos. They are equally heavy and fun. I would probably enjoy them as an instrumental band. The vocalist isn't bad but kind of generic and doesn't rlly fit this type of music. I would maybe see him on rock opera or something like that.

Somehow better than all their studio albums I've heard. The performances are less boring, the guitar and drum solos are pretty flashy and overall just more energy. Feels less like dad rock and more like youngsters kicking some ass.

One of my fav prog-rock albums, because it delivers those epic, complex, long compositions that are super technical and impressive, but it balances them out with moments that are more gentle but very very beautiful. Really like this. Also has this super crazy vibe that makes it sound like it was recorded in 2050 but at the same time like it's coming from some ancient civilisations or some shit

Some songs are a bit too experimental even for me, so Pinja must hate them. Lol. But behind that weirdness is actually a very talented band. There's great rhythm sections all over this record and the arrangements are actually quite pretty and catchy despite the quirkyness. Also I can't believe this came out in the 60's, very ahead of its time.

The problem with having pretty much 3 of the most iconic songs of the era on your album is that people will automatically compare all the other songs to them. Another problem (well, not sure if it's a problem but whatever) is that you're gonna have people calling the album the greatest album of all time just on the basis of those 3 songs. And of course both happen to this album. It does have one of the best 3 song runs of all time with Thriller-Beat it-Billie Jean, although I doubt that most people who think it is have heard Doin' the Cockroach-Cowboy Dan-Trailer Trash by Modest Mouse. Yeah, the rest of the album isn't really on that level but there is still some amazing songs. Wanna be Startin' Something is an incredible intro with the massive Disco Grooves and awesome synths, P.Y.T is just plain fun and Human Nature is honestly one of his best songs. Gorgeous, smooth, sexy ballad, amazing vocal performance and just stunning production. The other songs I could kinda take or leave. Lady in my Life and Baby be Mine are a little bland, especially the former, and the Girl is Mine is just.... ughh. I hate that song so much, it's all the worst things about 80s music combined. Dated drums? Check. Bland soft rock production? Check. Corny lyrics? Check. Lowkey creepy and kinda sexist? Check. But that's enough complaining, the album is great but everyone calling it the best album ever or something is taking it too far.

The most personal and impactful VU album for me. Their previous 2 get all the praise for the influence amd experimentation but thia one has always hit harder for me. Just beautiful, soul healing music.

Accurate name cos the album makes me go YESSS cos the music is good. Hehe. I like prog rock

Kinda torn on this one. The highlights (Thinking Bout You, Super Rich Kids, Pyramids, Lost, Pink Matter) are incredible. The rest of the album is super hit or miss. A lot of songs feel kinda underwritten. Some feel like they're going for dreamy but end up being kinda sleepy instead. The interludes are kinds pointless and don't add much to the album unlike on Blonde. The flow of this album is kind of choppy because the great songs are surrounded by songs that are just kind of ok. His writing is really great on Pyramids and Super Rich Kids, but then there are songs like Monks that strike me as a bit awkward. This is a 7/10 album in my book and the highlights are probably enough to warrant this 4 stars, even if this is probably the most negative 4 stars review in history. Some positive notes: Crack Rock is better than I remember initially, the features from Andre 3000 and Earl Sweatshirt are among my fav moments on the album, the production a lot of the time is great and even kind of ahead of the curve.

I like U2's post-punk era a lot more. The first 4 songs here are great tho, very nice ballads. After that it kinda dips in quality. The production is not that punchy and the vocals get weaker.

I really wish more of their shit sounded like this production-wise. The guitars are just so lively and full of texture. The album has this a bit noisy, almost shoegaze-y (especially on Colombia) sound to it but it's still super sharp and full of great melodies. The songs are actually mostly quite sad and hedonistic from what I've paid attention. Creates a funny contrast with the life affirming ballads at tge core of these songs. Good stuff, too bad their later shit is either kinda bland or profuced like shit

This is just one of the coolest albums ever honestly. Unlike any other noise rock album, because it's just so fricking groovy. Like how are the rhythms consistently so amazing? Just makes me wanna move my body so much. Even Tunic, which is a heartbreakingly sad song is somehow kinda dance-able. And the guitars on this are just *mwah*. The riffs are so amazingly sinister and are just composed so well with the other elements of the songs, it's pretty incredible. The way the bass and main guitar slowly drift away from each other and eventually explode on the first song is just one of the coolest things ever. And the outro to that song is so ethereal. Tunic is just an emotional powerhouse, crazy intense with completely haunting choruses. The crazy chord progressions and evolving rhythms of Disappearer is just so incredibly fascinating and masterful. The constantly intensifying progression of Mote combined with that noisy, drone-y outro makes it feel like the musical equivalent of going to sleep after a long day of everything pissing you off, and the closing track is probably their most cathartic song in its own weird way. I also love how despite only being from 1990, some songs capture the 90s essence so well - be that Kool Thing, the really funny My Friend Goo which is kind of a silly portrayal of 90s teens or Mary-Christ which is about dating a punker priest. This album is just a masterclass of song structuring and arrangements, backed up by incredible songwriting and just a ton of swagger and cool guy attitude.

Crazy album. The first song is probably the fastest 13 minutes of my life and one of the best prog rock songs ever. Amazing guitar tones all the way through, Gilmour's playing is so locked in for the whole duration of the song and the sax solo at the end is amazing. I love how the whole song, as well as the title track, are just those beautiful meditations dedicated to Syd Barrett. The other songs are maybe not as stunning all the way through as those two, but still contribute beautifully to the grandness of this album. Essential Floyd for sure and really a showing of the band's talent

Horny sex jam, ballads about drugs, warm vocals, funky guitars and great grooves - what else could you want from a soul album?

I could talk about the music, but really the most impressive part about this album is how he managed to roll that massive fat j for the og album cover. But the music is great also. Immaculate vibes and they manage to create this magical, swampy atmosphere for the entire album duration. Stir it up is one of my fav reggae songs.

So ABBA was always more of a singles band than an album band to me, so despite knowing like a million of their songs I never actually listened to an album in full. I kinda assumed it was the Queen case of albums having 1-2 massive hits on them and the rest of the songs kinda just being there to fill the time. But this album is actually quite well rounded and consistent. Firstly tho, why does it start with a song about kissing the teacher? And secondly, why is the song such a banger? The singles are awesome of course and the deeper cuts are also kinda bops. Even the slower ballad My Love, My Life is quite solid. The outro (the title track, dont get fooled by the streaming version having 2 extra songs) has this real sense of being an album closer and is very cool and unusual for the band. Very nice surprise.

This album finds power in simplicity. It's mostly just Norah over some simple, piano-heavy arrangements, but it works very well. The piano playing is so calming and beautiful and she is a very good singer. Kind of reminds me of Adele, but Adele is more of a powerful singer with strong presence whereas Norah is more gentle. I've got to see you Again is giving Amy Winehouse vibes. Painter Song feels like being in a cafe in Paris with some random dude playing jazz on the street. Good vibes. And Shoot the Moon is super underrated and a personal favorite. This is the ultimate comfort album to me.

The album creates an amazing atmosphere only using samples, which is pretty amazing. From the first second it drags you into this world which feels surreal, trippy, hypnotic and fascinating. Every song has an amazing progression to it, which makes it feel like a whole adventure. Stem/Long Stem's drone-y melody and post-apocaliptic vibe make it feel like a song from a spy movie. Building Steam with a Grain of Salt is one of my fav songs here, has an eerie, wintery atmosphere in the first half and then after a short drum solo it tranaitions into this absolutely mesmerizing finish. The drums in general are absolutely insane and hard af on this thing, just so cool. Most of the album is kinda chill, but then Mutual Slump comes at you with those crazy blasting sounds, idk what it even is but sounds hard as hell. Also love how the song has those calmer sections that then build up to chaos again, reminds me of how Modest Mouse structure their songs a lot. And Midnight in a Perfect World is just magical. The rhythm is so addictive and the dreamy guitars and faint vocal samoles make the song feel exactly like its title. I really don't have many complaints about this album, maybe the only one is that I don't have s trong personal conection to some of the songs I didn't mention. This is probably one of the stronger 9/10's for me and who knows, maybe one day it will join the 10 club.

This is their most energetic sound and thats why I like it the most out of their albums. The first 2 songs are just completely nuts. Wild, fast and banging all the way through. Rudie Can't Fail is one of my fav Clash songs because they take a genre I don't usually like that much (Ska Punk) and make it sound so fun. Lost in the Supermarket is so beautiful and dreamy, something I wouldn't usually exlect from them but it works. And the Guns of Brixton is such a classic. Duch an interesting and odd rhythm, super creative, and it's one of their most dense songs lyrically. I always thought the 2nd half of the album was a bit weaker than the first, but honestly it's still pretty good. The wealest song is actually probably Jimmy Jazz from the 2st half. Not bad but just kinda not my tempo. Great album, don't really see it as one of the best punk albums of all time tho

Wasn't expecting to see this album here but I'm very happy it made it. It covers so many different sounds and styles: soul, r&b, pop, rap, jazz, rock, all while maintaining this cohesively futuristic sound. Every song has a strong message and purpose and contributes to the album somehow. The production is very vibrant and the songs are very catchy, and the way they transition into each other so well is super cool and creative. I love Cold War because I'm a sucker for some drum and bass in the production. Dance or Die features her rapping and she's somehow better at it than half of the rappers. The progression of Faster is just so good and Tightrope sounds like one of those super eccentric Outkast songs in the best way possible. Then there is 2 random psych rock songs, kinda random but it works. And there is a duet with the of Montreal guy! The last part of the album is super all over the place but mostly good still. Really fascinating album and one that I can see myself coming back to for sure.

The first song feels like some sort of meditation, very slow and repetitive. The vibe is cool but not super memorable. The next one is going for more dramatic but the instrumentation isn't strong enough to back it up. Hanging out and Hung up On the Line was a highlight for me as it has one of the better performances, and the riff on Safesurfer reminds me of a Smashing Pumpkins song which is pretty cool. Soldier Blue also had some interesting soundscapes on it. Overall the sounds are quite good but they're not really combined into great songs. The choruses are quite weak and don't really pop, the songs try to build up to something but the buildups usually aren't very rewarding and the use of repetition usually makes the songs drag on instead of achieving something interesting. I wouldn't call this album boring or bad but rather quite frustrating because it could have been a lot better.

There She Goes is the obvious standout. I also liked Timeless Melody a lot. Great guitar and very organic sound. The album sounds very british. The vibes are pretty good but I can't say it's super memorable. The random folk song in the middle doesn't fit the vibe tho. And Failure kinda sounds like a car commercial song. Otherwise not much wowed me about it but it's alright.

Pretty unique production for a country album, especially on songs like Close Behind. Starts off pretty stardard but then it dives into Trip Hop, blues and also latin music? Very unique and they do it all with such finesse. Black Heart sounds like Portishead (one of my fav bands) doing an alt-country song and its cool af. I was intrigued all the way through.

Always thought the title is kinda goofy. Nilsson Schmilsson sounds like a nickname someone gave to him in primary school. The album itself is interesting. Opens up with 2 straightforward but good songs, then Early in the Morning hits and it's kind of a headscratcher. The Moonbeam Song has pretty vocal harmonies but not super interesting sound overall. Down is kinda proto-Billy Joel, at least some of his more lively stuff. Without you is a great ballad, has some of that Beatles grandiosity to it that I really like. But why did he think that putting Coconut right after it would be a good idea? Not only does it not much the vibe at all because it's goofy as fuck but also he does this really annoying accent on it. The final moments are solid but a bit inconsistent. I quite like the album but not enough to give it 4 stars.

This album is just a very human expression of love in all forms. Falling in love, being in love, breakup. Happy love, sad love. Everything. I can't really imagine anyone disliking it either. The performances are amazing, she's a really strong vocalist and has a great ability to convey all those emotions into the music.

Damn, this guy is good at playing his instruments. Very good. After over an hour I still didn't get enough.

I always found The White Stripes a bit overrated and while I wasn't expecting this album to change that I also wasn't expecting to dislike it as much. This albun seems to have 3 moods: going for a clean and melodic rock sound that reads kind of like tv commercial music (Blue Orchid), going for a different, bit experimental sound and failing miserably (The Nurse, Little Ghost, As Ugly As I Seem) or trying to recreate their typical sound but not doing it super effectively (The Denial Twist). While I'm not super crazy about some of their previous stuff, I have to admit that it does have some power to it, some purpose and Jack White's guitar playing was very solid. I can't say any of those things about this album. It's just very gutless, bland and boring, with some moments coming accross as kind of obnoxious.

So this album is half groove metal half nu metal. I never cared for groove metal much and the majority of nu metal I've enjoyed is from bands that I don't rlly consider nu metal anyway (Deftones, SOAD, early LP) so my expectations were quite low. At least I wasn't disappointed? It's not very good but not the worst thing ever. Some riffs go kinda hard even if they are a bit corny and not my thing at times. The vocals are mostly not that good but at least the guy is not rapping. The distortion towards the end of Breed Apart is quite cool, the riff of Attitude is quite powerful. There is individual good parts of the songs, but really the best thing I can say about it is that I could name around 20 bands that could do it way worse. Which is not much of a compliment either.

I really like this album. It's fantastic. That being said, I don't really see why some people would prefer it over in Utero. It's a more commercial, less raw sound for them, and when they do try a rawer sound it's not really as perfected as on their next album. It also seems like they maybe didn't have as much artistic freedom with this one in terms of conveying the message they wanted to mostly. Except on Polly. That song is amazing, but also kind of out of place on this album. Legit one of the most scary, sad, creepy songs ever if you dive into the lyrics. Still, this album is packed with bangers - especially the first 5 songs. You have one of the biggest rock anthems ever to kick it off, then a super iconic banger with In Bloom with maybe one of the most iconic guitar solos ever. Come As You Are has one of the best vocal performances, so much pure passion dripping from it. I love Breed because it really plays into their punk background very well and Lithium is my favorite song lyrically, filled with auto-irony but combined with a depressive undertone. Especially the contrast between the dark verses and the continuous Yeah!s of the chorus are super interesting. When you start your album with such a bang it's bound to be kinda frontloaded and that is the case for sure, even if I do like the second half. The chorus of Drain You is so epic and uplifting and every punk song should have as much purpose as Territorial Pissing. I love the drums on Stay Away even if I don't think the song is super essential to the album and I feel kinda similarly about Lounge Act. Great songs but not super standout in the grander scheme of this album. And Something In The Way is very underrated, I never cared for the whispery vocals and the mmmmmmmm humming chorus. Amazing album but very frontloaded and lyrically a bit weaker than In Utero

I'm not the biggest fan of the band but this album is quite fun in it's quirky, weird way. Old school blues rock vibes meet playful, funny, unique vocal deliveries. Mostly solid throughout but Zig Zag Wanderer and Abba Zaba were the standouts for me

Super enjoyable and easy to get into, like the quality of these songs is quite undeniable. Peter Gabriel's vocals are super powerful, he really makes you feel every words he's saying. It's the sort of music that just takes you on a journey to its own world. Sledgehammer is so cool, sounds so massive and funky, the grooves are crazy and has an amazing triumphant energy to it. Contrarily, Don't Give Up is beautifully gentle and minimal, but doesn't need much except for the strong vocals and atmosphere. The bass outro is really cool too. I love the kinda mysterious vibes of Mercy Street and the instrumentation is so lush and serene. Big time is so funky, just made me wanna damce even tho I was dead from hiking while listening. We Do What We're Told is a decent closer but not super exciting. Really like this album, it's a great expression of romance and romantic struggles and is a great contributions to one of the most consistent discographies I've heard.

Solid little album from Curtis. The production is woozy and psychedelic, but the vocal performances feel a bit... shy? It's solid and smooth, but what keeps me from loving it is that I know he can do much better.

Pretty solid listen, but not super consistent. Some of the sonic textures are really cool, particularly on Goin' Back and Natural Harmony. I like the folkier moments more than the country-esque ones. In general, most of it feels very 60s, for better or for worse, as some songs sound a bit dated. The closing track is interesting and quite forward thinking but not really good. Overall it's a pretty good album but not something I see myself returning to.

All this album did was remind me why I'm kind of picky about this type of music. I'm not really feeling the vocalist, but that's not my only problem. The music feels too stereotypical. Same guitar riffs I've heard before that kinda blend in together tied together with the HEEEEY OHOOOooo ass choruses. The music just comes off as a bit corny to me. They're trying to be edgy, but it's kind of a dull edge. I didn't hate any of it but wasn't very invested in it either, and a few decent to good songs don't change that.

