1001 Albums Summary

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.

Pretty damn good and as uncompromising as PE became known for. Although I don't think it quite reaches the heights of Nation of Millions or Fear of a Black Planet, there are some great songs here. Shut Em Down is a classic, and Bring the Noise goes so hard and is a near-perfect early example of what a rap/metal hybrid should be. By the Time I Get to Arizona is super funky and I love the live instrumentation feel. Overall the production feels a bit weaker than the classic Bomb Squad era but Chuck's flow does feel more updated for the 90s. Really liked this having not ever listened to it as a full album before.

To me, this is a pretty monumental statement of an album (turns out it wasn't actually her debut though) that captures such a wide range of emotions with a pile of pretty great songs. Part of this may be nostalgia for hearing so many of these songs ALL the time on the radio growing up (at least 6?!) but I do thing there is actually a lot going on musically that I love as well. You Oughta Know is such a behemoth vocal performance, but I think what really sets it apart are the quite/loud dynamics and Flea's awesome bass lines. On a full listen though, I think Forgiven might stand out as the best song on the album, both lyrically and musically, just a stunning song, even though it was never a single. My wife pointed out that there was a hidden track on the original CD that was just acapella and it's amazing as well. This album inspired a generation of female artists and has a well deserved place on many all-time best of lists.

Not sure how I lived my whole life and had never heard even one song on this album that I really recall - it doesn't really have any "hits" in the classic Bowie canon but still enjoyed this overall. The remastered version sounds great, and the band seems pretty locked in - the piano playing in general stands out, and some excellent guitar riffs. Musically interesting enough but still anchored in classic rock sounds. It's glam but in sort of a sleazy way, plenty of sex/drugs/rock and roll to go around in the lyrics. Hard for me to rank this in the context of his overall discography but I certainly wouldn't put it above Ziggy Stardust, but still an enjoyable listen.

I tried to give this as open-minded of a listen as I could and came away thinking it was actually pretty good. As with Pulp, there's something about overwhelmingly British music that I sort of gravitate to and I liked the way this captures the mundanity of a slice of working class life in a sort of endearing way. His flow is atypical and almost qualifies as spoken word rather than hip hop but I think you sort of have to take this as a whole narrative sweep with the overarching story. Boy loses money, finds girl, loses girl, finds money, but along the way wrestles with alcoholism, gambling addition, crappy friends. Blinded by the Lights really stood out to me as capturing an uneasy night out at the bar not sure if his friends were going to show up, taking drugs by yourself just for something to do, and eventual paranoia leading to euphoria. Some pretty catchy choruses throughout. Probably one I'll come back to!

One of the easiest 5 stars I've handed out and would go more if I could. This is a monumentally incendiary achievement of an album and almost single-handedly invented a genre (that would come to be poorly copied and maligned eventually - and I supposed Licensed to Ill might like a word here but it's such an apples/oranges comparison I think). The opening 3-song salvo of Bombtrack, Killing in the Name of, and Take the Power Back is just unbelievable. The "mother****er!!!!" in Killing in the Name is one of the most viscerally angry moments in all of music for me. My middle school self loved this album but certainly didn't appreciate the message - that came with time, but Zack's lyrics are what really set Rage apart from their peers. Tom Morello invented sounds that literally never been heard out of a guitar before, and the rhythm section is just pummeling. No skips on this album for me, Wake Up is another high point and Freedom is just an epic closer. It's just so good and arguably they never quite recaptured these heights as a total work, although later albums had their individual high points. A stunning debut on all fronts.

Quite interesting to get this one on the back of Aladdin Sane (how random is this really?!) but almost a 180 in tone for a guy who was known for constant reinvention. Completely left the glam rock behind and went almost yacht rock in parts, in a good way? Another album where I knew a few songs (the bookend tracks, which are the "hits" and probably still the best songs) but hadn't listened to the rest. Some great grooves throughout (Fame being my favorite), funky instrumentation, but the backing vocals are what really stand out. I read that this was a then-unknown Luther Vandross which is a fun bit of trivia. Nice take on Across the Universe. Overall quite good, don't think this is a genius-level work but solid.

So I generally quite like Oasis, I just think this didn't quite get past the level of "pretty good rock album" for me. If I could give it a 3.5 I would, don't think it's quite a 4 though. IMO the only truly great song from their catalog that shows up here is Live Forever (honorable mention for Slide Away and Supersonic). The opener is pretty rip-roaring as well, but the album overall just doesn't hit anywhere close to Morning Glory as a whole for me. Nothing wrong with it at all and probably a generally decent debut all things considered but just placing this one in context for me, it's much less of a standout.

