Right up my alley jazz-wise, not too “challenging” like some later Miles Davis or Coltrane but clearly Evans is a master at his craft and is playing with two other guys who are locked into the same wavelength. Will definitely get some repeat spins.

Epic opening three-song run of classic hits that is pretty unreal for a debut album, a few others that I'd not spent much time listening to before that are still great in their own right. I'm not sure too much else sounded like this in 1978 with the sort of punk roots, but pop sensibility and quirky synth leads. Ric Ocasek is a legend

One of the best and most influential metal albums ever, a true classic. Sonic signifiers that became standard for a whole sub-genre of metal - chugging riffs, dueling double/triple guitar leads, soaring vocals. I love it.

Huge influence on a lot of stuff I love including one of my favorite bands of all time (The Hold Steady), Phil Lynott was so effortlessly cool and I love how much his bass playing stands out here. Some classic tracks I knew, others I didn't - Emerald was a standout that I hadn't heard before. Band is super tight, ripping guitar solos (overdubs be damned), great energy.

This is a weird one to rate - three absolutely spectacular (pun intended) songs that might represent the apex of aughts indie rock, and then a lot of tracks that are sort of...fine? I don't think it's actually great as an ALBUM. I'll admit the back half of this record never got a lot of spins from me even when it first came out so it was sort of like listening to it for the first time. Weekend Wars is probably the "best of the rest" for me. I do like the production and sort of the proggy psychadelia of it all but but it just feels like there is too much filler.

Some absolutely stunning songs - Four Women is one I had somehow never heard and absolutely floored me both musically and thematically. For me the slowest songs are the best, her voice is truly unique and I love how unprocessed, raw and in some cases slightly imperfect it sounds. The piano playing is incredible and I don't think I'd every fully processed just how good she is. The R&B and blues-y numbers are still good but don't hit quite as hard, but still show off her versatility. Truly a one of a kind artist.

I really wanted more from this - with the album title as well as the artist being a prominent jazz pianist from South Africa, I thought we would get 1) more piano (seemed mostly buried by the horns) and 2) some sort of different musical flavor identifying this as being from somewhere discernible. It was just sort of middle of the road jazz, pleasing and proficient enough, but just didn't do much for me. Some pretty moments and I like the base line on Mannenberg a lot but other than that pretty forgettable.

I actually enjoyed this a lot more than I was expecting - I thought this would be more of the early garage-rock/surfin' all the time vibe and actually could hear in the music where this leads into Pet Sounds and what Brian was trying to do later on. The instrumentation seemed much more ornate and you can hear the "wall of sound" influence from Phil Spector that makes it sound huge. It actually feels like more of an album rather than just a collection of songs and I actually liked the back half a lot more with the slower songs (which I think was intentional in terms of the album structure). Not in the realm of "masterpiece" like I'd consider Pet Sounds and Smile, but a lot to like about this for me.

Hard to give an album that closes with "Free Bird" anything less than 4 stars - agree that it's rare to see a band come blazing right out of the gates like this (see also: MGMT). Hadn't heard the songs outside of the big 4 but honestly quite liked the groove on "Poison Whiskey", the others were a bit more forgettable but fine. Not a band I listen to regularly but they certainly have their place in the annals of American rock.

Sensing a theme here - despite containing perhaps my single favorite REM song (The One I Love) I hadn't spent a lot of time (or any) with many of the songs here. I'm an absolute sucker for this early indie jangle-pop sound and this does not disappoint in that vein. Finest Worksong comes roaring out of the gates, echoes of "How Soon is Now?" for sure. I love how much of a time capsule this is from 1987 thematically as well, so many socio-political references including the 392 contained in just End of the World itself (which is fun but not my favorite REM song by any stretch, although what other song allows you to shout LEONARD BERNSTEIN at the top of your lungs). Disturbance at the Heron House is another highlight I hadn't heard before. Really enjoyed this one overall.

Having only ever heard Common People before as one of the all-time Britpop anthems (and a great song) this one was sort of interesting to dive into. I do like the overwhelming wry British-ness of it all and the sort of smothering sense of dead-end working class lives that he represents, it's certainly not very uplifting but really invokes a sense of place. Some cool musical moments, like I Spy with its lush orchestration and feeling like a Bond credits song but being about class warfare. Some fun melodies and whoa-oh-oh parts. Did I love it? No, but definitely don't hate it either.