Solid hard hitting punk. The tempos are super fast and the drumming is aggressive. However, the performances are not as tight as on their other EPs and the longer songs don't really highlight their strengths, but rather a lack of diversity

I was quite impressed by the production on some of these songs, then I look at the credits and see DJ Premier. Very unexpected but that explains it. Back in the Day has a great beat with some cool scratches, Ain't no Other Man is quite experimental for 2000s r&b. I like the mysterious vibes and thick bassline on F.U.S.S., and Slow Down Baby was also a banger. Still Dirrty is maybe the most Pharell-sounding beat that wasn't produced by Pharell. Just has that trademark 2000s club banger sound with the bouncy drums, and the trumpet sample is very cool. Thank You is good but a bit unnecesserily long. I was afraid that the album would get boring but she actually switches it up for the 2nd half and does a more soul sound with some jazzy arrangements. It's alright but I can't say it grabs me too much. Candyman seems a little corny to me. I Got Trouble has some weirdly muffled vocals that sound kind of bad, weird switchup because on the rest of the album they're super clear and powerful, especially on Hurt which follows it. It's a good album but a few tracks could have been cut to make something great.

This is straight up the craziest r&b/soul album I have ever heard. It has those super raw grooves that are very dancable but somehow also very entrancing and hypnotizing. It's like this dude is trying to lure me into some weird cult. Somehow manages to maintain this weird tribal atmosphere for the whole duration of the album. The first few tracks set up this trippy psychedelic atmosphere that feels just insane. The production is raw as fuck, feels like I'm listening to a noise rock album at times, but deconstructed to the minimum. Danse Fambeaux feels like being at a cult meeting and slowly getting intoxicated into its weird shit. Croker Courtboullion makes me feel like I'm haunted, incredibly fascinating and dense atmosphere that this song evokes. Amd the closer is so majestic and creative, the instrumentation is so organic and unique, so many weird instruments coming together so perfectly, it's quite impressive. This album is crazy, especially for 1968. Raw, noisy, addictive and very beautiful. I love his voice, it has this rough around the edges feel that compliments the music incredibly. This is just pure vibes, but very very cryptic vibes. I listened to this 3 times in a row last night and it was quite the experience.

I like this album even if I have to admit that the people claiming that it's one of the best things ever are overrating it. The best thing about it is the production. Very layered with some truly beautiful progression, and also very unique for its times. Wouldn't It Be Nice is amazing of course, timeless song. I'm Waiting for the Day is a personal favorite of mine, the arrangements are just so undeniably stunning. Many songs have those incredible psychedelic textures that are very ahead of its time. My main problem is that it's a bit inconsistent, with some songs just feeling kinda average to me. I'm talking about songs like You Still Believe in Me or Don't Talk, which kind of pale in comparison to the way more interesting songs around them. I don't think that all of the instrumental songs are necessary either, even if I do appreciate them.

Legendary and iconic. The atmosphere this album creates is so undeniable from the first seconds. Makes you feel like you're in an abandoned house in the middle of the winter during the night with snow blasting on the outside. It's dripping with sadness, depression and isolation. The first song is just so iconic and amazing. Amazing bass, the guitars just sound so good and the performance is fire as fuck. The 2nd song has amazing gothic rock influences but delivered with the heaviness of like an early Black Sabbath song. The vocals sound so tortured and give the song so much power. She's Lost Control and Shadowplay are also big highlights, as they do an amazing job of conveying these somber, dark emotions to the listener. I really like the closer too. Peak tension building. My problem with this album is that some songs are kinda there to just fill the atmosphere. They work for that but aren't that strong as standalone songs. Still, the highlights are incredibly strong and the album is very very good.

The folk tunes are maybe not super unique for that period of time but they're done very well and with great passion, so I can overlook that. Thirteen is an all timer. I do really like the more lively and powerful songs, like Feel or When My Baby's Beside Me. They have stronger melodies and more interesting chord progressions. There is some misses but the album is pretty good overall.

THE Bob Dylan album. He really mastered the art of storytelling on this album. It's his most personal, dealing with mostly Love and Loss of his wife. On songs like If You See Her Say Hello he captures this sentiment in such a touching way where it's really easy to feel his words. I also like how the writing is easy enough to understand but still full of methaphors and beautiful lyrics. Shelter From the Storm is such a cute song, can't help but love it. Another interesting sentiment is the passing of time, which is expressed very well on Tangled Up in Blue, the trademark song from this album. I believe this is his best album and will probably just keep getting better with more listens.

I'm glad there's albums like this one on the list, it's cool that music from different cultures is getting some representation. It sounds quite cool, I like that laid back, chill guitar tones and mellowed out rhythms. Gomni sounds like a perfect weed song and the standout to me. Super entrancing. Soukora was another standout, just very feel good vibes coming from it. After that the album gets a bit weaker, the melodies get kind of repetitive, the e-guitar parts fell a bit lazy. There's no bad songs and the vibes are good all the way through but not that much stands out except for a few songs. Glad I listened to it tho.

Better than I remember. A bunch of fun songs with pretty strong melodies and production that screams 60s. Some songs even surprised me with their heaviness considering this dropped in '65. The title track is great and The Kids Are Alright is also a banger. It's got its problems tho, a few songs seem a bit corny and feel like bad covers of early Beatles, especially La-La-Lies and Please Please Please. Some of the vocals are also a bit grating at parts. Not a bad listen tho.

This album is mad. Apparently the band only has a drummer and a bassist, it's crazy that they manage to make so much noise with so little instruments. It's so wild, noisy and technical, with bass riffs (is that even a thing?) flying in all directions. A lot of chaos, but it's controlled chaos and sounds pretty incredible.

This is not the best Stevie album, but his discography is so lacked with classic that it doesn't mean much. The first song is just such an amazing love song, so warm and sincere. A bit on the poppier side compared to the rest of the album but that doesn't mean it's not amazing. The 2nd song is much funkier by comparison, with a unique groove and a very animated vocal performance. You and I is very smooth but probably the least exciting song here. Tuesday Heartbreak is another lovely song, dripping with passion and emotion. The big hit Superstition is obviously amazing and absolutely impossible to dislike. Stellar chord progression, absolutely amazing instrumentation full of life and personality and such a catchy chorus. So good. Big Brother, Blame It On The Sun and Lookin For Another Pure Love are solid songs but don't bring much to the album imo. However, I do really like the strong progression and vocal performance of the closer. This is a really essential Stevie Wonder album and conttributes to his amazing early-to-mid 70s 5 album run greatly.

SZA displays a great level of vulnerability and conceptuality on this album, and even if I don't personally relate to her lyrics, it's hard to deny their quality. The album follows an interesting narrative. At the start, SZA portrays herself as very introspective and aware of her insecurities. It starts off with a very raw and emotional ballad, where she showcases a deep level of vulnerability, recognizing wrong decisions from her dating life but still being stuck in this loop of repeating them. The quite minimal arrangements and strong vocal lines add sheer emotional power to the song and it's difficult not to feel her words. A great deal of the first half of the album deals in the topics of infidelity and toxic relationships, recognizing that she is just a side girl for the guy she's writing about. Eventually, SZA comes to a realization that that's not what she wants, which is a sign of self-reflection and emotional maturity that I really admire. On Love Galore, the 2nd song on the album, SZA reflects over some of the shit relationships from the past and how despite the toxicity you can still end up gravitating towards the other person. However, I think she does it in a pretty badass way. The song has an interesting psychedelic twist to the production and Travis actually matches the vibe very well. Doves in the Wind is really amazing too. It's a very sensual and sexy song with some woozy textures and some cool hip hop insipred drums. Lyrically it focuses on how there is more to love than just sex, but again, she does it in a pretty witty way. Kendrick also lays a very focused verse with some very strong sung bars. I like it as it's not a style he does too often. The themes of insecurity and questioning your self worth come back on Drew Barrymore, despite of the cozy and warm vibe of the song. It's got an absolutely stellar melody and chorus that almost distract from the raw emotional vulnerability, especially in the 2nd verse. Prom is another touching moment where she talks about maturing and self-development, mainly being scared of not growing as fast as her guy. The song is wrapped in this very summery sound with some gorgeous strings and a slight disco twist. The Weekend has one of the juiciest beats with this super thick bassline that I really like, and is yet another moment of realization that she's being played. She describes herself as the 'weekend girl', with the other girl being on the main plan. Go Gina and Garden contribute more to the themes of insecurity and unsatisfaction of the first half of the album, but I do think both could have used stronger hooks and melodies. I do really like how the bass on Garden is a bit more agressive tho. Following that is the song Broken Clocks, which is my favorite here and serves as the centerpiece of the album. Firstly, it works as a reflection of time passing and how it can be easy to get worked into the chaos of life, with everything moving super fast. The song emphasizes how it's good to take life day by day and try to make small improvements every day, which is a healthy perspective that I really like and relate to. She also uses this song to reflect on the balance between ger work life and love life, ultimately recognizing that the flings she described before were not worth the hussle. Admittedly, I do think the album gets a little weaker afterwards, with a song like Anything being bold and interesting but not executed as well as it could have. The Wavy interlude could have been a full song, as it has some great sounds, but I also think it could have been just SZA on it. What I do like is the reflective nature of some of those songs. On Normal Girl she realizes that instead of worthless hookups she would like an actual healthy relationship, which makes it a pretty wholesome moment. The album does a full circle moment with the final song - 20 Something, which much like the first one is a raw, acoustic ballad, but this time touching very different themes. She recognizes that her life is unorganized and imperfect, but ultimately isn't that what you're 20s are for? In the end, she recognizes that it's ok this way. It's a truly great closer to a truly great album that has a lot to give, both sonically and lyrically, as I think her approach to r&b is pretty fresh. It's an album I really enjoyed diving into, as indicated by the length of the review.

The album kinda has 2 sides. One of them is 70s and 80s glam rock revival but done with a modern twist, and that part is pretty fun, with strong melodies, quirky vocal and an effective mix of the old and the new. The disco/dance revival from the other half I could kind of take or leave, I don't think they do that style as much justice and it just sounds kinda tiresome. My thoughts were mostly positive, but I'm still a bit torn overall. Small + to the rating for the song Tits on the Radio, which reminds me of Of Montreal with it's massive grooves, colorful production and creative vocal delivery. So this rating can be treated as 3+.

This used to be one of my fav jazz albums at one point and I still think it's brilliant. The first song starts off with this super deep and memorable groove, with a lot of instrumental progressions around it. Eventually it breaks down into this piano driven section which is very funky and dancable. Watermelon Man offers more cool rhythms and sweet guitar leads, while Sly has one of the coolest progressions I've heard in jazz, starts off with a pretty slow and chill melody and the way the way the playing intensifies is just so fascinating. The last song has some ambient textures applied to jazz, it sounds quite unique but isn't as memorable as the other 3. Still, I think this is the best Herbie Hancock record while also being his most accessible and just fun to play.

I can only imagine the amounts of drugs consumed while recording this. There seems to be a concept here: with each song the album sounds more and more drugged out. Kicks off with a pretty tight psych rock tune and pretty much ends with some random spaced out jamming. There is some interesting and hypnotic sounds all over this, but also a lot of elements that kinda bothered me, like how loud all the organs sound or how some parts are kinda off-key.

I like the first song. Everything else was passable, but very unmemorable. I've heard it all done better before, all this did was recreate a 60s country pastiche. This album didn't have much to offer, so consequently I don't have much constructive criticism.

My favorite Bruce Springsteen album. I prefer this acoustic, country-inspired sound over some of the more triumphant and anthemic albums in his discography like Born to Run (god forbid an artist is happy!), as I feel like maybe they haven't aged that well. I've never been to Nebraska, but this album creates such a vibe and paints such an imagery, it feels like driving through the state and looking at the window of your car when it's raining outside. Doesn't make me wanna visit it tho. The acoustic guitars have a very nocturnal and kind of lo-fi vibe, which gives the album a cold, autumny feel that is also quite unique. I love how genuine the songs feel, Bruce's vocals are pretty muffled, but sentimental, full of melancholy. Also weirdly comforting in a way. And musically, the arrangements are quite minimal, but they do just enough to contribute to this overbearing atmosphere. Also, being unemployed, some of these songs hit hard. If there's one thing I could do without it's the harmonicas, but they don't appear on every song and aren't the main element anyways.

Most artists have that one album that I think is kind of overrated, and for The Smiths it's this one. Not saying it's particularly bad, but very uneven. It's also a bit confusing to me that some of the more acclaimed songs (This Joke Isn't Funny Anymore, Well I Wonder) don't really do much to me, while songs like I Want The One I Can't Have or Nowhere Fast that are a bit underrated strike me as much punchier and catchier. The melodies on this album feel a bit underwhelming and underdevelopped in general, they are much better on their other albums. That also makes songs like the title track drag on heavily. Rusholme Ruffians also has a bit of a country twang which doesn't come off as that good. The album has some amazing highlights too, the opener is stellar and Barbarianism Begins At Home is one of my fav Smiths songs and one of the best basslines ever. Also love the theme of how the education system oppresses young people. It's certainly way better than the title track which kinda reads like a twitter rant on vegetarianism. Every band has got to have a weakest album, and for me with The Smiths it's this one. However, for a weakest album it's still not too bad.

It's hard to say why this album resonates with me so much. It's very minimal, with every song (except for the piano part on the first one) consisting of just Nick Drake's unique voice and his acoustic guitar, however it is the definition of doing a lot with a little. The songs don't really have much structure either, most don't even have choruses, just a bunch of verses with the occasional instrumental interludes. So what is it that makes this album not only great, but one of my favorites of all time? Well it's a few things really. Nick's guitar playing is really fascinating throughout this entire album and also so easy to get lost in. He creates these organic, warm guitar tones that just sound so goddamn good and so rich despite their simplicity. Together with his soothing voice that feels very comforting it creates this perfect harmony and just makes me feel things. The album creates kind of a full circle moment with the first titular track feeling like watching the sun rise on a breezy fall morning, while the closer's gentle guitar lead that eventually fizzles out creates this vibe of witnessing the sunset after a long day. The lyrics also enhance this, describing how the night dawns and using this metaphor of night and day as life and death to express the sentiment of benefiting from everyday and focusing on the time we have left. It's a beautiful thought to leave the album on, and brings me to another amazing aspect of the album - the lyricism. I love that it's very poetic, pretty and filled with meaning, while still being quite simple to understand. His rich, mostly nature-based comparisons and metaphors combined with the organic production give you this feeling of laying in the middle of a forest and feeling connected to the nature. Place to Be is a simple song, yet still a beautiful reflection on growth. Which Will comes off as deeply dark and philosophical in a way which is touching and emotionally compelling. Things Behind the Sun is my favorite song here, partly because of the dark, mysterious vibes and amazing chord progression around the chorus, partly because of the genius lyrics. The whole song essentially feels like a conversation with himself, an inner monologue, debating fame, pressure and depression in such a beautiful way. Despite being very simple, this is truly one of the most beautiful and unique folk albums I've ever heard, and the context around it adds a whole new meaning and perspective to it.

Too drugged out and mellowed out. There is some good moments, like the heavier Come Together or the mind bending textures on I Think I'm In Love, but for the most part this is kind of a snoozer. No amount of reverb or druggy atmosphere can save these songs from feeling hollow.

This album is the definition of boomer rock. Guess I was born in the wrong generation to enjoy it? I didn't care much for the squeaky riffs and kinda weak bass, some of the vocals are a bit grating too. Like, if you're making blues rock and your bass isn't bassing you know you've failed. La Grange is a bop tho.

Hypnotic beats, mind bending textures and crazy rhythms. I was listening to it on the way home a bit drunk and high and it made me feel like I was in an action movie.

Some good early post-punk. Very raw, great and simple but effective production and the vocalist's half singing half talking approach is quite unique. Some more energy could really elevate this, because it's consistently good but rarely amazing. Still, I enjoyed it all the way through.

One of the rare super classic rap albums that I think is kinda overrated. The first half is pretty strong with a lot of bangers: Fuck With Dre Day, Let Me Ride, Nothing But a G Thang. Unfortunately some of it sounds kinda dated and hasn't aged the best. Only about half of it bangs, in tye 2nd half you've got those dated synthesizers and kinda weaker basslines. Another problem is the rappers, they're really not that good, in fact kinda generic. Snoop Dogg is good on this, but the rest I really don't care for that much and they get old pretty fast. This album has an interesting spot in history but it's pretty inconsistent.

One of the definitive synthpop albums. It's great how they combine those monumental, anthemic sounds with a strong message. I love the many layers of instrumentation coming together into this mechanical and super dense sound on Shout. It's a protest song and it definitely feels like one, has a real sense of urgency to it. The Working Hour has this insane post-apocalyptic vibe to it and a great ending, and I'm convinced EWTRTW is physically impossible to dislike. I love the industrial touches on Mothers Talk too. I Believe is a nice sounding song but doesn't really measure up to the highlights here. The ending is quite strong too, but Head Over Heels is the clear standout. 80s essential, so many bangers here.