Thought this was pretty good, maybe didn't rock quite as hard as I expected for what I knew of T. Rex's influence on the glam scene, but I do really like Marc Bolan's voice and can see how this influenced a lot of more indie-minded bands in years to come (like I definitely heard some MGMT in their more psychedelic moments here as an example). Get it On is a fantastic song, some unique instrumentation choices throughout (bongos?). Overall didn't leap out to me as a masterpiece but found plenty to enjoy.

An icon who resurrected her career with this album and actually I really liked it. It's super 80s in production but for me that's not such a bad thing at all. Her voice is a weapon - the rasp, the grit, all of it. When she goes up the octave on the title track (which I learned was written by Mark Knopfler?!) it's quite something. Steel Claw I had never heard before but rips pretty hard. Some great covers, I think Can't Stand the Rain is the best but also a unique take on Help! Would listen to again for sure.

This is what this project is all about for me - would probably have never known of or listened to this on my own (despite playing piano myself and this being, apparently, the best selling solo piano album ever?) His playing is so impressive, especially for an extended improvisation, and he finds these mesmerizing sort of grooves in parts. Runs that display his virtuosity but also slow and atmospheric vibes as well. Very cool chord voicings (I heard some echoes of this in Hornsby's playing). Really really enjoyed this one.

Actually really enjoyed this, and from what I know, this is about as "straightforward" as Zappa gets. It's jazzy, funky, bluesy with a layer of experimentation in there, but not too experimental. Excellent instrumental performances all around, some violin shredding from Jean-Luc Ponty, great drumming. Willie the Pimp is an absolute standout song with a super cool groove and amazing Captain Beefheart vocals. I dig it.

This is the Dylan era that hits just right for me, when he had just plugged in but still straddled his folk-y roots. Some epic lyrics here and great songcraft from a songwriter and lyricist par excellence. Some songs I'd definitely never heard, standouts were Love Minus Zero and It's Alright Ma. Enjoyed this a lot.

Definitely don't hate this and can find things to like, although I may not quite believe the praise of this as quite a masterpiece. The percussion is probably the best part, full of skittering beats, hand claps, and found sounds. Her vocals definitely show a wide range of emotions, bordering on unhinged at times, and some great (funny? wry?) lyrics at times, Under the Table, Cosmonaut and For Her in particular stood out in that department. Not sure how many repeat spins this will get from me (I did listen a few times when it first came out, but not much since), but can appreciate what she achieved here.

Another band where I know the hits but not much else, and really liked this. Pioneers of electronic dance music for sure, some club-ready disco flavored tunes, and also some slower moments that I really enjoyed (It Couldn't Happen Here is pretty stunning). It's a Sin is probably the highlight of the album but a lot to like here for me.

Amazing album. This is the sort of Memphis soul that I'll take over Motown any day - that classic raw Stax sound with Booker T and the MGs as the house band, and one of the greatest voices of all time. Some great takes on classic songs that are either Otis covers of more famous versions (My Girl, Change is Gonna Come) or original songs that became classic covers for others (Respect). 60s soul doesn't get much better than this for my money.

Janelle Monae is so impressive as an artist and performer, and this is a hell of a statement of a full debut album. The concept, the breadth of styles, vocal prowess, the instrumentation, it all works. Embodies cool androgyny more than anyone since Prince (which makes sense as I think they were close). The orchestral suites just add to the grandness of it all. I loved it, would go 4.5 if that were an option :)

Not a lot of albums that changed the face of music and popular culture almost with one fell swoop (and yes I know Nirvana didn't invent grunge), but this is one of them. Colossal album that deserves its rightful place in history.

I love turn of the millenium neo-soul and this is ground zero right here. Although it doesn't quite reach the heights of Voodoo, this is such an impressive debut. One of the great pure singers of all time for me, especially his falsetto, and there's so much gospel-influenced multi-tracking of harmonies that I love, particularly on Me and Those Dreamin Eyes, and Higher is gospel to its core. Title track is a perfect fusion of Native Tongues boom-bap with R&B that was so outside the norm of what R&B was in 1995. Lady speaks for itself, what an impeccable song. Only one really weak track for me which is When We Get By. Great stuff overall.