A lot to like about this - although I'm not a "jam band" guy per se, I can definitely appreciate the creativity and musical virtuosity on display all over the place here from basically one of the two OG's of the genre. Duane is rightly regarded as one of the best guitarists of all time even though his time with the band was cut short later this year and his fingerprints are all over this recording (Whipping Post in particular is just an incredible feat of ripping solos). The rhythm section is tight, Gregg's vocals sound like he's a seasoned 50 year old blues guy despite being in his early 20s here, and just the overall live feel and energy of this is great. I think this set a high early bar for best rock live albums and for me it's not too hard to see why.

I'm sure this will be another generally despised album in a string of rough ones for the group but I actually kinda liked it, having heard of Jonathan Richman as an artist before but never this band per se, and was my first listen to this album. I can hear how you can draw a line right from the Velvet Underground through these guys to eventually what punk would become, and enjoyed the relatively lo-fi and straightforward nature of the songwriting and vocal delivery. Roadrunner is a super fun song and I like the self-deprecating and sort of downer lyrics on some of the other tracks. May not get a ton of repeat spins as an album but I can totally see why this was influential and found it a pretty fun listen.

While feeling the need to acknowledge the importance of this period of time and this artist in the history of American folk music, not really for me. It was cool to hear Woody Guthrie on the song about NYC and read more about how Ramblin Jack was a bridge from him to Dylan but musically there's just not enough going on here to warrant repeat listens.

Slam dunk 5 stars here for one of the best albums ever made - I don't know that it would be in my top personal favorites, but its cultural import is nearly unmatched. The production is awesome (thanks Quincy Jones) and the songs speak for themselves for the most part with almost no weak moments - if I had to pick one (and it feels bad to say with it being the one feature from another legend) the weakest track is probably The Girl is Mine, but even the other two lesser-known songs are actually pretty great. Baby Be Mine is a lovely little funk groove and slow ambience of The Lady in My Life is kinda nice too. An absolute classic for a reason!

Tale of two halves for me on this one - I definitely prefer the fast and funky side of this band rather than the slow-jam soul side of this band, and it seemed like they were consciously trying to rotate back and forth between every track. Overall the musicianship is impeccable, and they just exude tightness, with every horn stab and guitar lick in just the right place for maximum groove on the faster tracks (bass playing in particular is a standout). Shining Star is a 70s funk classic for good reason, and Happy Feelin and Africano are great. The slow side loses me a bit though, even though I can sort of see the seeds of 90's R&B here (the talking part on All About Love?!). Closer could have been more interesting with fun time signature to start but then sort of devolves into a basic bossa nova. Overall a pleasant enough listen but I wanted more as a whole album honestly.

I feel like honestly I probably should have liked this album more than I actually did - I do resonate with this sort of very dramatic 80s production, I like the vaguely folk-y instrumentation in parts, the brooding/dark (almost emo at times?) lyrics. Had never heard of this band but maybe they were sort of like the Australian answer to the Smiths or Simple Minds, which I SHOULD like in theory, but something about it all just didn't quite work the same. Blinder by the Hour is actually a pretty decent song and I enjoyed it quite a bit, but some clunkers for sure. Didn't hate it but not likely to return to it.

For an album so massively influential in genres I like, I'd never listened to this all the way through somehow but I think it's pretty amazingly original, and would probably go 4.5 stars if I could. The opener is just awesome with the opening lines, starting slowly and then just taking off into punk (before punk was really even a thing) fury. Her vocals are so versatile, ranging from like a Joni Mitchell-esque beauty to the snarling punk with those little yelpy inflections that would be copied by so many to come. The lyrics are beautiful in a surreally weird way and just so atypical for the genre this spawned that eventually would lean very no-nonsense and often political - she definitely thought of herself as a poet first and foremost and you can totally see why. Nothing sounded like this in 1975 and to me Patti Smith is rightly lauded as a patron saint of punk.