This album holds a fascinating position in the hip hop history. The juxtaposition of gangsta rap aesthetic and a subject matter mostly revolving around partying creates this weird combination, like if the album is not really sure what it wants to be. It's constantly stuck between its basic bragging, club friendly beats and mixed attempts at trying to convey a greater message. A few really timeless songs at the beggining don't really change the fact that this album is a mixed bag at best. It's a shame, such a cool name deserved better music.

This is essential Smiths. Fuck everyone who thinks this is their worst. Y'all just don't get it. This is probably their most depressing album, but with that little twist of dark humor to remind you you're listening to The Smiths. And the songs themselves are great too. A Rush and a Push is one of their most unique, I don't know if there is even any guitar on it but it atill manages to be one of their best songs. I Started Something I Couldn't Finish has one of the best choruses from any Smiths songs. Stop Me has such a gorgeous guitar part, I really love it. The album is maybe a bit toned down, not as punchy as some of their other albums, but that doesn't stop it from being one of their best.

It's a Springsteen album, so the songwriting and lyricism are strong. It's a shame that most of these songs are wrapped in a layer of some pretty shitty 80s production. I don't care much for the washed out synths and super loud snare on the title track, and the vocals on it are quite rough too. It's a very overrated song to me. Darlington Country has some pretty tacky country-esque sounds and an annoying chorus I don't like too much either. I feel kind of similarly about Working on the Highway and I'm Going Down. There's a few more songs where the drums sound kinda bad and the guitars a bit artifficial. The album is not totally bad tho. Downbound Train is kind of an underrated song, the production feels more organic which I like a lot. I'm on Fire is also more stripped back, not the most unique song but still quite good. Dancing in the Dark is super popular but actually deserves its hype, such a good song. I feel like this albun would work well in an acoustic setting seeing how much I like Nebraska, or maybe seeing some of these songs live. As is, the potential feels kinda wasted.

Misleading title, I wasn't grooving much to it. Most songs are kinda sleepy and the psychedelic sounds are quite bad. Kinda like The Monkees but even less interesting.

One of the very first hip hop albums! Its importance and influence is huge, but it's far from perfect. The massive standout is The Message, maybe the first political hip hop song with a super iconic and funky beat. The first 2 songs are quite good too. I like the groove of She's Fresh and It's Nasty is a bit primitive, but still a fun rap song. Now since it was 1982 they couldn't just make a full album of rap songs, they had to put some bullshit poppy smooth soul songs (Dreamin, You Are) which kinda suck. The other 2 songs are fine but sound a bit basic and haven't withstood the test of time. It's a fun and interesting listen, but not consistent at all. I'm leaving 3 stars for the cultural impact

Kinda average blues rock. I wish I had more to say about it, but not much about it grabbed my attention. The sound is a bit dated, the guitar work could have been way more interesting and the songs just don't pack much interesting writing or anything. There's a couple interesting moments but most of it is in one ear out the other. What'd I Say was building up to be a good song but then it has this terrible drum solo in the middle that ruins its momentum. I liked Hideaway and Steppin Out because they offer some quite passionate performances, but that's about it. Maybe I could even find more arguments to defend it, but Clapton is also a racist douchebag so I don't really feel like doing it.

Neil Young is really the king of his folk-rock-country sound. I really like it because it's simple and straightforward but also just plain sounds good. Awesome guitar passages, great songwriting, wonderful singing. It's very consistent and impressive without falling to the generic territory. One of my favs from Neil Young

Solid little country album. It's got great performances, but some songs feel a bit toned down. I like how cathartic a lot of it feels tho. It's good, but not super consistent.

I've wanted to check this band out for a while now, but this kinda feels like a bad introduction. Or maybe this is just how they sound like. I don't know. Either way, this didn't do much for me. Hard to explain why too. The sounds are quite nice, but the songs just feel weirdly hollow. They're pretty uneventful, don't really come together into anything too memorable. I liked the 2nd half of Little Bird but getting to it was kinda tedious. Happiness has some good textures too, and Caravan Girl had a solid melody. But most of this is on a consistently average level. Not exactly impressive. Better luck next time?

The other day I was thinking what will be the worst album on this list. This immediately came to mind. I actually don't think this is complete garbage, but it's quite close. I'll get the things I like about it out of the way. The intro to Hells Bells sounds pretty great and actually makes up for an interesting start. The riff on the title track is undeniably fun and memorable. And I actually do like You Shook Me All Night Long, it's the only song here that I would describe as fun. Now onto the things that I don't like! Oh boy... It's a common consensus that AC/DC is a good band ruined by a bad vocalist. I actually have to disagree with that. They are a mediocre and generic band ruined by one of the worst vocalists ever. It's a mystery to me how so many great vocalists are considered too weird for the common audience in a world when shit like this sold millions and millions of copies. Seriously, what? This guy has the vocal chops of your uncle after 10 drinks on a karaoke night in a local pub. It ruins some perfectly decent songs, like the title track or Shoot to Thrill. The thing is, with a better vocalist they would have been better, but not by that much. The music is just very simple and kinda generic late 70s early 80s hard rock. The riffs are very samey, they're fine but barely interesting. The drumming is so simple that I'm convinced if you gave a monkey a drunset it would come up with some better rhythms. There is really no point in listening to this. I can understand liking the bigger songs, but the rest of an album is such a nothing burger that I struggle to see anyone enjoying it.

This album would have been good if they didn't just blatantly rip off Bowie track for track. It also would have been better if they didn't suck at doing so. And also if they were better at playing their instruments. I guess it would have been good if a different band recorded it.

The Fall has a massive discography and I have only heard a few of her albums, but they seem very much like a band with which you know what you're getting. Not a bad thing either, they recognize what they're good at and stick to it. I can't say this was the most unique album ever, for them and in the grander scheme of post-punk, but it was definitely well done. I like the energy on this one, the grooves hit hard and the vocals are consistently strong. Very nice album.

Interesting on paper but the execution is off. There's many interesting sounds and pieces of instrunentation, but the songs are mostly too overstuffed with ideas. Sometimes less is more and this album can be a lot.

Another one of those albums that peaks with the first song and the rest is kinda just there. Not bad tho.

I really love the sound of this. The band has so much synergy, great instrumentation all around this. Very enjoyable soul jams - it's rlly my thing.

I was never super into his music and this isn't really better or worse than most of it. With Timbaland and Pharell on the beats the lineup is quite impressive and the production is very well done. A lot of fun, banging rhythms, sexy jams and jus creative beats all around. Vocally the album is not as impressive, a lot of pretty average performances and most of the songs are around 5 minutes long which is a bit much too.

I really like CCR. Just one of the most fun bands to listen to. Anytime their song comes on you know it's gonna be a good time. It's just the vibes, such strong positivity coming from all the songs. I like how they dive a bit into blues rock on this album here. Graveyard Train is such a nice jam, makes me feel like Im in the forest on the album cover. So many good melodies as well, Born on the Bayou, Bootleg, Proud Mary... it's just a great time!

Man, early Led Zeppelin was the shit. I like their first 2 albums the most, after that it's hit or miss. What I love about this era of theirs is just the raw energy and power the music has. The riffs are so powerful and crushing, they have this noisy distortion to them that adds such a vibe. I think their albums after that are a bit overly polished which takes away from the listening experience. Can't say the same about this, it's just filled with one exciting banger after another. Whole Lotta Love is so so good, that bassline man. Lemon Song? Banger. Ramble On? Banger. Heartbreaker? Banger. Album? Awesome

Kinda eh. I liked their first album, it played to their strengths with the folk instrumentation. This is mostly just semi-boring pop rock. The first 2 songs are good, fun and dynamic. A few other alright moments here and there, but a lot of snoozers too unfortunately. Big Black Car especially puts me to sleep. In general I kinda found it to be uninteresting musically.

Sounds very 80s, for better or for worse. I like the tense, fuzzy synths on the opening track. The closer has a very powerful melody too, big banger. Darkness has a bit of a mysterious vibe which is very cool too. In general tho, the deeper into the album the more dated it sounds. The production on Seconds sounds kinda bad, and I am the Law is a very failed attempt at a more minimal sound. Multiple other songs didn't do much for me either. Overall album is not bad but faaaar from perfect.

Cool album but really the best thing about it is the cover. So badass! And I can name at least 3 album covers that are influenced by this.

Solid album, but I appreciate it more for shaping punk rather than love it. It's got cool, interesting and minimal moments but can be inconsistent.

This album is like being on the beach on acid and there's a beach party going on. You're laying down, chilling and tripping, the DJ is playing some funky, warm house jams, life is good. Eventually tho he runs out of bangers to play, so he just starts playing some random ass songs. Also your high is wearing off. You start noticing that the songs aren't actually that good. Or maybe they never were?

I mean, it's The Doors' self-titled. If you haven't listened to it, what are you doing? They took 60s blues and psych rock and just put such a fun and unique spin on it. From the melodies to the arrangement and the vocals, everything is so good. The intro has such a memorable riff and fun energy, always puts me in a good mood. Soul Kitchen also has a killer melody and guitar parts. The Crystal Ship has such crazy energy radiating from it, it's so cool. Light My Fire is honestly one of my favorite songs of all time. Again just so much fun to listen to, while also being really impressive. I love the bassline, amd of course the keyboard and guitar solo is just sick as fuck. The End is such a perfect closer, the song feels like being on shrooms and they are slowly overtaking your entire body. While all songs are great, some are not as memorable as others and I guess that is my only complaint. Still, Incredible record and one of my favs from the 60s.

One of the albums that got me into electronic music! I remember listening to it a few years back and being entranced by the mind-bending textures and heavy atmosphere. It's been a while since I listened to it, so I was curious to see how it stands over time, and it is still very good. The vibes, the textures, the progressions all come together into this lengthy, impressive monster of an album

This has got to be one of the funkiest rap albums ever. The funk influences are very visible all over the samples on this album and make the production very bouncy nad groovy. The production is so unique and well done, makes the album a really fun listen. The rappers in the group aren't anything special really, they mostly rap about partying and sex but they don't take away much and are fun to listen to also. One for the production nerds.

This album is pretty much the encapsulation of everything that punk should be. It's heavily political, bold in a satirical way, filled with rapid fire performances that just burst with anger and frustration. The instrumentation is tight and full of tension and there is a real sense of urgency coming from the music. Ramones and Sex Pistols could learn a thing or two from this. This is how you do this type of music.

Outkast album in theory, in practice it's half Big Boi solo half André solo. It's also a tale of 2 albums (makes sense) with the first half being your typical southern hip hop shit whereas the second half is more neo-soul/r&b with a bit of rap. It starts off pretty good - a lot of bangers on the first disk with some banging beats and great features - The Way You Move, Rooster, Church, Flip Flop Rock... but there is also a bit of filler, I feel like some songs sound like leftovers from their first album but not as effective. The 2nd half is really where it's at, André is a genius and you can tell it. He's obviously an incredible rapper, but also an amazing singer. Everyone knows Hey Ya and Roses and for a good reason, for pop songs they're pretty much as perfect as it gets, but there is so much more to it. Happy Valentine's Day is one of my fav Outkast songs, so much joy, so slick and catchy. Prototype and Love Hater are these jazzy soul ballads, kinda proto-Thundercat and sound soo smooth. His approach to all the genres he is making feels so genuine and down to earth that it's hard to believe he is primarily a rapper. The second disk also seems to have sort of a concept of finding love and I think he executes it in a really profound way. In many ways this album is also about self love and self acceptance, which I think is very important. It also ends with a bang, the outro track has one of the most menacing hip hop beats ever and showcases André's storytelling masterclass. One aspect of this album which I don't think is talked about enough is its influence, not only because it sold so well but many of the soul and pop crossover songs influenced more melodic, r&b infused hip hop. And that's years before artists like Kanye, Cudi or Drake did the same. I would give the first disk a 7/10 and the second one a strong 8/10, so all in all it averages out to 4 stars.

Really starts off with a splash. I love the heavy guitar riffs of the intro combined with the playful solos that give the song a feeling of epicness. Cross-Eyed Mary continues in that direction, with theatrical arrangements and really interesting drum patterns. There is a lot of folk influence which I like a lot, gives the music a very british feel. There is a lot of flute throughout the album and it sounds fire. It's a very unique record for prog rock and offers a super impressive combination of pretty moments, impressive technical playing and heavy stuff which I think works amazingly.

Hey, this album cover looks familiar. What is it... Oh yeah! Bon Jovi ripped it off 12 years later! I only realized today, I wasn't familiar with this one before. Anyway, the album is really damn good. They're both great vocalists and the music plain sounds good. The guitar tones are very pleasant, the chord progressions are super nice. Despite that it's actually still quite sombre and soothing, but also just very emotionally touching. It definitely starts stronger than it ends, but still there's plenty to enjoy

I mean, it sounds quite nice but ultimately kinda left me feeling nothing. It's soulful and warm, but not very memorable except for the first song and that cover of I Heard it Through the Grapevine doesn't do the original any justice.

This is simply one of the most badass albums ever. The sounds are just so fire - crushing riffs, aggressive guitar tones and vocal performances that just drip wuth anger and frustration. The songs have aged so beautifully, somehow a lot of them are even more impressive and relatable now. The highlights are the noisiest moments, but the slower ones also have a lot of merit to them. It's so punky in spirit, can't help but love it. Listening to this while walking in the streets made me wanna burn cars and destroy buildings.

Interesting to hear Nick Cave before his Bad Seeds era. This is completely different. Super noisy, manic and raw. His vocals aren't as clear as later on, but that adds to the chaos of this whole thing very nicely. The playing is completely wild and super fascinating. It feels very claustrophobic, on a bunch of songs even scary. I like that, but I can see why it wouldn't appeal to a lot of people.

Wooow this is so chill and smooth! I'm very impressed. It's one of the most lush albums ever, the production just completely made me float. Think Stevie Wonder, but stripped back from the ambitious arrangments. Shuggie Otis finds power in minimalism instead. The psychedelic grooves just overtake your body completely. I need to relisten to it when I'm high, I can imagine it would be an even better experience.

For a ZZ Top album it's actually not too bad. I like the first 4 songs, really starts with some fun bops, good energy and catchy riffs. It's not super consistent, the 2nd half is mostly some fairly average hard rock. It's better than other things I've heard from ZZ top at least.

I have a hard time hating on this album because it's very positive. Most of the songs have a fun, uplifting message and the production is also quite bouncy and creative. Some of their ideas don't really work out, the country-rap bits are a bit corny, same with the r&b fusion songs. The rapping is not the strongest and a lot of the hooks are kinda weak, but then again there is something simply cool about the music. It's just good vibes, even if it's not perfect.

I've listened to this album before and it didn't really blow me away, but wow was I wrong. This shit is fucking incredible. It's like Nick Drake's Pink Moon's more jazzy and bluesy cousin. Pink Moon is already one of my favorite albums of all time and while I need to listen to this one more to say such statements there is def potential. His writing is so poetically depressive, there is a real beauty to it. I love the metaphor of depression as solid air on the title track, it's amazing. Equally amazing are the sounds, the whole song has such dense tension with amazing layers of instrumentation and beautiful jazz elements. The sax passages literally sound like they were recorded in heaven. Over the Hill has such gorgeous guitars that blend perfectly with his unique voice (his voice is also kinda Nick Drake-esque). The song has this weirdly euphoric and happy vibe that I dig so much. The song is about coming back home and it definitely feels that way. Don't Want to Know has an amazing atmosphere, the ambiance is so dense you could almost cut it with a knife and the background elements are beautifully mesmerizing. Also the song is yet another example of an immaculate use of saxophone. I'd Rather be the Devil is a switchup, but a really incredible. The song has those massive, driving grooves, an incredibly thick bassline and an incredible progression into the more ambient 2nd half. Go Down Easy takes a more acoustic approach and it also works out incredibly well. Dreams by the Sea has awesome chord progressions and wild sax parts that just sound so fucking good. The next 2 songs are also incredible and the closer is actually a very interesting song stylistically, pulling from more blues with again great acoustic guitar parts. I must have been having a bad day when I first listened to this because damn, it's honsestly amazing. I'm giving it 5 stars because I haven't stopped listening to it today.

This is the best entry level jazz album, contrary to what some people might tell you (I'm looking at you, Kind of Blue). It's accessible and easy to enjoy and just throw on whenever but without losing any of the excitement. The playing is still incredible and very detailed, with many cool parts like the random drum solos. The compositions are great, the songs flow so naturally and don't lose any of the good vibe throughout. It doesn't quite reach the highs of some of my favorite jazz albums and that's the only thing preventing it from being a 10/10, but it's an incredible journey and one everyone should listen to.

I meeeean nothing here was bad per se but it just kinda sounds like fun for people who's definition of fun is very different from mine.

This is one of those albums that just has no business being here. It's very average, but not average in a particularly cool or interesting way. Let me clarify: there are some albums that I don't particularly enjoy but I respect their influence and how they tried to push boundaries (Blue Cheer - Vincebus Eruptum). There is also albums that I technically don't enjoy much, but are still fun to listen to because they're kinda absurd (GnR - Chinese Democracy). This one is neither. It's just watered down radio friendly indie rock without much bite.