Great stuff here, fabulous drumming (no surprise), excellent horn section. Fela's vocals are energetic, I like the parts where the whole band sings as well as some of the call and response. Only critique is that sometimes the songs stretch on a bit long without enough melodic development/chord changes, but overall really enjoyed the energy.

Not much to say about this one that hasn't been said, but a classic in every sense of the word. Each song (except for maybe Four Sticks) is timeless in its own right. Plant wailing, Page shredding, Bonham playing the ever-loving crap out of the drums, JPJ being the underrated glue guy holding it all together. Opens with an iconic acapella verse and ends with an iconic song that starts with one of the greatest and best-sounding drum beats ever. And a little song called Stairway to Heaven in the middle that is still great despite being played to death to the point it almost became a meme (thanks Wayne's World). One of the best albums ever.

Nothing wrong with this really at all, a few nice songs, but I had to go back to my Definitely Maybe review to make sure I rated this less than that. Oasis is the first touchpoint that clearly came to mind - although it's maybe not totally fair to call them a knockoff as they pre-dated Noel and Liam, but this just felt like pretty paint-by-numbers Britpop. It did have some keyboards, though, so maybe Oasis with Organs? Pretty forgettable in the end.

As a huge Prince fan, I do love this album - you can hear the seeds of the sound he perfected on Purple Rain (trying to pin a genre on Prince is a bit reductive, but electrofunkpop?), but it's not quite the overall masterpiece that I think the latter is. Two all-timers right out of the gates, and then it loses a bit of steam before picking up in the latter half. DMSR is awesome with the party call-and-response vibes, and the groove on Lady Cab Driver is impeccable. Some great solos but not quite as much shredding as you might want. Overall great, 4.5 if it were an option.

Janis' voice is a tour de force for sure, but I didn't think this was quite as much of a knockout as I maybe expected? Piece of My Heart is an unbelievable song but nothing else hits quite that hard. The Summertime cover was a little much with some of her vocalizations. Overall wanted more although I can definitely appreciate her as an artist.

No one would ever accuse Metallica of being a prog metal band, but this is about as close as they ever got. Some absolutely crushing riffs on this one but enough changes in song structure and tempo to keep it interesting, and the longest songs they ever wrote. Blackened rips as an opener and One is somewhere up there on the list of best metal songs ever IMO. Frayed Ends of Sanity isn't noted as one of their "hits" but is awesome and has about everything you want in a metal song. The mixing/sonics are maybe a knock on it (famously very little bass) but overall this is a very good album, if maybe not quite their best.

It's kinda weird, it's kinda cool at times, it's kinda legendary, it's Tubular Bells. It was in the Exorcist and somehow went to #1. I don't hate it?

LL morphing out of his 80s loverboy/party guy image and towards something harder and more 90s, but feels like it has feet planted on both sides of the decade. The high points are very high - the two classic hits are great, and Murdergram is also fantastic, the kind of hip hop song I love with just a frantic beat and straight bars. A decent amount of filler on the rest though which holds it back from a higher rating for me.

Side 1 of this album is on par with anything else Zeppelin ever did - In My Time of Dying is just a slide masterclass, and to have it culminate in the epically orchestrated Kashmir is awesome. I don't think this is a 5 as the rest of the album is a little less even, although it does still have great moments.

Can't deny the influence of this, but certainly sounds like a product of its time. Hip hop in the early 80s can't help but feel a bit cheesy now but this was certainly important, and the title track is one of the cornerstones of the genre. Some of the rest of it is kind of uneven though - some fun party jams (It's Nasty) but some utterly awful ballads (the Stevie Wonder song). Hard for me to go too high with this rating but still respect it a ton.

It's pretty fine? It sounds good, technically proficient, everyone knows what they're doing, but just isn't quite interesting enough to get too much in the way of repeat spins.

Really good stuff. A few songs I’ve spent a decent amount of time with but many I had not, Guinevere in particular was stunning. Harmonies are as great here as they came to be known for.

For such an important artist to the development of genres I generally like I'm surprised I haven't listened to that much Siouxsie, and I thought this one is excellent. Not sure if you'd call her the Godmother of Goth (maybe that's not an original name) but the spooky vibes are really dialed up and I'm here for it. A whole ode to a severed head?? Sign me up. Instrumentally it's super solid, both uptempo and midtempo tracks are propulsive largely due to the drumming and the fantastic guitar work. Will definitely listen to more of this.