Not bad honestly and has some things I kinda like - sort of slacker British vibe with sad-sack lovelorn lyrics, some bits of punk and classic rock, decent guitar work. Another Girl, Another Planet is the standout and kinda reminds of the Replacements or the Hold Steady even. Some sort of ska/reggae-ish bits that remind me of the Clash. The faster/rockier songs are definitely the best. Didn't hate it overall.

Although it's not a completely even album in terms of back-to-front quality, I remember when this first came out and just how original and unlike anything else it felt. Seeing the video for "Clint Eastwood" for the first time on MTV was pretty mind blowing and that song is still the high water mark for me - Del's verses are incredible, the production is moody, and just creates the sort of dark creeping unease that maybe it is "all in your head". You can still hear Blur in some of the songs but this is clearly Damon's outlet for his weirder impulses to mess with sounds and genres and it does make for a super interesting listen. I also love Dan the Automator and his sort of old-school hip hop production leanings, and can see how this connects to Deltron 3030 (another personal favorite) as well. Tomorrow Comes Today is another highlight that I just love the atmosphere of. Overall certainly not a perfect album but a very enjoyable listen.

I liked this more than I thought I would - I think there is a tendency to dismiss ABBA as "boomer music" that is so vanilla that even everyone's most conservative relatives still like it, but when you actually listen to it I can really appreciate the songcraft and the meticulously layered production. Dancing Queen stands with its own place on the list of all-time great pop songs, but I really liked a few others I hadn't known before, like Tiger. Is it a bit cheesy/maudlin at times, sure, but not any more so that a lot of other pop that followed and was influenced by this. I had to look this up but the original closer on the album was the song Arrival - I found this a pretty stunning listen honestly, and looked up that the original title was "Ode to Dalecarlia" which is actually the province in Sweden where my family is from. I can hear the traditional fiddle music that my aunt got us into and I actually spent some time learning as a kid, which is pretty cool.

Didn't mind this at all, sort of dig the sunny 60s Laurel Canyon sound and harmonies. Does feel like a bit of an artifact of its time, although this predated things like the Kooks that sort of followed the template here and got way bigger. I can see why some find his voice grating but it added a little charm and something unique. Seems like good music to put on hanging outside by some water, not bad at all but not mind-blowing.

Despite knowing a decent amount about PJ Harvey as an artist I've not spent a lot of time with her music, but probably will after this. I listened to this twice through to make sure I actually liked it and was not just rating based on "importance" (which I do think it is that as well) and landed on it being pretty great. Emotional, dark, angsty, raw, feminist - I can definitely see how Patti Smith was a forerunner for this in some regards (and people like St. Vincent very much follow in PJ's footsteps), but I don't think much existed like this in 1992 quite yet. Kurt Cobain was a big fan and apparently this was a big influence on In Utero. I love the dexterity of her voice (when she goes into the sort of falsetto parts at the ends of phrases especially) and some of these lyrics hit pretty hard ("ease myself into a body bag", woof). Musically a lot of pretty crushing but simple riffs, and I really like the drumming. I actually started listening to her follow up album and feel like I'll probably like that one even more.

I’d probably go 3.5 on this if I could - the first two songs are unquestionably great, Tiny Dancer timelessly so. We know Elton’s voice, it’s great here and he definitely sounds young. Piano playing is excellent per usual. I think my issue is the back half of the album sounds sort of mid-tempo same-y? I like the orchestral flourishes but maybe they’re used too much? Bernie Taupin’s lyrics are cool in places, sometimes a bit obtuse. Nothing wrong with this at all, just didn’t strike me as the greatest overall entry in Elton’s catalog (wait until we get to Yellow Brick Road)

I'll preface this review by saying I've never been a "blues guy" - I know many people in my life that love this music (and rightly so, there's a lot to love) - I've just never really gotten it. Muddy is a legend, undoubtedly, and helped to translate where Robert Johnson started to a whole new audience with his electrified Chicago sound. His talent and influence are clearly on display here and this for me went from 3 to 4 stars just based on who this man was. I do love the raw Delta blues influence here rather than maybe a more polished BB King sound - my hot take is that there is only so much you can do with a 12-bar blues pattern, and there often just isn't enough variety for me to hold my interest across a whole album. My favorite song here might actually be the acoustic "I Can't Be Satisfied" just because it was so different from the relentless shred surrounding it. One other musical critique - the overdriven harmonica originally started out being awesome, but became way too much by the end, I felt it made the music too busy and cluttered a lot of the verses, could have used more space to breathe. All in all this is really good, I just have to acknowledge my own personal limitations when it comes to interacting with this style of music.