Fuck you Mariah Carey and Wham. This is what the real Gs listen to on christmas. (Nothing against Mariah and Wham, I was joking. This is still better tho)

It's nice simple 50s fun. Good vocals, good vibes, fun sounds all around.

Banger album. How do you make an intro song as good as I Wanna be Adored? Completely out of this world soundscapes. She Bangs the Drum is also simply magical, amazing melody, completely intoxicating textures, amazing harmonies... The otherworldly vibes continue to Waterfall, ehat a way to start the album! Don't Stop and Elizabeth My Dear are semi-duds, mostly because they find the band doing a sound they simply don't do that well, but the other moments are still pretty tight. Made of Stone has such a euphoric feel, it's amazing. From there on it continues with banger after banger, and the deluxe Fool's Gold it's such a good closer, you just lay down, listen and let the bassline hypnotize you... What a listen man

So this is Green Day's rock opera, and while I think this album's highlights are on par with my fav songs from Dookie, it's just a lot less consistent. It's got its fair share of classics like the title track, Boulevard of Broken Dreams and Wake Me Up... and some other underrated cuts like St Jimmy, but it's not without its issues. First of all, a lot of the songs have production that feels kinda thin and unexciting. Dookie had so much gas in the tank with fire guitars and drumming, but many songs here just feel very toned down by comparison. I'm talking about songs like Are We the Waiting or Extraordinary Girl. Another issue is the songs that span 9+ minutes, I like a good long song but Green Day is just not really a band to pull that off. The concept is well executed and the band has a lot to say, but I wish the music was more consistent.

Yeah, most people only know the WOOHOO song but there's much more to enjoy. Beetlebum is such a fantastic opener, it has this crazy psychedelic dense sound that is super unique and chilling. The whole thing is easily the most psychedelic britpop album I've ever heard, with super woozy sounds, mellowed out guitars and vocals that remind me of some super underground slacker rock. That also leads to a few redundant songs and failed experiments. To be quite honest, I think they built upon the sound of this album on their next one and made it stronger. There is sort of a weaker dance crossover cut on On Your Own, and Theme From Retro is a bit too drugged out maybe. Still, there's explosive highlights like M.O.R. with bombastic guitars flying all over the song, or more lowkey and acoustic ones like You're So Great. Death of a Party is also one of my favorites, very fascinating sounds and genre fusions. All in all the album is not super consistent but definitely a fun and exciting listen

It's great 80s jangle pop with bright instrumentations, gentle vocals and sweet melodies, mixed with some more new wave'y songs here and there. It's really nothing groundbreaking, but very consistent and just plain sounds really good.

This album is just wildly creative and ahead of its time. The usage of samples is so crazy, it's hard to believe this dropped in 1981. It's so futuristic and fascinating. It's crazy that they manage to fuse in so many styles from all over the world. The album is quite experimental but also somehow accessible and hella groovy. The grooves are actually so massive. Pretty crazy. Towards the end the album switches into more of an ambient sound and again, it sounds incredible. The songs are super hypnotic and entrancing like all ambient songs should be. Amazing and wild listen

I think this is The Doors' heaviest album in terms of sound. The riffs are just so badass and heavy, the whole thing is also super psychedelic, almost acid rock at parts. I don't think the songwriting is at their best here, but it's The Doors - it's still really good.

Calm, almost pastoral folk music from one of the greatest to ever do it. Simple as that. The album has a cozy feel, their voices compliment each other in a way that's just magical. The arrangements are soft and gentle but never boring, they just strengthen the autumny vibes. The pianos provide a super pretty background and give it this organic atmosphere that few albums in a similar style have. This album is truly magical and very entrancing in its beauty.

Siouxsie and the Banshees are an amazing band and this is maybe their most underrated album. It's just a good dose of that dark, gothic-tinted post-punk with amazing vocals and a strong atmosphere. I love the tension between the nocturnal guitars and tight drums. Creates a very one of a kind sound that is different from the rest of the band's discography. The energy is pretty crazy and makes the album a wild ride. Jigsaw Feeling, Overground and Helter Skelter in particular are highlights.

Simply put: this is one of the darkest albums I've ever heard. You can kinda tell that by the cover tho. It kinda feels like being left alone at an old castle in the middle of the night and finding your way through it. From the heavy reverb, droning guitars to the ominous vocals it's just a wild ride filled with walls of atmosphere. It's slightly obstructed by the kinda anticlimatic 1959, but other than that it's very consistently sombre, nocturnal and cold.

If there is one thing this album really excels at it's THE BASSLINES man. They're so incredible straight from the opening seconds. With their bounciness they create a hypnotizing laid back atmosphere that plays throughout the entire album. There is not a single beat that doesn't bang on this. The drums are also tight as hell and super hard and make the production here outstanding. While I like the rappers in ATCQ, I can't exactly say they kill it on every single song. They don't go below a certain level but aren't always in top form. This doesn't stop this album from being super iconic and defining for jazz rap.

A bit samey at parts but KICKS SO MUCH ASS

So this is kinda my favorite Kanye album, because while it has flaws it kinda turns them around to make them strengths. The album doesn't really take himself too seriously like MBDTF does, there is a lot of goofy moments (well, lyrically at least) but they're so absurd that they work. And om the other hand you have the more serious songs which are among the best he has ever written. But let's face it, no one listens to Kanye albums for the lyrics, it's really about the production which is just right up my alley here. It's got those elements of industrial and electronic music delivered with such finesse and attention to detail. Like on Black Skinhead, that beat is absolutely insane. The touches of synthesizers on I Am a God are nuts. Another thing that is amazing is how these beats evolve. New Slaves comes from industrial madness to one of the most eargasmic climaxes in music history, Blood on the Leaves has so many layers and switchups that there is constantly something to look for and even I'm In It which is not really the best song here has some crazy production. The whole album culminates into Bound 2, which between the chipmunk soul production, the endless quotables and humour is in many respects the ultimate Kanye song. While I don't think this would convert any Kanye haters or even appeal to all his fans, it's still a really amazing album to me.

It's a bit too inconsistent to be among the best Beach Boys albums, as there are some songs that I just don't care for. Don't Go Near the Water is a bit annoying vocally and too disjointed to be catchy, Take a Load of your Feet is a bit too goofy to be taken seriously and Student Demonstration Time or Lookin at Tomorrow read more as failed experiments that well fleshed out songs. On the other hands, the highlights are really awesome. Long Promised Road, Disney Girls and the last 2 songs all feature amazing songwriting, super strong melodies and really stellar compositions that rank it among the group's best. The other songs are kinda in between, making this a messy but interesting listen.

Well, everyone had to start somewhere, and while this isn't his debut it's still an interesting album from an early stage in his career. A lot of people consider it one of his best, but I really think he improved after this. It starts super strong with the first 3 songs which showcase great lyricism and a very nice voice, but the rest of the album can be a bit inconsistent. I think it would be really cool if he re-recorder some of these songs later into his career. The production further into the album is simply not always super memorable, there is a bunch of songs that take a more blues sound and I can't say it suits him that well. The vocals aren't as strong as on his later albums either. It's an admirable album but not very consistent and he only got better from there

There is a lot of passion in the music, but most of it still ends up being kind of generic. The music is pretty simple which can be charming but gets a bit boring at some points.

This is really one of the most important hip hop albums in history. The cultural impact is undeniable, but the quality is also really great. It's very 80s with the raw beats, loud drums and rock influences, but the songs are so much fun. So many classic rap songs: Peter Piper, It's Tricky, Walk This Way... The rappers do a great job of sounding fun and energetic over these beats. There's a few duds towards the end but overall the album is super solid.

It's very nice glam rock with heavy psych influences. It's also very playful, the songs have fun grooves and catchy choruses while also maintaining the elegant arrangements that make the genre so special. Cosmic Dancer is the standout to me, the whole first side is pretty great. After that it slows down a bit but never really dips in quality significantly or anything.

I like it when a rapper has a lot to say and that is for sure the case here. Unfortunately that alone does not make a great album. I appreciate the message and overall lyrics on these songs, but unfortunately the rapping leaves something to be desired. I don't think the rapper is the most skilled, he has a pretty deadpan delivery and slow flow which gets a bit grating, especially on the 5+ minutes songs. The production is pretty interesting as it has this minimal, mechanical feel that is pretty rare for hip hop but then again I don't feel like it elevates the album all that much. Despite the review sounding negative I do quite appreciate the album and even enjoy a chunk of it, but it can be tiring as a listen.

The genre of this album is called Big Beat and it takes a few seconds into the album to understand why. You've got these massive walls of sounds and synths on the first song, coming together into this amazing beach party banger. The Rockefeller Skank is similarly awesome. The pacing, the progressions, the vocal samples are all insane. I also love the funky hip hop grooves on Gangster Trippin (what a feel good song!) and the massive bass on Build it Up - Tear it Down. I also like the summery and Haze'y Praise You, but unfortunately the rest of the album isn't really as strong. Most other songs kinda feel like remixes of the songs I like, but without that extra bang. It's hard to explain but they just lack a little something, that extra swagger that makes the best songs so exciting. It's a cool album to put on and vibe but not all of it sticks with me.

Straight from the opening seconds it hits you with these amazing arrangements and vocal harmonies. Temecula sunrise in particular with that beautiful climax at the end. The songwriting is strong and flashy, especially at the catchier songs like Stillness is the Move. There is some weirder and more experimental moments but those also showcase great instrumentation and song composition skills. Feels like every single climax and chorus hits just the way it should. Falls off slightly in the last 2 songs but that doesn't really matter, the album packs so much quality.

It's very similar to Pink Moon. Nick's amazing voice, acoustic instrumentation and absolutely magical songwriting. The major difference is that there is actually more instruments here than just a guitar. It's all very beautiful, his playing is immaculate and his voice just sooo soothing. I guess it doesn't have that vibe of Pink Moon, idk why but just something about that album is so special and touches my soul in a very unique way. This is absolutely stellar tho, not really much worse.

I like Orbital, but wasn't super impressed with this album. It's ok but the music is just kinda meandering, the grooves are there but don't hit that much or hypnotize you in the way some of their other albums do and in general it doesn't evoke that much in me. The vocal samples are kinda random and don't always fit the vibe. I like the opener and the last 2 songs, the rest is mostly just fine.

I don't really like the term grunge because it's not super well defined, and all the core bands sound completely different from each other. But this band being labeled as grunge is one of the most confusing cases yet, I really don't see it. Anyways, it doesn't really matter because I don't like this much anyway. Musically it's pretty drab and derivative, the playing is often sloppy and just doesn't sound that good. Most of it sounds unexciting and frankly kinda lifeless. Where is the edge, where is the gas in the tank?

I can't imagine anyone disliking this record. As soon as the first song hits you with those synths you know you're in for a ride and it just continues to stun you. Her writing is so monumental and it's backed up by absolutely epic and gorgeous instrumentals and amazing vocals throughout. It's all so lush and ethereal, really sits with me in the best way possible. Some songs like Mother Stands for Comfort show more of an eccentric side of Kate and it's for sure very interesting altho maybe not as effective as those powerful ballads. That run of the first 3 tracks is just totally stunning. Cloudbusting has some of the best arrangements in pop music history, not kidding. And Dream of Sheep takes more of a vocal jazz-esque approach, and she kills it yet again. The next 2 songs are surprisingly dark compared to the rest of the album, it's a very interesting direction that again shows great creativity despite not being up there with most other songs. The most underrated song has got to be Watching You Without Me, I adore that minimal, cold atmosphere that just makes me float all the way through. Disliking this should be punishable by jail.

Alternate universe in which Father John Misty is gay. It's great!

One of the ultimate summer albums. It's got crazy good melodies - just so sticky and warm. The songs are both incredibly catchy and very gorgeous. The way the first 2 songs transition into one another is so genius. I love the maximalist production, the warm guitar tones are just so addictive and again - the melodies are amazing. The Meeting Place has some Beach Boys vibes but modernized to the 80s sound and it sounds gorgeous. That's actually the case for most songs here, except they don't have some of the filler songs that Pet Sounds has. Just the good parts - the hooks, the textures, the vocals... all top notch. Just listen to Season Cycle, what a banger. This album is really flawless and consistent front to back, even with the 2nd half getting a bit more spacey. This is just pure bliss, I love it.

I love music that challenges me and takes me out of my comfort zone. Often times I find myself fascinated by the creativity of more experimental albums and artists, with a lot of it being actually really enjoyable. A lot of the time I also find industrial/noise music to have weirdly cathartic qualities. So what's wrong with this album? Well, it just sounds really amateurish. It's like this band's first attempt at making an industrial album (which might be the case, it's their debut afterall) and it just sounds like they told themselves: okay, let's just throw a bunch of harsh sounds at the listener and call it a day. I do think it picks up in the 2nd half with some more ambient-like textures, but I can't say this is something I would listen to again. I do think the band got better after tho.

Let me get one thing out of the way: I never cared much for The Rolling Stones. I like individual songs but theyre really not an album band to me. This is also kinda the case for this. I love Gimme Shelter and YCAGWYW, but everything in between is mostly just ok. Some decent blues, some decent rock, neither side is super standout.

It's a difficult album to rate for me. There is a lot of quality which is pretty hard to deny. The lyrics, vocals, arrangements are all quality, but for some reason the music doesn't speak to me fully. It's missing some emotional power, something that would make me feel it more. It's good but rarely great and I find myself gravitating more towards their other albums.

It's albums like this that make me remember why I love hip hop to begin with. It's just great beats, entertaining raps and a lot of fun. The sound is very classy, vintage 90s boom bap done very well. The sample selection is very good, the instrumentals are just constantly fun and banging. It's just a very good time.

It's well done and mildly fun, but just not really my cup of tea.

I'm glad I relistened because this is a lot better than I remember. I love the surreal sounds, the rich, psychedelic production and the super catchy melodies. Even some of the less standout songs are quite memorable. I love the dense moments like White Rabbit, 3/5 of a Mile and Today the most, but the more stripped back songs are also great.

I mean, it's just some 50s country. It's simple, it's melancholic, it's mostly just two guys with their acoustic guitar. It's cute, it's likeable.

It's pretty fun, certainly has some bangers. Unfortunately a bunch of songs, especially in the 2nd half, sound kinda dated and even a little bit annoying. Still a decent listen tho.

A great 60s album because it represents the era very well without sounding dated at all. Care of Cell 44 is just a pure dopamine rush and has some of the best chord progressions of that era, very ahead of its time. A Rose for Emily is a bit less exciting but the highlights keep coming after that. The next couple songs are more about the atmosphere and production, but still dash out some incredible writing. I especially like Brief Candles and Hung Up on a Dream which create pure bliss with these amazing guitar passages. It's of course impossible to talk about this album without mentioning the amazing closer with its amazing bassline and truly addictive melodies. It's a great and very consistent album that has grown on me over the years.

Not my favorite from Jane's Addiction but still a very quality album. Somehow they take elements of bands like Primus and RHCP which I think are a little overrated and make them sound fire. The riffs, the solos, the grooves are all intense and exciting. Hell yeah!

Key word: intensity. This album just keeps hitting you with those walls of crazy instrumentation, manic playing that sounds like half-improvisation and just a million sounds. I can imagine hearing this and being completely thrown off and overwhelmed. Then there is the other side of the spectrum, the people with musical adhd who are able to enjoy this and find it constantly exciting. You can guess in which category I land.

Queen is a funny band in that everyone knows many many songs, but how many people have actually listened to their albums? To be quite fair most of them are pretty mediocre, but A Night at the Opera is one that's actually worth it. It's very theatrical and maximalist with some pretty over the top vocals performances and massive musical arrangements - like you could expect from Queen. I will say it does get a bit much at parts, the interlude-like songs are kinda filler and some of the longer songs suffer a bit from that. But there is a lot of greatness here. The opener is a multi phased prog banger with amazing guitar passages all over it. I'm in Love With my Car is just a fun song and You're My Best Friend is one of their cutest tracks. Love of my Life has fire piano backing instrumentation and is a very lovely ballad overall and then of course there is Bohemian Rhapsody - I don't think I need to add anything about that. But unfortunately even on one of Queen's best albums there is still some duds. Sweet Lady is pretty much just a piece of boomer rock, Sweet Randezvous and Good Company are a bit sickeningly dramatic and The Prophet Song is not really one of their best prog tracks, at some point in the song they try to include this experimental passage and it comes off as a bit annoying. I have a hard time rating this, technically feel like it deserves 4 stars but I rarely listen to it and it's just a bit too inconsistent.

The guitar playing on this album is very advanced for its time. It sounds so technically impressive, always something to latch onto in the background. Smokey River is an awesome display of that. His vocals are very sombre and sad. He's not one of the best of the era but still very good. It's a very good album overall.