I actually really like the Kinks and appreciate their influence on garage/indie rock, but think I prefer their later era stuff more. The first two songs here are really great, and Ray Davies is an undeniably excellent songwriter, but a lot of the later tracks are a bit forgettable.

One of my favorite albums ever. The overall vibe of this album is just so immaculately melancholy, it's an almost perfect soundtrack for contemplation. We listened to this SO MUCH in my freshman dorm room in 2002 so it does carry the weight of nostalgia, but I've listened to it relatively regularly ever since. Lost Cause is my personal favorite, but there are so many other great moments - the orchestral flourishes on Paper Tiger, the Rhodes accents throughout, the washes of synth and subtle electronics, the interlocking acoustic guitars on the closing track in particular. It's all just so good.

Obligatory start to this review by saying Jerry Lee was rightly regarded as a terrible human for a multitude of reasons, but if we're taking all of that out of the equation and just rating the album...this kinda rips. Short and to the point but a bombastic amount of energy here, and it sounds like he's actually trying to physically destroy the piano. The hits are strong and a few others that I didn't know. I'm not sure how much credit we're supposed to give him for any musical innovation in early rock and roll, or if like Elvis he made a living ripping off lesser-known black artists (I think this is true) but it's a pretty great collection of songs here.

Love the vibe of this - even though it doesn’t have as many hits, some great playing and unique sounds to his catalog here (Concrete Jungle, etc). A very good late-night listen.

Tough one to rate - comes out of the gate strong, but really loses steam in the back half as it gets more ballad-heavy. 12-minute version of Papa Was a Rolling Stone was sort of cool but lacked enough changes in direction to sustain interest for that long (feel sorry for the bass player). Overall a pleasant enough listen but found myself wanting more.

I can see how this would not be for everyone but I actually think this is pretty damn good. I'm inclined to be partial to lyric-forward artists that may not be classically great singers and this fits the bill. Solid opening, and track two is just a great love song (a little happier than I Remember Me which is a love song too but tragic). Some other great one liners interspersed ("tanning beds explode with rich women inside"??!!) Instrumentally there isn't anything really groundbreaking here but pleasant sort of Wilco-ish country rock abounds, although I do dig the vibe of Transylvania Blues with the metal riffing at the end. Great closer - some of these lines hit even more knowing about David Berman's personal struggles and eventual death.

While acknowledging that this more or less launched a whole metal subgenre and has some awesome moments, it's just not even enough of an album. Bands like Rammstein and Fear Factory probably don't exist without Ministry but hard for me to call this one a masterpiece. It's probably best at its most electronic, and worst when it loses those industrial elements that set it apart from more generic thrash.

Had not heard much Madness beyond Our House (which is epic), but really really enjoyed this. Much more experimental than I thought and almost felt like sort of a concept album. The horns are awesome (expected from a ska band I guess?) but overall just some very cool instrumentation and interesting musical choices. Also really like his voice. Overall just a fun listen.

Only 2 years before Number of the Beast but I was much less familiar with the debut and think I liked it significantly less. I don't think it's just not having Bruce Dickinson, although that is partially it - this just sounds a lot closer to 70s hard rock than 80s power metal. The guitar work is still excellent in places, but I don't like it as much when it's more boogie-ish (for lack of a better word?) and less driving/chugging. Being more like Thin Lizzy is not necessarily bad, but I came to like the more thoroughly metal later sound and this was just an adjustment. Phantom of the Opera is the standout track, but the first/last bookend tracks are also very good.

I think I've liked this most of all the Britpop we've gotten to so far. It has definitely has more of a power-pop/pop-punk energy that is different than Oasis or Pulp and I'm here for it. Comes ripping right out of the gates with a few great tracks, and Alright (as the only song I already knew) is fantastic. Some weird moments that I actually quite liked such as We're Not Supposed To. A band that I had known about but never listened much to, and was pleasantly surprised.

Pretty much Jake's review! I feel like I should love this more than I do as they basically forged the Stax sound of the 60s as the house band for other amazing artists, but there aren't any super standout moments past the title track/reprise. Some nice Memphis blues moments, Steve Cropper has some guitar licks, but it's not too much more than a pleasant listen through most of it.

This one definitely gets heavy rotation around the holidays for me, and despite Phil Spector's wild and sordid back story I've always loved his Wall of Sound production style. Some classics here for sure.