I've known about this album before as the thing that brought bossa nova to the masses (like our grandparents generation who had vinyl probably definitely had this one) and certainly have heard the opening track but hadn't gone much further than that with it - despite my initial gut feeling that this is "muzak-ish" (which maybe it kind of is) there's really a lot to love here. The hushed intimate production, how in the forefront the vocals are and some of the melody voicings, the sax tone, all great. You can envision yourself in the 60s in a smoky, dimly lit bar by Copacabana sipping a capirinha and subtly nodding along to the vibes. It's just all so calming, maybe the critique is that it's too much so by the end, and the bossa nova pattern gets a bit repetitive, but overall not a lot to dislike here at all. Can see this being in the "calm jazz afternoon" rotation for sure!

I tried to come at this one with an open mind and feel like it definitely benefited from a second listen. As someone who is a fan of some music with non-traditional/out-there vocals, I actually found the utter uniqueness of his approach to be pretty amazing and like nothing else I've ever heard (some David Byrne parallels in his weirder moments maybe?) This band is rightly lauded as a pioneer of "art punk" and although it's really hard to find any super direct influences, there are for sure seeds of this in later indie rock bands that I can think of like Clap Your Hands Say Yeah. It's a weird unsettling soundscape in parts, but also has some very cool musical moments behind it that feel a bit more straightforward. Caligari's Mirror is a standout for me - the deranged delivery, the drunken sailor chorus overlaid on an almost Skynyrd-like riff, I loved it actually. Trying to sort of keep my ratings in context and I'm not sure I'd quite go 4 but found this a super interesting listen.

Thought this was really good and musically interesting - some Beatles-esque parts to be sure but I really liked the orchestration, cool little horn parts, etc. first half of the album is much stronger, Easter Theatre in particular is stunning (hints of Grizzly Bear) and also loved Greenman. A couple slightly cheesy songs in the second half but finishes strong. Really enjoyed overall.

Despite being more straightforward and less overtly weird I’m not sure I liked this quite as much as Dub Housing? Still some good instrumental moments and odd soundscapes that made it an interesting listen and a template for more arty post-punk bands.

Similar to many other so far, this is an album with one timeless classic that I'd never really listened to as an album. Stevie is an artist (I had this same reaction to EWF) that I prefer as "fast and funky" rather than "slow and sentimental" but there were a few surprises in here that I really liked. In particular Lookin for Another Pure Love - had a suspicion when he said "play it Jeff" but confirmed that the solo and overall cool guitar work were indeed Jeff Beck. Loved the social commentary on Big Brother and lyrically how it was a break from the mostly love-oriented lyrics on the rest of the album. I will say that even on the slow songs though - the chord voicings are often interesting and atypical and evidence of his musical genius. Overall, maybe not quite his apex yet, but very very good.

Honestly not what I expected at all based on the sound of most of their classic hits, but really dug it - this is apparently where they pivoted sound almost entirely from their romantic Motown roots and I loved the funkier, grittier, more psychedelic sound, as well as the more sociopolitical themes. Sounded more Stax records than traditional Motown which is the sound of 60s soul that I greatly prefer. Cool instrumentation, extended solos, excellent vocals - sign me up.

Fantastic album and pretty revolutionary for 1990 when this sort of eclectic sample approach to beatmaking was just starting to take off. I’d give it 4.5 stars if I could but am trying to situate this within the rest of their discography and know I have two 5 star classics to come. Honestly despite being part of the group I was surprised at how little Phife Dawg there is here and it primarily comes off as a Q-Tip project (not a bad thing by any means as his flow and production approach are just so unique). Bonita Applebum is probably my favorite song and is in the list of their all-time greats, but so many other good moments. Footprints is one I hadn’t listened to a ton but hard to wrap your head around just how different this beat was in its time and how much this style would influence 90s boom bap. Overall super super good just not quite my favorite Tribe.