Amazing album, but c'mon you knew it already, it's Joni Mitchell. This one really stands out in her discography with its soft jazz arrangements. It's lush and feel good but very instrumentally ambitious and unpredictable. The first track feels like a warm summer afternoon spent outside in a small town by the sea. The second one has a much more eerie tone with dense instrumentation and some pretty unusual sounds but it captures a very cool vibe. It's a bit of a detour from the rest of the album with a more abstract structure to it. After that it bounces back to that comfy, elegant folk-singer-songwriter that we love Joni for. I don't understand how something can sound so soft and gentle and yet so emotionally intense and musically interesting. She also has this amazing ability to paint pictures and build an entire world with her words. It's like you listen to the song and you feel like you're right there with the singer. Needless to say I love this record, especially Shades of Scarlett Conquering, the title track and Sweet Bird.

Manu Chao seems like a very chill guy. That being said, the music is a bit underwhelming. He has talent, the instrumentation on this album is pretty good and he can be diverse, but most of the songs kinda go nowhere or have pretty boring vocal performances. It starts off well but quickly drops to just ok.

Pretty much a movie in album form. Kendrick's narration is dense and detailed, while listening to this album I feel like I live through the things he's rapping about. And the story is heavy - adolescence, drugs, peer pressure, crime, faith. Kendrick seems stuck between the idea of fitting in and escaping and he covers it in a deeply profound way. The album bounces between all these topics delivering anthemic bangers and heart wrenching introspection one after another. You get amazing hype bangers on the 2 title tracks that fit into the narrative of the album incredibly well, and they're balanced out by beautiful reflective songs like Bitch Don't Kill My Vibe. Poetic Justice has one of my fav beats here with that Janet sample and it's really fun to hear Kendrick and Drake on a song together. Money Trees is an amazing reflection on materialism, one of the biggest anthems here. The album climaxes with SAMIDOT, a gorgeous song that ties all of it together. I think the album should have ended here, but instead we get Real which is easily the weakest song of the bunch. Oh well. The album is still amazing and I'm glad it made it to the list.

Love 1001 albums for exposing me to random music from different countries. Not always love the music, but that's another story. I do enjoy the first 2 songs here because they showcase a pretty interesting style of arabic music with some fun instrumentation. After that we get boring french millennial pop, a pretty mediocre cover of Imagine and a whole lot of watered down versions of those first 2 songs. Not much that grabbed my interest later on the album.

Leonard's poetry is moving in its simplicity. His storytelling and vocal abilities are undeniable and he uses them in a really masterful way. The instrumentation is acoustic but sharp, sombre and dramatic - in a good way. It's really appealing and it's very easy to see why.

Thick basslines, a freaky sex jam, a concept about being in space... Not bad.

It's very artsy, atmospheric rock music with diverse, vivid instrumentation. The songs have this organic vibe that I appreciate a lot. The quality ranges from pretty good to some of the best shit you've ever heard - especially St Elmo's Fire with that amazing chorus. It's a really good album, even if not always super stunning. Also, what a pretty cover!

I'm not a big fan of The Who, but I think this is one of their more solid efforts. It's very well produced and ambitious instrumentally as well as lyrically, and has some serious bangers (Christmas, Pinball Wizard). Still, they're not exactly a band I would listen to for 75 minutes straight and that remains the album's biggest flaw.

I have a funny relationship with Beck's music where I find some of his more acclaimed albums to be kind of overrated and I prefer some of the less popular ones. With Sea Change my issue is that its melodrama runs a bit long throughout the whole thing. The production, which is usually fun and vibrant on his albums, is very stripped back and acoustic here. It's not necessarily a bad thing, but it makes some of the songs like End of the Day, Round the Bend and Side of the Road sound a little thin. As for Beck, it's a very sad and personal album and I certainly appreciate that. Problem is, it doesn't have the emotional power of let's say an Elliott Smith album. Beck doesn't really have the ability to make words resonate with me as much as some other artists do. The album does have a fair amount of beautiful ballads - The Golden Age is majestic with its beautiful, rich instrumentation and amazing chord changes and it contrasts beautifully with the minimal but groovy Paper Tiger that has amazing string sections in the back half. There is also Lost Cause which is the most heart wrenching ballad on the whole album. While not my favorite from Beck, I can at least take away a few songs from it that I really enjoy. Maybe it would hit harder if I was miserable and crying myself to sleep every night.

While this is not really a top tier Bowie album and not very representative of his sound, it's still a pretty great one. It predates my favorite Bowie album (Station to Station) by a year and it's in a way a prelude to that record. With it's massive soul and funk vibes it feels like a gateway to that record, not as polished and strong on the songwriting but still really good. Fascination and Fame are total bangers that are really on par with Station to Station. The opener title track is also a classic and I love the ballad Win, always been underrated to me. The album is not flawless, I think he overdoes it a bit vocally on Across the Universe and a few others are a little bland, but it remains a respectable and underrated Bowie record.

It's fun for about 3 songs, after that it gets a little corny. They're still good at rhythm sections and have cool energy, but something about it rubs me the wrong way a bit.

Out of all the albums here this one is probably the closest to being 5 stars without actually reaching that, and that's due to some slightly weaker moments. The highlights tho are absolutely phenomenal, some of the best in this vibe and style ever. The strongest point is obviously the atmosphere, it's dark, menacing yet incredibly beautiful and super easy to get lost in. So entrancing. The production is incredible, thick, satisfying, dark, moody, depressive. I love the punchy, almost mechanical synths on Personal Jesus combined with one of the most danceable but still very dark grooves, the song feels so spiritual and cathartic. Enjoy the Silence is of course one of the most memorable songs of all time, nothing else to say. Then there is Policy of Truth which has a completely out of this world futuristic feel with incredible soundscapes and a beautiful progression to it. World in my Eyes is SUCH a sexy song, you can feel the tension in it and it's so addictive. An underrated song from this album is Sweetest Perfection with this beautiful slow progression and cold, mechanical but addictive instrumentals. If the album was an ep of just those songs it would simply be the best thing ever. I think Violator's ending moments are slightly weaker and less memorable, but still very well produced and written and the whole album is just incredible.

I really enjoy R.E.M.'s 80s output, but I have to say, most of it isn't that different from each other. I don't really mind it either, when I'm in the mood for some of that punchy, melodic jangle pop I can just put on one of their records and it's gonna be a good time. Yeah, I like this.

Very underrated band. Their mixture of rock, soul, pop and everything in between is so unique and just hella fun. There is so much passion, energy and just pure joy. They have a lot of instrumental talent as well. The playing all throughout this album comes together so well. I love how they incorporate some less usual instruments too - there's some trumpets, trombones and others. The songs are mostly quite long but they manage to keep things interesting with a lot of diversity and musical switchups. One moment you get some funky soul, then it hits you with a spoken monologue over some acoustic guitars. The 12-minute This is What She's Like is this album's opus and shows everything I love about it.

It's got its fair share of epic, anthemic bangers, even other than Bitter Sweet Symphony. Weeping Willow and Lucky Man in particular have this addictive, nostalgic vibe about them. Unfortunately on a lot of the songs here I found the songwriting to be very average and the instrumentation kinda lackluster. Especially on the song that go in kind of a spacey, more abstract direction. It's not really a sound they do much justice. I would still say the album is worth a listen simply for the highlights.

Nick Cave is probably one of the greatest lyricists ever. I love his romance-filled religious metaphors, they are in a way simple but incredibly touching. Just listen to Into My Arms, what a stunning lyrical performance from Nick. People Ain't No Good has an amazing storytelling and yet another moving performance. Some other songs take a more sarcastic approach, like the cheeky Idiot Prayer which he completely nails as well. If this album has any shortcomings it's on the sonic side, I have to say the sound does get a bit redundant as the album goes as this is far from Nick's most diverse and exciting album musically speaking. It's still very good, but does it grab me as much as the theatrics of The Good Son or the dark, rusty sound of Murder Ballads? Not really. That being said it's still a very satisfying and in many moments beautiful album.

Let's just say I'm not a big fan of Muse, and while this is not their worst album (Ignore their new stuff) I really dislike it because it marks a massive step down in quality for them. Before this, their albums were mostly decent to slightly likeable. This one is... a bit rough to listen to. Straight from the intro track you get hit with over-the-top guitar passages, gimmicky synths that try too hard to sound alternative and cool and very edgy lyrics that read more like a bunch of angry teenagers writing a protest song. From there you get a bunch of sci-fi inspired alt-rock with a lot of singing about space, planets and so on. I don't really mind the topics but the execution kinda blows. I think Starlight is a good ballad, but Supermassive Black Hole on the other hand has some very weak and thin instrumentation and sounds like a pretty failed attempt at being sexy which comes off kinda gross. Then Map of the Problematique sounds like a bad Depeche Mode interpolation and Soldier's Poem is this sort of minimal folk cut which is listenable but very uninteresting. Meanwhile the song Invincible is kind of unbearably corny as it just reads like a motivational poster in musical form. The album's second half is mostly more of the same - production that lacks edge, weird gerne mashes and a lot of cringe. I do wanna highlight the closer, Knights of Cydonia, which proves that the band could still write good songs at that point in time. It's a really fun prog-rock epic with fire guitar solos, a very solid vocal performance, a good song structure and just a lot of punch to it. It remains a mystery why most of this album is so weak with a closer this good. This song and Starlight save this album from being a total disaster and elevate it to 2 stars. That being said, the album is mostly an unflattering mess and the whole time I was waiting for it to be over.

I've come to expect such greatness from Neil that this perfectly solid album feels a bit disappointing. There is still some truly fantastic songs like Heart of Gold and Old Man. Unfortunately the album has some lackluster moments as well like Are You Ready for the Country or There's a World which come off as a bit unexciting musically. There is also a few other that are good but not exactly super standout. Then there is A Man Needs a Maid which has unfortunately aged kind of poorly. I have Neil Young albums I prefer to this, but to be honest it would still be a highpoint in many artists' discographies.

The 60's had a good amount of one-or-two hit wonders, and whether you like it or not The Mamas & The Papas fall into that category too. The problem with those artists is that usually they can't build up on the sound of their hits and just end up either trying to recreate it or do something much worse. That being said, there is nothing wrong with this album or band and they actually manage to put out some other charming, lush vintage pop rockers. Straight Shooter is a good example, I actually like it more than Monday, Monday. No song recreates the magic and beauty of California Dreamin but ago Where You Wanna Go is close enough. The rest of the album is quite lush and minimal, sometimes a bit too much. The vocal performances tend to be a bit faint, the instrumentation - a bit washed out. There is some filler which is a bit sad for a 33 minute album, but enough solid moments to keep it entertaining.

Yeah, these guys are a bit overrated. Yeah, they're not the most unique band of their time. But truth be told they just make some fun pop music that's easy to enjoy and vibe with. This album is filled with hits and it's not sickeningly 80s like many other popular albums from that decade are. You can just put it on and enjoy it very easily.

Soul is one of the best genres in my opinion, but The Temptations never really grabbed my attention much and this continues to be the case here. Except for the wonderful Papa Was a Rolling Stone and the pretty cool opener nothing here is super interesting. It just kinda lacks passion and, well, soul. It's very much alright but nothing else.

To put it simply, this album is extremely long. Even from a great vocalist like Ella there is some limit of how much I can listen to her. I don't think this is an album that is meant to be listened to in one sitting. The start is pretty strong, some moments that stood out to me are the super cute Beginner's Luck, the epic brass sections on Things Are Looking Up and the little latin flavor on Just Another Rumba. But around the C-side the album gets a bit repetitive and generic for Ella. I do however like the orchestral section at the very end - nice change of pace.

Might just be the best album ever to have sex to. Marvin Gaye just has that something about him, you know? So smooth, so sensual.

Amazing vocals. Can't go wrong with some quality vintage soul and Aretha is one of the goats of it.

If I had to choose what's objectively the best album of all time, this would be a strong contender. Not only is it totally perfect but also maintains its consistency for over 100 minutes. Whether he is doing lovely, smooth and warm ballads like on Love's In Need of Love Today, funky prayer anthems like on Have a Talk With God or just total r&b rockers like on As, he totally kills it. Pretty much every song here takes a different direction and they are all performed with so much passion and produced with so much detail that they are impossible to dislike. Contusion for example is an amazing jazz song that feels so lively and vivid. Sir Duke is one of the best songs about music ever, it's just so fun and life affirming. From there on the streak of banger after banger continues with the instantly recognizable Pastime Paradise and warm and groovy Summer Soft. Instrumentally this album is absolutely fantastic with so many details and layers, each listen uncovers something new. And the whole thing has just this incredible energy that cannot be found anywhere else. Definitely one of my fav albums ever.

This album might not be as catchy and filled with hits as Paranoid but honestly that's ok, it's amazing in its own way. Initially I didn't like it as much because it's more of a slowburn, but once it hits it really hits. The crushing walls of guitar, the dark atmosphere and creepy vocal performances just create a world of its own. From the heavy guitar riff of the intro track to Ozzy's manic screaming the song feels like entering hell, and the rest of the album feels like that hell breaking down in front of you slowly. These guy must have been batshit insane to have released this in 1970, but hey at least we got a streak of classic albums out of their insanity.

Starts off with an incredibly fun and colorful jazz composition that is bouncy, playful and puts an instant smile on my face. That energy is then replaced with something a lot more subtle with a lot of piano passages and a more melancholic sound. It's still really good and nice on the ears with sweet melodies and intricate playing. With the exception of I Surrender Dear which falls a bit on the boring side this is a very admirable jazz album.

It's mostly boringly produced and uninterestingly performed. Tepid and soulless, like Steely Dan or Fleetwood Mac but for people who don't season their food. At least it's not as irritating as Hotel California, so it gets a slight pass.

With the exception of Scar Tissue and Otherside, this is one of the more annoying RHCP records. There are some songs that are kinda gross lyrically and annoying vocally (Get on Top, ugh) and there is not much in terms of interesting production really. The bass lacks a good groove, the guitars are pretty plain overall. And the vocals are some of the worst in the bands discography. The massive hit Californication stands out for being surprisingly beautifully written and poetic considering its RHCP. But unfortunately most of the album is not worth the hype.

Passionate and energetic, but not super memorable. Still a cool listen while its on. I Want You To Want Me and Surrender are standouts.

It's a lot of fun!

I kind of wish I enjoyed this more. Feels like an album cool people would enjoy. But there is a lot of moments that just don't grab me, honestly. It's often messy and not in a very flattering way, feels cluttered instrumentally. The vocalist is also kind of annoying on the opener or other songs like I Bleed. In Dead the vocals are way too buried in the mix and don't sound good at all. The song Silver feels really sloppy and awkward and is a weird detour for the band. There is some songs that I like, be that Here Comes Your Man, Monkey Gone to Heaven or Hey, but overall the album is way too inconsistent and flawed.

Banger start - energetic, punchy, hard-hitting. The first 4 songs are total anthems with sharp guitar tones, fast drums, banger choruses and super charismatic vocals. Unfortunately after track 8 or so the album gets incredibly inconsistent. They either don't stick to their strengths or deliver them without the crazy energy. It's a pretty good album but kind of a rough ride.

Great guitar tones. Great bass playing. Some great hooks on here too. It can be a bit monotone and maybe Bono is not the greatest vocalist ever, but it is what it is. I prefer U2's post-punk era, but this is still very good.

High on style. Very low on substance. Lenny isn't really reinventing the wheel here. You're better off listening to one of the artists that inspired him.

I wasn't familiar with this Gorillaz side project before. The vocals are solid, the instrumentation is pretty cinematic, full of strings and big walls of acoustic guitars. It has this sort of fairytale esthetic - but in a good way. I think it really falls on in the 2nd half with some pretty lackluster moments, but I'm glad I listened nontheless.

I've listened to PiL's Metal Box before and couldn't get into it at all because of the vocals. After listening to this I will definitely give that album one more chance because this is phenomenal. The instrumentation is amazing, especially the basslines - they feel so deep, it's like they take over your whole body. The sound is angry and chaotic, all builds up into this ball of rage. I love the manic screams of I WISH I COULD DIE on the first song. What a way to start an album. What a perfect tone setter too, really matches the vibe of the whole thing. The album fires non stop and on all cylinders up until the last song, which is this experimental rock sound collage that somehow works. Very exciting album that makes me want to dive deeper into their discography.

Not my type of prog. Has its moments, but a lot of passages are not that interesting, a bit basic. The guitar tones tend to be a bit annoying, the album overstays its welcome... I've heard Rush put out many better records.

One of the most influential albums of all time? It sounds so futuristic, the sampling is crazy, the different sections come together in a great harmony. After the epic first song things take more of an ambient direction but still work very well. The constantly evolving synth leads keep the songs exciting, there is always those little details to hang onto. It's a very beautiful record that paved the way for pretty much all sample-based music.