This might get an extra star purely for nostalgia, but I love this album and it was my gateway into underground hip-hop. The relentless positivity was refreshing (even if some probably found it somewhat cheesy) but some great beats and rhymes throughout. Chali 2Na has one of my favorite voices/flows in all of hip-hop. What's Golden is probably the peak but A Day at the Races is pretty underrated, just bars stacked on top of bars. I'd call this a classic.

So I knew the context of this one and how Bowie was writing this in light of his imminent death, but had not actually ever listened to it before now - some stunning moments here to be sure. The opening track is absolutely haunting - the mental imagery of a solitary candle "in the middle of it all" (what does the villa in Ormen mean?!) really stuck with me for some reason. Musically it's very cool as well. Lazarus is clearly another high point. This seems like the sort of album that rewards repeat listens and parsing the subtext of the lyrics, which I haven't really had time to do, but overall feel this is quite good.

Really enjoyed this, such a unique blend of styles, and I like the polyrhythmic layering of little guitar riffs, percussion, and particularly vocals. Reminds me a bit of indie bands I came to love in college like Deerhoof and Belle and Sebastian. I think the opening track is the star, but little bits of stuff I loved throughout. Just a very interesting listen and I'll definitely check out more of their discography.

I think Elvis Costello is an impeccable songwriter and can especially write vocal melodies like few others. They are poppy but musically interesting. Really like the two opening tracks, it sort of ebbs and flows throughout the rest of the album. This is Hell is such a pretty melody with a dark undertone. I don't think this album is the best thing he ever did, but still quite good.

Not only my personal favorite Beatles album, but one of my favorite albums of all time. So many good songs here and it's really the transition point from their early sound to what the later albums would represent. The eastern influences and sitar starting to pop up, the more complex orchestration (Eleanor Rigby stands on its own here, one of my favorite songs ever, but even Yellow Submarine starts to hint at the the horns that would really flesh out on Sgt Peppers), the impeccable guitar work on And Your Bird Can Sing, just awesome from start to finish. Tomorrow Never Knows is such a great closer, second maybe only to A Day in the Life in terms of album closers. Impeccable songcraft throughout and a masterpiece in my opinion.

I’ll preface this by saying that I’m partial to Steely Dan as it’s one of the primary bands my father in law played in the house while my wife was a kid. They tend to get dismissed as ground zero of cheesy dad rock but I actually think there’s so much to admire in their work. Donald Fagen was a master of jazzy keyboard harmonies turned into rock structure, and most of their compositions are so lushly and interestingly orchestrated (and sound great on record through nice speakers). Starts with an absolute classic and doesn’t lose too much steam by the end.

Beast of an album and crazy to think how much of a step forward this was for heavy music (not sure you'd quite call it metal yet) in 1970. 3 of the first 4 songs are all-time great riffs, and a few of the latter half songs essentially created the template of sludge/doom metal. Ozzy and Iommi get a lot of the credit (rightly so) but the rhythm section is pretty underrated I think - really appreciate Bill Ward's playing on this one in particular. A stone cold classic.

I feel like I SHOULD like this more than I actually did honestly. It checks the theoretical boxes of other styles I typically like (morose shoegaze-y post-punk) but there's just something lacking in the execution. Some great songs to be sure, particularly Happy When it Rains and April Skies, but I think my problems are partially with recording quality (hardly any bass/low end?) and the drum machine just taking away from the overall energy of many of the tracks. The guitar work is a little too rudimentary in places as well, on some tracks it sounds nice and full but on some it just sounds thin. I think I was expected more based on what I knew of this band and was just a little let down.

I had never listened to more than 1 song on this album before, but man this was very ahead of its time and sounds nothing like anything else happening in 1988. I don't think anyone realized guitars could sound like this. There is definitely a star here for sheer innovation - not all the songs here are equally good and a few of the noisy moments can get pretty noisy (it is MBV after all) but the highs are very high. I actually like the acoustic-tinged ones the best, and think Lose Your Breath is the high point for me. But this established a sound that became often imitated but probably never duplicated. Guitars go with out saying, the drumming is great too, but the standout is the female vocals and I think what really puts the icing on the cake. We'll get to Loveless at some point but really impressed with this overall.