Nothing wrong with this at all - didn’t make it quite all the way through but heard enough to form an opinion. Tend to agree that although the live stuff feels live, some of the adlibs that in some cases adds to the song (piano in particular) sometimes the vocal rework of familiar songs doesn’t quite come off. In general totally fine but Van just hasn’t really ever been a favorite of mine.

Solid enough blues rock. Rod Stewart has sort of this almost incomparable rasp to his voice like he smoked 3 packs a day for years (even though he is apparently only 28 here). For me the standout is the keyboard work (intro to Stay with Me is pretty iconic) as well as some of Ronnie Wood's guitar playing - you can hear what he brought over to the Stones in just a few years from when this was recorded. Fun Chuck Berry cover. Didn't knock my socks off mostly but competent and good energy.

Not a lot to say about this album that hasn't already been said, but an easy 5 if there is one. Like Thriller, an almost unbelievable amount of timeless songs packed onto one album. The counterpoint of the Buckingham songs, the Nicks songs, the McVie songs, it all works. The harmonies are impeccable, the songwriting is excellent (the build on The Chain is almost worth the price of admission alone), the instrumentation, everything. An all-time classic and bestselling album for a reason!

I'll start by saying I love this album - it's just not quite in the S-tier of U2 for me so I can't quite justify 5 stars. However - the highs are very high in terms of their overall discography. New Year's Day is certainly on my personal greatest hits album, and Like a Song and Drowning Man have always been massive favorites of mine that have never gotten the same level of attention. The guitar work and harmonics on the latter are like nothing else they've really ever done and are just stunning. I love the way this sits at sort of the transitional period between the more raw post-punk energy of Boy/October and the more anthemic Unforgettable Fire/Joshua Tree era. Perhaps the sociopolitical themes here are more pronounced than any other U2 album, even for a band known for their public activism. A few songs that are more forgettable than others that probably hold this back from getting into the top tier for me, but still a personal favorite.

This actually shredded a lot harder than I was expecting and I liked it quite a bit. It comes screaming out of the gates and I think this was the only song on the album I'd actually ever heard before. Steven Tyler's voice is pretty incomparable, and Joe Perry's guitar work on this is really really good and maybe I've underrated him. Great riffs, great solos, musically interesting enough moments that keep it from feeling too same-y. Loved the vocal harmonies especially on Sick as a Dog. I certainly wouldn't call this heavy metal, but I can see how this sort of bridged the gap between Zeppelin (see: Nobody's Fault) and later metal and hard rock acts (I see seeds of things like GnR here as well). Loved to be pleasantly surprised at how much I liked this overall.

Tough one to rate. The title track is amazing and absolutely floored me, probably my favorite single song I've heard from her so far. Even more dark and unhinged than her debut and I was ready to like this album even more. The second song is really good with an almost Midwest emo-like guitar pattern to start. However, nothing really super grabbed or stuck out to me in most of the rest of the album, despite liking some of the tone and energy. The drumming is still great, even heavier guitars, more contrast in the quiet/loud sections, production is pretty raw (thanks Steve Albini), but maybe the songwriting just isn't as good (or at least didn't speak to me as much)? Dylan cover is kinda cool, I liked especially the vocals on Me-Jane as well. Overall a step down from Dry for me.

Really like this, and had somehow never really given these guys a chance. Great vocals and even better guitar work - some really unique chord voicings that I think set this apart from a lot of other 90s alt bands. Actually loved the acoustic "Small Black Flowers" with the harp, and a lot of neat production flourishes throughout - it just sounds great and polished which to me is not a bad thing here. I spent too much time trying to figure out if this was Britpop or not (maybe adjacent?) but you can see how it sort of fits next to Oasis and early Radiohead while still very much carving out its own lane. The closer is amazing, just a fantastic riff. Definitely will listen to more Manics after this!

We finally arrive at the disco era! This was just sort of OK - Le Freak is clearly one of the all-time great dance grooves, and I Want Your Love is pretty good, but most of the rest of this album didn't do too much for me. I'm giving it two stars just for the bass playing alone which is pretty phenomenal, and another star for Nile Rodgers being a songwriting and producing legend, but there's too much filler for extended song durations, especially on the slow songs, for me to love this as an album.