This is the Cocteau Twins that I like. Amazing bridge between a dark atmosphere and a dreamy, blissful sound. You can't make any sense of the vocals but that's not much of a problem. The vocals just sound so pretty over these overwhelmingly brautiful walls of sound.

Turning point for The Beatles, as it's here when they went from a fun 60s band to one of the most creative and influential bands ever. Not quite their peak, but this album already delivers some amazing arrangements that are really ahead of their time and very unique. Top that with catchy melodies and great chemistry from the guys and you get an album that feels really special. The first 4 songs are just out of this world and later on the album still packs some heat with songs like In My Life. This one has always been one of my favorites by them and it remains that way.

Yeah, maybe not as ambitious or boundary pushing as some of the 'core' Beatles albums but damn is it fun and consistent.

The metal tracks here are awesome, especially Supernaut and the closer. Then you have those weird detour songs that unfortunately don't work as well. They don't flow in the tracklist like on some of their other albums and feel awkward. I still think this album is quite good and very creative overall, but they have released more consistent efforts.

This shit is raw as fuck! Great live album, incredibly influential to punk music too

Joni Mitchell never misses. I mean, sometimes. But not on this one.

Ryan Adams >> Bryan Adams. At least this album is quite pleasant. Ryan is a good vocalist, musically it's pretty basic but there is an appeal to it. The album gets a bit tiresome towards the end, there is maybe not enough variation but it's good enough.

This album really changed my perception on music. My first listen to this was one of my favorite music listening experiences ever. I was completely mesmerized by the amount of detail, textural depth and the progression each song takes. 5 years later it still blows me away. The album just doesn't waste a single second, while at the same time creating some of the most impressive landscapes ever. Starts off warm and sunny with these hypnotic rhythms and groovy guitars, making you feel like you're having a lazy beach day in paradise. Then the whole thing becomes more and more psychedelic with some of the most impressive sound design ever. It's like taking LSD on that beach and the whole world becomes more and more disjointed. The grooves are absolutely insane, whether they are slow and repetitive or fast and dance-able they are just straight up addictive. I can put this album on any time and 40 minutes just fly by.

One of Bob's most lively albums. The blues elements really make this album very fun to listen to. The songs are full of life and very catchy. Bob Dylan is still great, I will not understand why some people call him a bad singer. Whether he is doing his traditional sound or straight up Blues Rock he kills it on this album.

Hits you with the face with rapid fire drum beats, abrasive guitars and tons of energy from the vocalist. It bounces between loud explosions of anger and cathartic slow burns masterfully. It's like switching back and forth between dreams and nightmares. Inertiatic ESP and Roulette Dares are some of my favorite songs in this style.

The instrumentation is quirky and vibrant, but I never really cared too much for the singer. Something about her just kind of annoys me. I wish I was more into it because I like the message in the songs but I just find a lot of them grating, especially The The Empty. I appreciate this more than I enjoy it, even if it's not bad.

Beautiful Day is a banger, but the rest of the album is pretty bland and dry.

It's a bit bloated, but many of my favorite Fleetwood Mac songs are on this album. It's just so smooth and groovy!

One of the most interesting Trip Hop albums I have heard. You have random hip hop songs, soul songs, dub songs and more but it all has that underlying trippy atmosphere and rhythms that are so characteristic for the genre. The best part is easily the drums which are so thick and crispy, sounds very satisfying. The vibe is immaculate, the whole record sounds like you're walking around an abandoned UK city in the middle of the night.

I love electronic music and this album is a very important landmark in the genre. The diversity is amazing; whatever genre Moby does it turns out great. There is bangers but also slower, more entrancing tracks, the record has so much to offer for different moods. It's a bit long but never really boring snd flows together surprisingly well.

One kind of frustrating thing about Gorillaz is that I don't know what genre to classify them as. They just do their own thing I guess and this album is kind of a cool start. There is some very good songs - straight from the two first songs you can hear that the sound is a lot less polished and kinda more lo-fi than their other stuff but I kind of vibe with that, both songs are really good. Tomorrow comes today has very hypnotic production with those chunky trip hop bits and a great atmosphere in general. Clint Eastwood is a massive classic, the beat is so menacing and perfect for Del's lyrical acrobatics. Unfortunately with the exception of 19-200 the rest of the album is not nearly as good. Every song seems to have a problem, be that annoying vocals like on Man Research, trashy production like on Punk or a lack of interesting progression like on Starshine. The album is kind of a mess and I wouldnt rate it among their best but it has great ideas and glimpses of genius.

Best MJ album by far. Just one epic disco banger after another. Every song is colorful, vibrant, full of energy and super catchy, maybe with the exceptions of the kinda meh ballad She's Out fo my Life.

The band offers some interesting ideas, great sounds and intoxicating textures, but unfortunately they also run out of steam quite fast. At it's best the album is catchy and very trippy, but also has a lot of moments that feel boring and awkward.

This is the first thing I ever heard from Thin Lizzy, which is probably a bad start but whatever. It's kind of what I expected - boomer rock, but it's actually done quite well, the live instrumentation sounds good, the energy is there and the vocals are solid. It's an enjoyable live album but I know I will probably never listen again.

Such a good, easy to enjoy album. Some of the smoothest ballads in soul music history. Fills you in with Marvin's warm angel voice and some simply beautiful and full of life music. Some of the biggest soul bangers ever are on this record.

So iconic. So many super memorable lines, dramatic hooks that just pop instantly and this self-destructive energy. It's definitely a sad album, but at the same times has so many bangers. Very easy to see why it's so popular.

Instrumentally it reminds me a bit of one of my favorite albums ever - Illinois by Sufjan Stevens. Both are filled with rich, layered baroque instrumentation that sounds effortlessly lush and masterfully composed. Rufus is not as good a vocalist and storyteller as Sufjan, but then again not many are. Still a very enjoyable album. Go or Go Ahead is heart wrenching, such a powerful ballad.

The album made such a strong political statement in criticizing the Nigerian military that it led to thousands of soldiers attacking Fela's community building and killing his mother. Rest In Peace. And what a story. It makes the impact of the music even more powerful. Somehow it conveys so much emotion with such little words. At the same time, it's some of the most infectious and fun jazz music around. Fela Kuti IS Afrobeat, and this album IS Fela Kuti.

It's a very fun album. Playful with a good energy and hooks for days. There is plenty of catchy songs, even the slow ballads are admirable even if not perfect. I like the noisier songs in particular, they have amazing guitar textures that compliment the soft vocals surprisingly well.

Stone cold flow and one of the most recognizable voices with rap. Biggie had charisma for days and it really carried the songs to the next level. The amount of iconic one-liners on this album is ridiculous and it's combined with some of the craziest 90s production. Whether he is doing boastful bangers or heart breaking emotional songs (Suicidal Thoughts is just... Wow) he sounds incredible. It's one of the best rap albums from a vocal standpoint, and the lyrical content is deep and very clever. There is some minor duds in the form of Me & My Bitch and Friend of Mine, but most of the album is incredible.

Might just be the most chill album ever. It's the soundtrack to chilling on a brazilian beach on a quiet, sunny day. The vocals are soft and mellow and blend with the laid back, jazzy instrumentation to create a feeling of pure bliss. I don't understand a word, but it's all so soothing and calming.

That's some hot Salsa!

The 2000s were a weird era of pop. Quirky electronics and more experimentation started taking over, and Madonna really tried to adapt to the trends. It leads to some horrendous songs that have aged like milk but also some real gems. The production on Impressive Instant and Nobody's Perfect is pretty ugly and Madonna's autotuned vocals are hard to listen to. I feel similarly about Paradise, the robot sound is pretty unflattering. The album also ends on a weak note with an awkward cover of American Pie. However, there is also some clear bangers in the tracklist that make the album worth the time. Opens up with a fantastic song, Don't Tell Me is easily the best produced song here, Runaway Lover and What it Feels Like for a Girl are also pretty fantastic. In many ways this album is a mess, but it marks an interesting step in Madonna's discography.

It is short, it most definitely is an album, and it is for sure about love. Accurate title. 4/5.

I like REM, but this is their weakest 80s album in my opinion. The production is just a bit lackluster and sounds very thin. Doesn't make the songs stand out that much. The songwriting is good, but the album is missing that REM magic to bring it to the next level.

One word - atmosphere. It's the main selling point mf the album and is completely inimitable. It's just absolute perfection the way the guitars feel so crushing but at the same time ethereal. You get lost in this deep melancholy and never want to escape. Multiple songs on here are so crushing emotionally that they almost bring tears to my eyes. All of the other elements are also absolutely excellent - the basslines, the vocals, the lyrics. Everything comes together with a power of a thousand storms breaking at once. This record feels like standing outside in the middle of a rainy night, but being too depressed to go anywhere. And that's why I love it so much.

Very good selection of Deep Purple songs combined with some fun jamming and wild energy. Good stuff!

I tried. I tried many times. I tried on headphones, I tried on speaker. I tried during the day, I tried at night, I tried in the summer, I tried in the winter. No amount of listens changes the fact that this album is a slog that only occasionally manages to convey its walls of noise into actually enjoyable songs. Granted, when it does it leads to some amazing moments of beauty, but finding them is like looking for a needle in the hay.

This album pretty much invented emotions. I'm not sure I knew how to feel things before I listened to this. It's maybe not the most diverse album, but it makes up for it with just being absolutely excellent at what it does. Every song grabs you by the heart and puts you in this state of overwhelming sadness and melancholy. Nobody conveys emotions like Elliott does. Just read some of these lyrics: Drink up, baby, look at the stars I'll kiss you again between the bars Where I'm seeing you there with your hands in the air Waiting to finally be caught For your own protection over their affection Nobody broke your heart You broke your own, 'cause you can't finish what you start Crooked spin can't come to rest I'm damaged bad at best She'll decide what she wants I'll probably be the last to know No one says until it shows, see how it is They want you or they don't Say yes With hidden cracks that don't show But that constantly just grow Just wow. With every listen, there is a new song that I get absolutely obsessed with, a new lyric that gets stuck with me for days. It's my go to album for bad days and I will always love it for that.

It's my 3rd fav LedZep album after I and II. Features some of their heaviest guitar work and best bass playing. The songs are epic, progressive and long, but they also have this psychedelic feel to them. The textures and attention to detail here is incredible on most of the album. It's very long and does get a bit tiring to be honest. Do all the songs add something to the experience? Not really. It's still relatively consistent for its length and has some of their best songs on it.

One of the best displays of Brazilian music. Incredible sounds all over this record. So warm and tropical. The vibes are great, but if you focus on the details, the album also shows intricate playing and incredible textures. Super consistent, can't wait to listen to this on a Brazilian beach some day.

Far and away the best Beatles solo album. George is my fav Beetle anyway so makes sense that he would release the best solo record too. It's a truly spiritual singer-songwriter album. Harrison's fascination with Hinduism is very clear and led him to write some fantastic introspective and philosophical songs. The album is just non-stop slappers. The production is phenomenal, sounds so large yet intimate at the same time. The first disc is really incredible. The 2nd one is mostly some jam sessions, it sounds pretty cool too and it's really crazy that he decided to include it on the record.

Great A-side. Very meh B-side. Unfortunate, but I was never a big ELP fan, so no love lost.

Interesting album. Has a consistently dark atmosphere which works well, it makes the songs pretty entrancing. Unfortunately not all of them are standouts, as many moments came across as a bit dull and uninteresting. The flow of this album is also pretty choppy and lacks cohesion.

Non-stop synthpop slappers. Banger after banger.

It's not the best Kanye album imo, but definitely the most charming. Between the school concept, the sense of humour, the positive message it's just a very likeable album. The production is so soulful, vintage Kanye with amazing soul samples. The sounds are lively and epic, it fits his maximalistic vision but it's not obnoxious as on some of his later albums (I'm looking at you MBDTF). All Falls Down, Jesus Walks, Never Let Me Down, Two Words, Through The Wire are among the best 2000s rap songs. What makes this special as well as this is pretty much Kanye's best rapping performance. Pretty much, because he did get even better on Late Registration a year later, but the passion he shows here is incredible and insanely contagious. The way he raps, you just feel every word he says even if he is not the most flashy technical rapper. It makes the songs super engaging and replayable. The more melodic songs like Spaceship or Slow Jamz also work despite having a bit of a different vibe. The whole album is very cohesive, the songs are bangers while the skits bring personality and are funny. It's amazingly produced too. Unfortunately there are some songs that have aged poorly. Get Em High, The New Workout Plan and Breathe In Breathe Out are a bit too obnoxious and the humour on those songs doesn't land that well. The rest of the album is really great which puts it easily among his best albums.

It's pretty good, but doesn't stand out too much and is a bit inconsistent. Would have been better without the softer moments.

The only album from The Police where the B-side is stronger than the A-side, and even the start of this one is pretty strong. I even like Mother which everyone seems to hate. However, the 2nd half is really where it's at, it features some of their best songs. I also think it's their best record instrumentally, as everything just comes together. The basslines, the grooves, the guitars. It's maybe not as energetic as some of their previous stuff but it makes up for it. It's easily their most elegant, stunning stuff. One thing that bother me a bit is that the sequencing of the album is a bit weird with all of the best songs stacked towards the end. But that's a minor issue, the album is a great addition to one of the most consistent discographies ever.

The interludes are not great, but the core songs on this album are quite fantastic. Maybe not the most out there soul music, but it's so nicely peaceful and psychedelic, almost makes you levitate. There is a lot of room for his vocals in the mix here and they shine throughout. I love the production on this record, it's a throwback to the past but with a modern spin from a talented artist. You Ain't The Problem, Piano Joint, Living in Denial and Lights were major highlights for me.

Nice sounds, ok songs. There's some great guitar work and creative genre combinations but the album kinda blends in. It's solid but not much I would return to.

I have to admit - this album is heavy as fuck. I actually think this is more metal in sound than Black Sabbath's debut, which is generally considered the first metal album ever. This thing is raw, noisy and unfiltered. However, despite respecting this album a lot, I can't say I enjoy it that much. The production is kind of rough, sounds like they recorded it in a garage with the cheapest possible equipment. I'm sure that appeals to some people, but it just doesn't really work for me. It's funny, I like a lot of music with similar characteristics but this just doesn't click.

Sonic Youth is just so cool. The rebellious energy, the social commentary, the bridge between the lo-fi aesthetic, noisy riffs and awesome grooves. It's both a super meaningful album in terms of being representative of its time, but also so incredible musically. The cathartic passage at the end of The Sprawl, some parts of 'Cross the Breeze being nealy some post-hardcore shit, the incredible atmosphere of Teen Age Riot which makes the song sound intimate yet larger than life at the same time, the explosiveness of Candle - so many absolutely incredible moments of genius in here. The closer is also so epic and grandiose and has a real sense of finality to it. The album's only real weakness is that some of the songs drag on, not all of the ~7 minute long ones justify their runtime fully. Other than that it's a beautiful, meditative and powerful noise alt rock album.

Solid enough, but a little boring compared to my fav Iron Maiden albums. Not enough stands out to bring it to the next level.

I love Thundercat. Such a funny guy. The songs on this album are short and sweet, full of personality and reinforce each other very well. He manages to build a very cohesive and unique sound with a lot of memorable grooves, funny lines and a mix of everything from jazz to soul to r&b to hip hop. Song topics include being hungover, turning into a cat and being a weeb. Among many others. I think his music peaked here. The personality is just irresistible. Bonus points for a hilarious cover.

One of the most beautifully arranged albums of all time. Absolute masterclass in instrumentation. Just so vast and maximalist, but without sounding corny or forced at all. The sounds are constantly evolving with new layers of instruments and amazing progressions. Whether it's the warmer, lush moments like Come On! Feel the Illnoise or something more stripped back like Decatur. Then there is the concept of growing up in Illinois. The album is like a collection of adventures, memories, stories from Sufjan's childhood. The storytelling on songs like John Wayne Gacy Jr or Jacksonville is really amazing. It's very entertaining with a lot of details, he puts the words together so nicely and creates his own world. And the album is so consistent throughout the whole runtime. The song Chicago is just total perfection, some of the best vocal harmonies and string sections I've ever heard. So magical. Predatory Wasp has one of the coolest climaxes ever, the buildup is incredible. I could go on and on, I love this album so much and could never say enough nice things about it.

Immaculately produced and amazingly sung. The instrumentation is at great symphony, the band chemistry on this is so satisfying. It's very easy to enjoy and see why it's so great but still offers a lot of detail and overall a really great sound. Loses a bit of steam towards the end but doesn't fall below very good. HE'S A SMOOOTH OPERATOR!

Always cool to hear those female-fronted rock bands. This one is pretty unique. It's some alt-rock with a lot of attitude that goes sometimes loud, sometimes quiet, and also has a lot of dance elements. Closest comparison would probably be Primal Scream but this is not really the same. Anyways, no need to compare it to anything, it's very good on its own.