While I wouldn't call myself a Depeche Mode superfan, I've always appreciated their dark take on electronic music and feel like they were pretty big innovators in bridging some club-ready sounds with very non-pop lyrical content (Just Can't Get Enough aside). I don't think this album is quite as good as Violator but still very good. The synths sound great and layered, good melodies, Dave Gahan's voice, a pair of epic orchestral closers just for good measure. It all works for me.

Feel like I'm stuck in a rut of giving everything a 4 lately, but I just can't justify giving Hendrix less than that. A true guitar visionary and innovator and some great things going on here. Little Wing is the "hit" and speaks for itself, but hadn't heard a lot of other songs here. Spanish Castle Magic was my other favorite, just a ripping groove. Mitch Mitchell was a a beast of a drummer and has plenty of room to show off throughout. Very psychedelic in parts and some cool stereo panning effects. Good stuff and wouldn't have expected any less from one of the best to ever do it.

This is good. Legendary title track that is almost worth the price of admission on its own (the vocal melody on the second verse, "what I neeeeed" is incredible). Al's voice sort of straddles the line between that raspy Otis Redding/Stax sound and a smoother Motown vibe, also an idea that is sort of reflected in the musical arrangements as well. La-La For You is a great one I'd never heard. Overall a really nice listen.

Wow. I had not revisited this as a whole in quite some time - the hits are the hits (and great hits they are) but it's so impressive to have a 2 hour run length but not have it feel bloated, no real duds or must-skip tracks. The scope and sweep of this album is just incredible - within the first three songs you get a microcosm of what it's all about; wistful ethereal intro, the sweeping grandeur of Tonight, Tonight, and the pummeling, propulsive aggression of Jellybelly. Galopogos is probably the track that stood out most on a re-listen. Jimmy Chamberlin is an INCREDIBLE drummer and Billy's legendary focus on guitar tone and just layering track upon track is evident (and awesome). This isn't my personal favorite Pumpkins album (that goes to Siamese Dream) but is pretty breathtaking in its ambition. I love it.

I can't remember if I actually listened to this when it came out, but if I did it had not stuck in my brain whatsoever. Some decent moments here, but I don't think that even the highs are anywhere close to their other two records. The sonic textures are there, I think it just succumbs more to aimlessness and lack of variation? Not bad by any means but probably the worst entry in their catalog by a fair bit.

This is very much a product of its time like most 80s hip hop, but I did like it. Buffalo Stance is the only one I'd heard before but is a GREAT song (I somehow have the single on vinyl). The rest of the album doesn't quite approach that, but I do like some of the almost European pop influences throughout, that I think set this apart from some other contemporaries like Queen Latifah or Salt N Pepa. Not a bad listen at all, not amazing.

I'd probably give this a 3.5 if I could, parts of it are quite good, parts are more just "fine". Keep On Growing is a pretty great song, and the title track is certainly an all-timer (made from a good song into a legendary song primarily due to the piano outro). No disputing Clapton's status as a guitar god, and fun to hear him with another legend in Duane Allman. Some of the more straight-ahead blues moments are kinda just OK for me. Still a good listen, probably not one I'd revisit too much outside of a few songs.

While I'm a Radiohead fan and would consider them somewhere in my list of favorite bands of all time, I don't think this is quite an S-tier album. Some great songs to be sure - Fake Plastic Trees, Street Spirit, High and Dry (haters be damned) - but I just think I like Radiohead more in their "weird experimental" mode rather than "more straighforward rock" mode. This is starting to hint at where they'd start to take things on OK Computer, but I just don't think it's quite a masterpiece. Still a very good album, maybe just not a great one for me.

This came so out of left field for me and truly exemplifies what this project is all about. I had no idea this existed but ended up thinking it was absolutely brilliant. The vocal melodies alone are worth the price of admission, and there is just such a unique and quirky vibe to it while still fitting into the pantheon of glam rock. By the time Amateur Hour hit I was smiling ear to ear, just haven’t heard a lot like this from that era. Really really good and probably the best surprise so far.

I kind of hate to give this a 2, it has its moments and I do respect the free form improvisation and how they basically created the idea of a "jam band. There are plenty of Dead songs I like in their later eras. But like the Quicksilver Messenger album, there's just too much aimless noodling here. Some cool moments but they are a little to few and far between. I've never gotten the 2 drummers thing and hard to see where that's really super evident in the music here. I dunno, maybe on another more careful listen I'd find more to like but didn't really find myself eager to go back through it.