Has any album every been as perfectly encapsulated in the title as this one is? It's certainly raw, very powerful, and just overall a fun listen. Pivotal in the development of punk rock and really like very few other things that existed in 1973. Some slower Doors-esque moments that are still good, but when this goes it goes hard, and it takes off right from the outset. Iggy was a front man that broke the mold and I think this somehow captures almost a live energy in the studio. A monumental and influential rock record and I loved it.

I'll admit some bias here but this was a "love at first listen" album for me in college, and I hadn't revisited it in totality in a while. I think it's an almost perfect indie rock album that is bombastic and over the top in all the right ways, both vocally and instrumentally, but also gives you a break at the right times. Putting the monumental anthems of Wake Up and Rebellion (Lies) back to back would have been almost too much, so Haiti is in between as a bit of a break before diving right back in. I love the counterpoint of Win and Regine's vocals, I love the ornateness of the arrangements, the mid-song changes in direction, how it all flows, everything. I still think this is their best album of a pretty great opening three-album run (yes Suburbs is great too) and to have this be a debut is just stunning.

Actually thought this was quite good - it's sort of a pleasing/innocuous package at first, but I like some of the story-based lyrics and some of the more subtle musical flourishes with the steel guitar and dobro. There's definitely more Joni Mitchell and folk in here than classic country I would say. Could see listening to this alongside Alison Krauss to some degree although there's not much bluegrass.

I might come back to this one to try and get through the whole thing (I didn't make it) but yeah, this just really isn't for me, although I think it probably almost perfectly encapsulates what it was like to watch a noodly psych-rock band in San Francisco in 1969. I've said I'm not a jam guy really, but appreciate great musicianship - the problem is this is even way more experimental than the Dead and certainly less musically proficient than the Allmans, and just feels too aimless at points. Maybe I'd raise the rating with a more careful listen but I just kinda wanted to move on which is probably a bad sign.

Hadn't been familiar with this one outside of Unfinished Sympathy (which is fantastic) but this is such a novel mix of styles and genres and has such a unique flavor. I think I like the tracks with more of a dark/foreboding/minor key atmosphere, the opening song is just immaculate in this regard with the pulsing baseline, the vocal, and the synths providing the overall mood. Great stuff. The rapping/flow does sound a bit dated at times but then I remembered it was 1991 and the hip hop scene was pretty nascent in the UK. Although their sound would certainly develop further in later works this is a pretty great debut.

This is definitely one of those "vibe" albums that is perfect for late night listening, and I think it's pretty effective at that. It's sparse and minimalist but quite beautiful at times. Intro is such a good opener and there are a lot of moments I really like. The back and forth vocals, the use of space, the way the instruments sort of reverb and decay into space. I get how this isn't for everyone but I think it fits an interesting niche.

Wow, I generally consider myself pretty well-versed in hip-hop and had no idea this even existed, and was surprised to learn that it's actually Michael Franti! Thought this was really good if perhaps a bit too on-the-nose for our current times even though it was released in 1992. My first thought was Public Enemy, which is probably valid to a point given the subject matter and his Chuck D-like baritone, but he's relentlessly socially conscious in a way that PE never quite was. Satanic Reverses hits hard right out of the gates and the message never really lets up. I like the somewhat non-traditional samples even if the beats themselves are a little more standard for the time. The best song from the album (California Uber Alles) wasn't streaming so I looked it up on Youtube and was not disappointed. Overall really enjoyed and some songs from this will definitely go in the rotation.

Although I wouldn't put this in my personal Radiohead top 5 albums, it's still great, and sits at an interesting position between the glitchy electronica of Kid A/Amnesiac and the relatively more "traditional rock" In Rainbows (Phil gets to play drums on almost every song!) Some songs here that I absolutely love, like Sit Down, Stand Up and There, There, and this is probably the most political Radiohead ever got. Some pretty dark repeated snatches of lyrics that have stuck with me over the years ("walk into the jaws of hell", "I will eat you alive") and just an overall sort of paranoid vibe. They're always musically interesting, and although it isn't the top of the mountain for this band, there's still a lot to love.