It's a lot of fun. There are many super catchy songs, but they also have that Iggy Pop edge. His vocals and energy really carry this album to the next level. His face on the cover is my reaction to this record.

Lowkey one of the first rap-adjacent albums ever. Has the massive highlight Genius of Love which is a massive banger and crazy ahead of its time. The rest of the album can be groovy and hypnotic, but also forgettable. The vocals especially are the weakest part here. Sometimes it can also be a bit cringe in its quirkyness. Wordy Rappinghood especially is a borderline novelty song, sounds like a rap song that a teenager would make for the jokes. I kinda wanna rate this higher but can't really justify it.

Let me get two things out of the way - it's not a perfect album and it's not my favorite Beatles album. That being said, it still blows me away and puzzles me how they were able to make something so maximalist at the time that they did. This album sounds so vast, with incredible arrangements all over this thing. Straight from the intro title track it drags you into an adventure. It's such an epic intro that sets up the concept perfectly. It's incredibly well orchestrated and super ambitious too. I love the way it transitions into With a Little Help from my Friends, which I think is my fav Beatles song. It's just so wholesome, has a beautiful chorus and I just love that they let Ringo sing it. Sgt Pepper's is in general their best written album - one when they actually put in the effort to write at least a bit conceptually and it shows. Songs like Fixing a Hole, She's Leaving Home and When I'm Sixty Four touch on some pretty universal topics and are very well written. She's Leaving Home especially, and I love the elegantly gorgeous layers of instrumentation on that song. The record also contains some of their most experimental songs like Lucy in the Sky with Diamonds or the epic closer A Day in the Life, which in many ways feels like their ultimate song. My issue comes from some of the deeper cuts, especially Good Morning Good Morning which is honestly a bit grating. I feel similarly about The Benefit of Mr Kite, which feels more like a song for a musical than a proper Beatles song. Within You Without You on the other hand kinda feels like a George Harrison deep cut from one of his later works with the influences from the hindu culture but sticks out like a sore thumb on this album. Those weaker moments prevent it from being a top Beatles album from me, but dont change the fact that it's massively influential, crazy ahead of its time and very very good.

Pharell is involved, so you can of course count on great, creative, genre-bending production and quality sound engineering. This is pretty much a funk-rock record in sound but a hip hop record in spirit. You have lyrics about skateboarding, fashion, money and so on but all wrapped in funk grooves and guitar-based instrumentation. Pretty funny combination but if someone could pull it off it's definitely Pharell. Backseat Love and Thrasher are not that good, but the rest of the album is banging.

This album is just out of this world. In fact, it creates a word of its own, the Electric Ladyland. Jimi really puts the sex & drugs in sex, drugs, rock&roll. I can only imagine the amount of substances he was on while making this. There is one thing that ties this album together, makes it work: the incredible guitar work. If aliens ever come to earth and ask what a guitar is, I'm playing them this album and we become best friends. Really, the guitar tones are so incredible, the solos are so memorable and they really bring the sound to the next level. There is even two 13+ minutes long songs to really flex his guitar muscles. This is such a crazy and trippy listen, one of the wildest music adventures one can go on.

Starts off with a bang - the first 2 songs are really great. After that, the album turns into a much smoother, softer sound. It's all well executed, but doesn't grab me as much. The only other song I really loved was Africano - despite the slow start it then explodes into this jazz fusion section which is so cool. It's a good album, certainly enjoyable but not super stand out except for a couple songs and I'm definitely more likely to return to their other records.

It's rock&roll operating at 150%. The energy is so contagious that I actually felt like jumping around in my room while visiting. Pair that with a lot of charisma and some really catchy tunes and you've got an awesome vibe all around.

Pretty good album. Seems like they listened to a lot of Bowie, Lou Reed, Roxy Music and so on but wanted to apply it to a different esthetic. As far as those 90s britpop bands go, this one is quite unique. Very nocturnal, dark, heavily misanthropic in the lyrics. Solid stuff, 1001albums strikes again.

Very pretty, slow-burning songs, almost with a pastoral feel to it. Individually the songs are really good but as a whole listen it can get a bit tiring. I can easily see this becoming someone's personal favorite. Maybe even mine in the future, who knows.

I love Muddy Waters so of course I enjoyed this one a lot too. I never know what to write for those live albums tho. It's just a good vibe!

A set of short, direct, punchy punk tracks. I really enjoy the guitar tones on this record. However, many of the songs aren't super memorable in my opinion. The short song lengths don't really add up to much a lot of the time. I definitely see the appeal, it's just not for me.

The most experimental Beatles album, for better or for worse. The highlights are awesome. Back in the USSR makes for a thrilling opening with a banging and super memorable chorus. Dear Prudence and Glass Onion are these psych pop bops with amazing and ahead of its time production. Helter Skelter has such a heavy guitar riff and claustrophobic sound, it feels like it could burst at any moment. It's genuinely heavier than a lot of metal songs. Blackbird is a legendary song, While my Guitar Gently Weeps has some of the best chord progressions I've ever heard and Happiness is a Warm Gun is so grand and psychedelic it feels like a fever dream. There is some other good songs in here but the main problem is that this album is very long and kind of unfocused. You get all these amazing, monumental songs next to a song like Ob-La-Di Ob-La-Da which is just this goofy and kinda corny track that doesn't fit this album at all. Same with Piggies and Rocky Raccoon. Don't Pass me By is kind of a weak country detour on the album. Why Don't We Do It In The Road sounds like a song by a corny dad rock band rather than the Beatles, I really hate the vocal delivery on that song. The 2nd half of the album is in general much weaker than the first, even the songs are like mostly aren't THAT crazy and it's filled with some weird detours that mostly don't work. Putting Revolution 9 towards the end of the album was a ballsy move, but doesn't really bring the experience up. Many bands have an album that I think is overrated, and for The Beatles, it's this one. Still, I respect it for what it is and love many individual songs.

Electronic essential. The synthwork here is incredible. Still sounds futuristic to this day. I can't believe they made this in 1978.

I don't care much for Spiritualized, but this album feels very special. It's so peaceful that it feels like meditating while floating in the sky. It must be a great hangover record, need to try it. What bothered me about other Spiritualized albums is that everything is so drenched in reverb to the point where it's just too mellowed out. The production on this album is a lot clearer which is a welcome change.

Simple but super effective. Great country and folk instrumentation, a very pretty voice, sheer storytelling power and not much more, but what else do you really need? It's a very bittersweet and emotional record, but also feels very honest and homely. Lyrically the album isn't super abstract or metaphorical but it doesn't need to. John is just a regular guy and he tells his stories. It's a very comfy album.

Mariah Carey will always have the reputation of being the one who made All I Want For Christmas, but she is actually an important 90s r&b icon. Her voice is smooth and cozy like a warm blanket. The production does a great job at capturing the era, it's sensual, groovy and combines parts of old soul, modern r&b and some hip hop. Apart from the title track which is a boring millenial pop ballad (a similar thing is fone way better on My All), the album starts off pretty great. Honey has some really sticky vocal lines and great production. The Mobb Deep samples on The Roof work better than they have any right to and Breakdown also incorporates hip hop elements very tastefully. Unfortunately after that point the record leans more into ballads and gets rather underwhelming. There is some good songs still but not nearly enough gas in the tank to keep things interesting.

One thing before I start complaining: the album is good because all the individual members are very talented and know how to play their instruments. However, that doesn't necessarily have to add up to a record I love. I have a few problems with this one. First of all, I think these guys are at their best when they make this raw, energetic, a bit rough around the edges hard rock. By comparison, this album is more cleanly produced which I can see appealing to some, but not as much to me personally. There is flashes of that energy here, like in the insane circling rhythms of Black Dog, but generally I find most of this album less interesting than some of their earlier stuff. Then there are the vocals, which are unfortunately rough at times. Robert Plant has never been my favorite singer and it's especially apparent on songs like Rock and Roll or Four Sticks that his abilities are a bit limited. Finally, one thing that bothers me about all LedZep albums really: the lyrics. While usually I don't listen to them much, I just get triggered when I hear people say shit like: oh, lyrics used to be so much better, nowadays songs are just about nothing. If someone ever says that to me I will throw them a copy of this album in the face. Let's face it, most of the lyrics are complete bullshit and describe some weird sex fantasies and metaphors. The funny thing is, they made one song that actually has a meaningful message and guess what? It became their biggest, most recognizable anthem. While I do have a lot of complaints about this album, I have to say that When The Levee Breaks is an incredible song, that drum beat is just so good and feels very ahead of its time. Overall tho I find the album really overrated and it wouldn't even make it into my top 3 of their records. I would rate it a 7/10, but with the amount of ranting I just did it has to get 3 stars.

Crazy fun album, honestly. It's so quirky. I cannot imagine not liking it.

Did not enjoy it at all. The production is very mechanical and synthetic and the vocals sound flat as fuck. The start is bearable but then it switches into cheesy dad metal. I know they can do better.

Very interesting beats, especially for 1990. They have definitely made better albums later on, but this is a solid and interesting foundation. My main complaint is that it just kinda lacks the finesse and attention to detail of their later work. The songs also drag on at times. Except for Can I Kick It? there is not a song that hits the groove as well as something like Jazz or Electric Relaxation. It's clear that they've improved a lot after, both in terms of rapping and production.

Love this album. Might just have multiple of the greatest riffs of all time (Mayonnaise! also Today, Cherub Rock and more). I love how dense the production is. Feels like being suffocated with textures, but everything sounds so rich and amazing that you don't even mind. The guitar tones are awesome and they really use some of the noisier sounds to their benefit, the way they make some room for the melody whenever each chorus hits. Geek USA is a crazy underrated song from here, I love the sharp drums and the transitions between the loud and quiet sections. I would say the album gets weaker after track 9, but picks up right with the last song Luna. What a closer, makes you feel like you're floating away into space.

Wow, I really underrated this one before. I used to think this was boring, but honestly has some of the band's best guitar work ever. It's also their folkiest album by far. I've always liked their folk rock stuff, so that's not a bad thing either. There is a lot of fire on here. Immigrant Song is so heavy it's almost a metal song, Friends has some stunning arrangements and Tangerine is one of their most beautiful songs. In general, I would describe this album as very beautiful. The production is so crystal clear, especially on Since I've Been Loving you. The only two songs that I would consider duds are Gallows Pole who's almost country instrumentation is kind of a mismatch and the closer, which doesn't sound very good but I kinda respect how lo-fi and out there it is. Great album tho, grew on me a lot when I relistened today.

A bit inconsistent in the same way all Queen albums are (they always have to put some cheese on their records) but honestly this is still their most solid crop of songs. It's just fun and catchy bangers. Nothing as pretentious and overly dramatic as some of their other stuff. Good shit.

Better than most music in this style, but it's still giving dad making rock opera a bit, especially on the ballads. The piano songs are sickening, if you excluded them this would be really good.

Pretty average house album overall, even if the vibes are good and its got its charm. The songs are pretty repetitive and mostly just go on and on for too long, and so does the album overall.

Rock from another dimension. So spacey. It pretty much takes you on a 90 minute long adventure with constantly progressing songs, massive riffs and just pure psychedelia. I don't know when I'll listen again but this album impressed me.

Some good songs and a whole lot of okay ones. Seems to be the formula for many of these 60s soul records.

Miles Davis is a genius. He can take any subgenre of jazz he wants and put a completely unique and insane spin on it. He has done it many times in his career and this to me is the pinnacle of his creativity. The credits on this record are insane: one massive name after another. It shows in the music too, as the playing throughout this entire 90 minute monster is tight and impressive as fuck. The album is crazy ambitious with the massive song lengths, challenging compositions that god knows how he came up with and its fusions of rock, ambient and others. There is a lot of clearly improvised elements and it goes to show how talented everyone is. The music constantly keeps you on the edge of your seat as you are trying to guess what's happening next. The craziest part is how good it all sounds on headphones. The recording is so clear, vivid and colorful that it makes you feel like you are right there while the band is performing. The album requires patience, but once it clicks it's so worth it.

Pretty record, but also feels a bit mild for Cohen. The lyrics are great as always, the music is quite good, but the wow factor is missing.

A bit too minimal and slow for me. It has great songs: Revelator, My First Lover, Everything is Free, but the rest mostly just kinda passes by without leaving a strong impact. I don't really get why the last song has to be so long either.

4 masters of their craft coming together. This had to be legendary and well, it is. It's very sharp and punchy for a record in this style, the production is super well done. A great fall album.

Bit of a mixed bag. Some of the performances come of as a bit sloppy, I don't always like the vocals either. The energy is mostly there and there are a bunch of songs I would describe as fun, but it's far from my favorite punk record.

Breezy and cozy folk pop, as you've come to expect from Simon & Garfunkel. They have amazing chemistry vocally, the harmonies are so beautiful. The guitar backing instrumentation is simple but super mesmerizing. This record brings me inner peace (like all their records).

Super powerful record. The guitar work is so incredible. So much power in the riffs, it's not the flashiest and sounds a bit rough at times but honestly that makes it even better. I love how wild and even at times improvised this record sounds. The band really plays to their strengths mostly. The harder songs rock, the folksy one sound great too. I think some of the blues rock tracks are the weakest element of this record (You Shook Me and I Can't Quit You Baby) but even those are admirable.

This to me is where Bowie's music peaked. Released during his biggest cocaine years, the album just feels like one long drug trip. Starts off with a massive sounding 10-minute epic that might be his best song. The song has this huge buildup, bouncy guitar lines that are super addictive and most importantly - crazy confidence and energy. It's like standing on top of the world, or, what I imagine the peak of cocaine high feels like. The following Golden Years is this incredibly groovy jam. I didn't know a white person was capable of making something this funky! The song rides on the high of the previous one, with a super groovy bassline, one of Bowie's best choruses and a generally amazingly uplifting energy. Word on a Wing continues the coke trip, this time with Bowie seemingly going more insane and talking to god himself in the verses and chorus. The song is backed by these angelic arrangements. I love his vocal performance and how this song introduces the themes of anxiety and alienation through his encounter with god. TVC15 is so abstract and weird it feels like a hallucination. The lyrics are so crazy and absurd, but somehow work in the context of the album, as at this point it really feels like the drugs have taken over and are doing weird things to his brain. I love the driving groove of the song as well as the slowly intensifying instrumentation, makes the song feel very cinematic in its weirdness. Stay is one of the most interesting songs here lyrically, as it does a great job at describing the struggle with addiction. It oozes with this desperation and sense of hopelessness, it seems like he knows the drug abuse is bad for him but it's his only way of getting out of the routine. The final song, a cover of Wild is the Wind, is a somber ending that feels like sobering up after the trip. Originally a love song, this version in the context of the album could be meant as an ode to cocaine and a final expression of the addiction. What is fitting is that the album flies by and as soon as it's over, it makes me want to press play again, just like drugs are calling for you once you sober up. There is a chance that the entire interpretation I just wrote is bullshit considering Bowie was high as fuck while recording it, but screw it, this is how I see this album. It all adds up to the most complete entry in his catalog and his magnum opus.

Some very nice jams. Enjoyable throughout.

Ugh... I knew this guy from their ethereal, heavily atmospheric electronics with a touch of DnB that I heard on Walking Wounded. I was so disappointed listening to this toothless pop muzak. It's like wannabe Sade except not good.

Kinda the same thing as 21 but not as effective this time around. Somehow this album sounds a lot more synthetic, overproduced despite sounding quite simple. Her vocals still shine and carry these songs, but it's not something I would listen to over 21.

One of Bowie's best and most conceptual albums. It introduces his alter ego Ziggy who gets sent down to earth to become a rockstar and gets crushed by fame and the rock'n'roll lifestyle, leading to his suicide in the last song. He delivers this storyline with creative and engaging writing and an almost opera-like grandiosity straight from the start. Five Years starts the album off on a slower note, but eventually builds up into this dramatic crescendo that makes for a fascinating and engaging start. From there the album serves one catchy bop after another. Soul Love has amazing influences from funk and r&b, styles that Bowie would incorporate more on other albums and he always sounds great doing it. Moonage Daydream has absolutely insane e-guitar passages that make the song feel so surreal. Then Starman hits you with one of the catchiest choruses ever. Instantly memorable. The chord progression around it also makes it hit. The middle of the album is slightly weaker, but picks up with an amazing 3-song stretch at the very end. Rock'n'Roll suicide is one of the best album closers ever. Not only does it tie the story perfectly, but the way the guitar in the background builds up over the duration of the song, starting from pretty toned down and eventually climaxing into this massive crescendo is one of my favorite moments in music. I think this is easily one of Bowie's best, but also just an incredibly accessible and easy to enjoy record.

I don't like Mike Skinner as a rapper. Between the humdrum flows, weak singing attempts and flat delivery he makes the music tough to listen to. The beats are quite good but that's about it.