I don't think I'm quite a 5 on this, but probably the best Bowie we've had so far for me. Changes kicks things off with a bang and soon we get to Life on Mars, which is right up there with my all-time favorites of his, and to follow it up with Kooks is just awesome (I'm sort of addicted to the chorus and the little trumpet part). I like the piano-led and more stripped down nature of a lot of the songs, and some nice vocal melodies throughout. This one is a winner.

Say what you want to say about Dylan's voice (and in the early years it's pretty good actually), but the man could write a SONG when he wanted to. Some of his best work here for sure - leads off with one of his best, and North Country Girl is stunning as well (some chord voicings that are kind of unexpected for him). Don't Think Twice is one of my favorites of his. A few that I care less for, but overall this is Dylan at his finest.

Some really good mid-aughts indie rock here that brings me back to the days when this kind of stuff was a good chunk of my iPod. Some very Grizzly bear-like moments, even a song that reminded me a ton of Spoon (Coronado). I think the middle part of the record is the best - Revival, Memory Boy, Desire Lines are all great, somewhat poppy, rock songs. Enough variation going on with sonic textures to keep things interesting. He Would Have Laughed is a nice closer. Overall really enjoyed.

Yeah, this really isn't very good - I think her voice grated me less in the Velvet Underground context, but a whole album's worth is too much. 1 star added for decent string arrangements in parts, but not much else going on here. Also apparently she's not a very good person.

The absolute best part of this project is finding stuff like this - the first song in particular absolutely FLOORED me. The vocal melody, the guitar part, all of it is just incredible. The second song is so different but also stunning. I was like "holy crap this is going to be an easy 5 album that I had no idea even existed" - at the end of the day I don't think the greatness of the opening tracks is quite sustained over the whole thing though. Um Girassol is a nice sort of laid back song with cool orchestration, and Clube da Esquina No 2 is also great. I love the laid-back Brazilian vibe without it sounding like bossa nova. Maybe not quite a 5 on this but pretty darn close.

Everyone knows at least 2 songs on this album, but honestly, I enjoyed this a lot more than I expected to. The first 4 songs are all nearly-perfect 80s pop songs, and for me Money Changes Everything was a song that I hadn't remembered listening to much and is just great. I love the 80s production (not for everyone, I get it). Her voice is certainly "unusual" in a really good and surprisingly powerful way. Time After Time needs little further elaboration but is an all time great song. Second half of the album loses a little bit of steam with a few more throwaway moments, but on balance just a really fun listen.

Pretty much Raine's review. I can see some stuff to like here, see how this was influential to sort of sad-sack indie rock like Pavement, but the high moments were a little too few and far between.

Another solid entry in the REM catalog. The guitars in particular stand out to me, just some great moments. Orange Crush is probably on my Mount Rushmore of best REM songs but honestly many others on this album I didn't know. I think the floor of REM albums is pretty high, they didn't really ever make anything bad as far as I'm concerned and this is no exception.

I would have sworn this band was Irish (not Canadian) after the opening notes. Pretty haunting stuff, and overall despite having heard this band's name before this is not what I'd have expected them to sound like for some reason. A pleasing enough listen, not enough that really knocked my socks off here.

I wanted to give this a 5, I almost did, I'm not QUITE there. Probably a 4.5 for me, but it's hard to think of a better opening 3 songs in the annals of classic rock. Tom Scholz was an avowed studio nerd and the production is just so high quality (perhaps this is a detriment for some, I love a lot of shiny and overproduced music from this era). The multitracked guitars, the vocal harmonies, many parts of this are perfect for what they were trying to achieve. The intro to Foreplay is one of the all-time great rock intros for my money. There's a few low moments, I think when they are trying to be too "authentic" rock and roll or bluesy is when it goes off the rails a bit. Overall a great listen despite knowing most of this already, it was fun to revisit.

Couldn't smash the 5 stars fast enough for this one. Prince is one of the few people on a relatively short list that I'd truly call a musical genius, and it's on full display here. Although perhaps not his most sonically adventurous work, the songs are just SO GOOD. It's futuristic, it's funky, it's epic, nearly a perfect package. Kicks off with a bang and barely lets up. Side 2 is just an impeccable run of songs - When Doves Cry and I Would Die 4 U are all time greats, and the transition from the latter into Baby I'm a Star is perfection. The title track is one of my favorite songs of all time, made even more impressive that it was a LIVE RECORDING from First Avenue in Minneapolis. Stunning stuff all around.