Best production on any hip hop albums from the 80s far and away. It's crazy how ahead of the curve they were. The Beasties had very advanced sampling techniques and infinite creativity. There is just sample after sample, always something going on in these beats and it's endlessly fun and cool. The lyrics match the vibe, so funny and unique. But let's face it, everyone listens to this for the production and their off the wall energy that matches it.

Incredibly corny. It sounds like Beck but without any talent. The singing is unbearably bad.

What a humble title.

Maybe the saddest Björk album? It's similarly cold and electronic in sound to some of her other material but with lyrics dealing with divorce and grief. And it's beautiful, as usual with her. I'm super impressed by the string sections of this album, they have this almost classical feel to them and really add a lot of layers to the overall sound which feels cold as steel. Even with many of the songs sounding quite minimal there is always something to latch on to. It's a spiritual successor to Vespertine, one of my favorite albums of all time, but at the different side of the emotional spectrum. Replacing sensuality with loneliness. It's all stunningly beautiful, her vocals match the vibe of the music so perfectly.

Fun rock album with a spacey atmosphere. Front-loaded but still pretty great. Feels like it comes from another dimension.

THE ATMOSPHERE! The vibes are quite dark but not in a depressing way, feels more nocturnal. The Killing Moon is an all timer. The rest of the album is also really great. I love the guitar work, so beautiful.

The Roots are one of the most creative and unique hip hop groups ever. They pretty much recreate themselves with every album. This one right here finds them at their most experimental. It's hard to compare it to anything, the production has a super rough and raw quality often pulling elements from rock which makes it sound even harder. It's very different from other hardcore hip hop artists tho, the drums have a very unique feel, there is always some odd grooves and unexpected rhythms. On Rock You the drums are so raw, feels like they could explode at any moment. Rolling With Heat has a wild instrumental, so odd but somehow works very well. There is some pop hooks on this album, but they're not incorporated in a tacky way, but rather sound cool and mysterious. The Seed is out of this world, what an amazing tune, the bassline is amazing. The 2nd half of the album is somehow even wilder, they try some even weirder stuff. The ending of Break You Off, which develops into this breakbeat piece is incredible, they pull it off so smoothly, sounds like the song naturally evolving into this amazingly beautiful ending. Water starts off perfectly normal before changing to this experimental piece, it's so hard to pin down but sounds insane. The back half also includes some spoken poetry over insane sax passages and a techno rap crossover. I love how random and all over the place the album is, and it's super impressive how they manage to sound so well over such odd beats.

Very feel good record. They always come through with some breezy melodies and fun instrumentation. Super easy to throw on and vibe to on a summer evening.

Is it a hot take to say this is better than Graceland? The instrumentation feels a lot more organic, not as synthetic and dated as on that record. This plays more to his strengths and while it doesn't reach the level of most Simon & Garfunkel albums, it's still a very solid listen. The more weirdo acoustic songs in the back half are a nice and interesting touch, even if I prefer the ballads in the first half. Even the reggae infused opener is surprisingly very good.

Some of the best hip hop beats you're ever gonna hear are on this records. Straight from the opening, when the bassline on Be (Intro) hits you know it's about to be special. The song has such triumphant energy and some of the best strings I've ever heard. The album dishes banger beats one after another. The Corner goes a lot harder even if I'm not super crazy about the rapping. Go is beautifully uplifting, has amazing energy that I just cant get enough of. I love the vocal chops on Testify, they make up for one of the more unique instrumentals here. Common also kills it with the storytelling. Chi-City is another amazing one, so rich and detailed. The last 2 songs are also some of the best of the album. Common's performance is mostly great, there are some songs where he doesn't sound as good but it's really a minor issue on an otherwise great album.

Interesting in theory, dull in practice. It's nice that they're trying to fuse different genres with some latin styles, but they do it in a very safe and uninteresting way. Not many memorable songs on here, the album is too long and really starts to blend together after a while.

Very fun music. Good for a warm summery day.

I love krautrock and this is no different. Odd textures, hypnotic grooves, creative rhythms, all adds up to a fascinating listening experience. Not for everyone, but it's really my vibe.

Most of it is good, but I'm also not enough of a Genesis fan to listen to 90 minutes of their rock opera. The highlights are great, but there is some lows too and they have other albums I'd choose over this one.

Short and sweet. Has an incredibly warm feeling to it. His voice is soothing, the melodies are absolutely incredible, it's all killer no filler.

Unfortunately a little boring, despite some nice ideas. Still, has its moments. I was hesitant between 2 and 3 stars but this kinda seems like an album for cool people, so I'll go with the latter.

🤠: the album

Great balance between accessibility and complexity. It's super easy to throw on and enjoy at any time, but at the same time offers some great composition skills, amazing instrumentation and very interesting compositions. Something is constantly happening and I love that. Way better than Kind of Blue.

Some of RHCP's best songs, combined with a bunch of their most annoying ones. Kind of a mess in general. The rapping parts are not that good, some of the songs are really corny and I feel like on most of these songs the execution is kinda off. It runs pretty long, with only a few highlights here and there.

Some thoughts: - I knew he is a one hit wonder, but upon listening you kinda get why. - Very dull middle section. The lack of interesting melodies makes it a boring and tedious listen. - The instrumentation is ok, but nothing that elevates these already meh songs. - Vincent and American Pie are ofc great songs. Babylon was an unexpected change at the end of the record but it's more of an oddity. Definitely not enough to save the record.

There are a few things that make a live album stand out above the rest. To me these are: the artist being engaging, the crowd having fun in a way that is visible, the song selection and the pacing. The reason why this album excels and is in my opinion the best live album of all time is because it has all 4. Sam Cooke is an incredible singer with a fantastic voice, tons of charisma and amazing mic presence. He brings so much life and energy into these performances and it makes this album hella infectious. I can't listen to it without wanting to get on the dance floor. Makes my whole body move involuntarily. It adds so much charm that you can hear the audience chearing and Sam interacting with them. Everyone involved is clearly having a ton of fun which is very addictive. The pacing is also excellent, there is so many bangers but he knows exactly when to break it up with a slower jam. Both are absolutely excellent. This is such a pure form of music to me: an excellent performer, a fire live band and many people just being there to enjoy it and experience the magic.

Super theatrical rock music, with massive arrangements, many layers of instrumentations and a feeling of grandiosity oozing out of it. It's really good despite being long: I love the piano passages especially (Elton is obviously amazing at it) but really everything sounds great and is in perfect harmony. The arrangements on the intro or title track are stunning. The melodies are super sweet, especially on songs like This Song Has no Title. Grey Seal is a groovy ass tune with also some of the best chord progressions on the whole thing. I don't think the album is perfect, as Jamaica Jerk-off, Dirty Little Girl and Your Sister Can't Twist are weaker cuts and I have to admit the album does get a bit long, but it's still one of Elton's best and pretty impressive overall.

Epic.

S&M by Rihanna > this. I do like Metallica but I really get nothing out of listening to their songs with a bunch of symphonic instrumentation added. I'm just not a fan of symphonic metal, even from a band as talented as they are. Nothing here I would listen to over the originals. Waste of time.

So so so legendary. One of the most surreal sounding albums ever. Very ahead of the curve, immaculate instrumentation skills front to back. This is exactly what I love about prog rock, they deliver these sprawling compositions that are so vivid and epic and make them seem effortlessly cool. The guitar work is out of this world and super grandiose. The album is super cohesive both instrumentally and lyrically. Manages to make a statement and convey the feeling of paranoia and fear while sounding incredibly powerful. It would have been a perfect 4 track album, but unfortunately Moonchild sticks out like a sore thumb in the tracklist. I think the song starts off pretty but then fizzles out into a bunch of nonsense. The rest of the album is fire and a totally essential listen.

Noisy, angry and with an attitude. Also packs a lot of great songwriting - the hooks pop! I love the distorted guitar on here, makes it sound even angrier. It's another grunge album that sounds like nothing else in the genre, but it's damn brilliant.

Fun ride. Quirky, psychedelic, colorful. Bit weird at times but I don't mind.

Definition of a meh album

Kne of Bob's best, which is saying a lot for a guy with such a massive discography. The long, constantly developing songs keep you excited all the way through and the writing is peak. Very good stuff.

Has the elegance of a Sade record, the pop sensibility of MJ and the production of Pet Shop Boys. Very interesting and stylistically diverse. Why the low ratings?

Electronic music that makes you feel like you're floating in space. Very cohesive, meditative soundscapes with a consistently futuristic atmosphere. Ahead of its time for sure.

Beautiful self-reflection on Lennon's life. It's very emotional in its writing and connects with the listener very well. Some of his vocal performances here are kinda wild, way more so than on any Beatles song. In general the record sounds a bit unpolished with noisier guitar tones and a louder vocal mix, but I quite like that aspect of it. It makes the angrier songs, like the anti-religion anthem I Found Out sound more powerful. Working Class Hero is more somber on the other hand, he sounds defeated and tired which makes so much sense in the context of the song. I think the rawness does get a bit much on songs like Well Well Well, but there is also more traditional Lennon-like songs to balance it out. All in all this makes for his strongest solo batch of songs and is on par with a lot of Beatles album. You can hear that he has more creative freedom, which leads to some of his most interesting tracks.

All pop music should be this good. Catchy, very well written, diverse and well produced start to finish. The song range from euphoric, anthemic bangers that are like dopamine straight to my veins (Perfect Places, Green Light) to heartfelt ballads (Liability) and she does it all remarkably well while offering a surprising level of vulnerability. I feel like the fact that she made this at such a young age makes the songs really easy to connect to for me as a younger listener. There is a lot of topics of adolescence and ageing covered in an accessible and super catchy way. All that backed up with very tasteful production, which is becoming more and more rare in mainstream pop. It's a really monumental record that defines 2010s pop quite well.

More Specials, except I wasn't even crazy about them the first time around... There's more reggae elements on this one but overall less bangers. I gave the previous one 3 stars, this one can't get more than 2...

I do think a some older rap albums (including LL's earlier work) sound a bit dated and haven't aged the best, but that's not the case for this one right here. It has that old school flair with the hard drums and loop heavy beats, but it still goes hard and sounds good after the years. The production is actually a lot more advanced than on a record like Radio. It's still the early stages of hip hop so of course there are some of those pop crossover songs but they're actually not so bad either and the songs where he's straight spitting are fire.

This record literally feels like wandering through your dreams. Beautifully surreal atmosphere created by these slow, almost meditative guitar passages. It has this lushness to it that makes it very calming to my inner self. Sounds consistently bright and uplifting. I love the singer's energy, especially when he does the WOO! Red Eyes has long been one of my fav songs, but I underrated the rest of this album like crazy.

Nice enough while it's on, but ultimately forgettable. Too drugged out to leave an impact. The distortion sounds quite bad too.

Such a chill album. Positive vibes only. Even the protest songs have a good vibe to them. As always the instrumentation is groovy as fuck and such a vibe. Super consistent too. I love reggae!

Doesn't have any weak moments, but lacks highlights as well. Most of this album passed by on a consistent, decent level. I like the guitar tones but the songs are very samey and formulaic.

Psychedelic sci-fi concept adventure where apparently they use the robot fighting metaphor to portray fighting cancer instead. Pretty creative idea and the music itself is very good too. Fun, psychedelic tunes with very catchy choruses and addictive textures. The album is such a good display of great production, the entirety of the band is locked in and craft in my opinion their strongest batch of songs.

Ballads that grab you by the heart and don't let go. So beautifully soothing. Legendary voice too.

Chill, mellow trip hop beats to walk back home to in the middle of a summery night. I love this type of music. Production is great, I'm not as crazy about the vocals but luckily they don't appear on every track. The beats are constantly evolving, the amount of detail here is really admirable

One word: dated. That doesn't necessarily mean bad, but everything about this screams 80s. I don't think the production has aged the best. The drums sound thin and synthetic and the guitars are clearly engineered to sound as accessible as possible. In general it is a pretty safe sounding album. Funnily enough I think the hits are not all that. Money For Nothing has a super cool intro but the song doesn't really build much on it and Walk of Life is one of the blandest songs here with that really cheesy synth lead. Not that I really love the rest of the album either, it's all very soft and ultimately forgettable. Doesn't help that all the songs are stretched out beyond what they need to be. The last song is easily my favorite, a heart-felt ballad that is held together by these awesome cinematic guitar passages. I don't think this album is awful, but most of it just doesn't move me much and feels like pastiche.

Kinda mid and doesn't give me too much to say except that the production is super muffled and that it should have been much better.

Hey it's Kind of Blue! Everyone's favorite jazz album! 5 stars! Quick! This was the first jazz album I voluntarily listened to (I imagine I'm not the only one), and back in the day I loved it. Felt so cool listening to this. After a few years and diving into a lot more jazz (and other genres) I am at the same time a bit puzzled by the status this album has but also somehow not surprised. It's great as an entry-level record as it's not too challenging or avant-garde, but that's also my issue with it: it sounds too safe. I might have enjoyed it back in the day, but listening to it now I know what I look for in jazz and this ain't it. I find this record highly predictable. Considering the amount of talent going into it, I can't help but feel disappointed. The compositions are very standard, there isn't anything about this record that makes it stand out across Miles' amazing discography. The rhythms are pretty dull, the horn sections are mostly just okay, the piano is so subtle that you can barely notice it. To me, the record flies by without leaving much of an impact. It's perfectly fine to play in the background, but even then I would chose different Miles Davis albums over this one.

At least the record is not as bad as the cover...

Not the biggest Rush guy, but they have a few records I love including this one. This feels taken from outer space, like aliens making prog. The guitars are bursting with energy and make the songs super lively. Every riff hits, the guitar work is truly amazing. Tom Sawyer is the big highlight, one of the best prog songs of all time, but really all the songs are great.

One of the rawest indie rock albums out there. Does a great job at representing the genre's core sounds. A lot of the time it's just a super distorted guitar line that manages to carry the entire song with its catchiness. The production is kinda shitty but in the best way possible, like music stripped back to an earlier stage. I think a lot of bands couldn't pull this off, but GBV made it their entire thing and it sounds really good.

Decent indie rock party, a couple bangers but also some forgettable snoozers. Uneven, but has some great highlights that would rock the dancefloor. The electronic influence is a welcome change for the band.

A more colorful album than funeral, but... idk, something is still missing for me. The songs feel weirdly hollow, like they're lacking some strong emotional backbone to keep them interesting. I also think that they lack detail or something to make them more memorable. Suddenly picks up tremendously with the last 2 songs, but it's a bit too little too late.

So much fun. Not the most advanced, but bursts with passion and attitude. Raw as fuck, the drums and guitars have this primitive feel but in a good way. Like they could explode at any time. Probably the earliest classic hip hop album too so props for that. Their style changed the direction of hip hop and for that they will forever be remembered.

Sweet, super catchy bops back to back to back. Vocal harmonies are stunning.

Booooring. Same basic riffs you've heard on countless other albums. What's the point?

While technically a soundtrack, Purple Rain is so cohesively consistent that it feels more like a full album experience that just so happens to be in a movie. I never think of it in the soundtrack category, it's just too good. Everything about this works, be that the sensual, sexy production, the smooth and heart warming ballads or the dance'able bops. Vocally he gets a bit wild like at the end of The Beautiful Ones or on the breathy shouts of the opener. That makes the album stand out above your average pop/r&b album, his vocals are absolutely next level. Let's Go Crazy is such a fire song, straight from the opening keys to the buzzing electric guitars to that amazing solo towards the end that explodes into this massive finish, the song is a burst of creativity and fresh air. Computer Blue has a crazy rhythm section. Starts off with a straightforward, almost mechanical groove, and the second half makes it advance into something unbelievably cool, with all these funky guitar solos flying around. The A-side of the record is amazing, but the second half is absolutely flawless. I mean, c'mon. When Doves Cry, I would Die For You, Baby I'm a Star AND Purple Rain to close it off? Talk about a crazy song run. This album is wonderfully written, handled with so much care and detail and on top of that delivering one amazing super memorable banger after another.

Starts off good, better than Heartbreaker, but derails into rather generic territory fairly quickly. Should not be nearly as long as it is.

I don't even care much for The Rolling Stones' more acclaimed records, so what were the chances of me liking this? Not great, but I still gave it a try. And yeah, it's pretty mid.

Pros: has some elements of what made them exciting in the first place. Cons: kind of indicates what's to come for the band. Still solid enough, but carried hard by the highlights. Wonderwall is overplayed as fuck but still a really solid and catchy song, Don't Look Back in Anger is an amazing powerful anthem and Champagne Supernova might be their best song ever. Other than that? Some solid songs, but the production is a big issue. It took a big step down from their debut, the whole album sounds badly mastered. You have songs where the vocals are super loud in an out of place way, on others the guitars feel super buried in the mix. It's not nearly as bad as on their later releases but still bothers me. It's still a pretty good album overall but the lack of attention that some of these songs seem to have gotten is sad.