I actually really like this album - similar to my Pulp review (and The Streets I guess too), something about the working-class mundanity of some of these classic Britpop albums just sticks with me. And this one is arguably THE classic album of the era. The first four songs are pretty stellar - Girls and Boys is just a pop banger, and Tracy Jacks may be my favorite song of the album. Sort of a lull in the middle and then it picks up a bit towards the end. I dig it.

The father of perhaps my favorite pure singer of all time and I can definitely see where Jeff gets it from. Tim's vocals are definitely the highlight here - there are a few other cool music moments elsewhere and it's certainly more adventurous that typical 60s folk, but really not as much to hold sustained interest. Pleasant Street is probably the best track to me, the title track is also pretty epic. I'd put this in the realm of "pretty good but not great" and not sure how many repeat spins this will get, but I'm also interested in checking out more of his later work.

Couldn't help but be let down by this after reading reviews referencing MF DOOM and Deltron...don't think this is really anywhere in that league. It's not bad by any stretch, but feel like it should have been something I'd gravitate to a lot more given the era and proximity to the Definitive Jux style of hip-hop that I loved in college. Best track by far is the one featuring Company Flow, which isn't a coincidence I don't think. Some decent atmospherics and beats which probably pushes me to a 3 rather than a two, but ultimately kinda forgettable.

Was waffling between a 3 and 4 for this, probably a 3.5 in reality. I admire the experimentation on some of the songs, enjoyed some of the weirder electronic moments, but maybe there wasn't quite enough of it? Some good pop songcraft and nice melodies, and the orchestration is very lush on many songs. No Sympathy is the highlight ("you deserve to die" is just heavy) but yeah this didn't quite jump out to me as a masterpiece.

Clapton probably put Unplugged on the map, but this is the first one I remember taking over the zeitgeist. I remember when this started popping up in kids' CD cases in 5th grade or so, and all I knew at the time was it had a few cool versions of the hits we'd all heard at that point, and a bunch of weird cover songs that I had no context for (at the time I probably didn't even know who David Bowie was let alone the Meat Puppets). Both parts of this album though just work - awesome alternate versions of huge songs, and cool interpretations of the work of others. The memories of hearing songs like Plateau for the first time still stick with me - such an odd song, with an odd delivery, and weirdly haunting lyrics. Cobain's deadpan patter between songs is sort of funny and endearing, and the rawness of the vocals is so apparent with the stripped-back instrumentation. Really good stuff.

It's Bob Marley, it's pretty good as most of his stuff is, but it mostly sounds the same as most of his work? For someone who isn't super into reggae but knows all the Bob Marley hits that everyone does, it's a pleasant enough listen but not too much really jumps out at me here. This jauntier version of No Woman No Cry takes some getting used to and probably still greatly prefer the more famous live version. Standout track that I didn't know is probably Them Belly Full. Backup vocals provided by the I-Threes are probably one of my favorite musical elements of his sound and they show up in some cool ways here. Nothing wrong with this at all but not a standout.

Somehow, I'm not sure I ever recall listening to this all the way through, but I'd definitely call this a masterpiece and the best thing Talking Heads ever did. What stood out to me most is just how relentlessly RHYTHMIC this is - it's groovy and percussive, just not in typical ways. Born Under Punches maybe typifies this, with slap bass and the plunky guitar, but it doesn't sound very much like typical funk. The production is so cool and layered and most songs just have so much happening. Once in a Lifetime truly lives up to its namesake as a song - I know of nothing else really like it. I was maybe most surprised by the closing track and how brooding and ominous of an atmosphere it creates. Overall just a fantastic record.

I tried to come back to this a few times to try and get into the right headspace for it. There are moments I think it's brilliant and moments I still don't get it. As a technical achievement, pretty amazing - as something I'd want to sit down and listen to a lot, not so sure.

I surely can't give AC/DC a 5...right? I don't think I quite can, but no doubt that this album is big, fun, and kinda dumb all at the same time. But the RIFFS man...some all-time iconic licks here that are just undeniable. Half of this album almost everyone knows and speaks to how they were able to carry on with Brian (not going to open up the Brian vs Bon debate, but the man has pipes) and not just survive, but thrive. No one is awarding this any merits for lyrics but I guess that's beside the point with this type of hard rock (note: not metal). It's a sort of least-common-denominator classic probably because it doesn't ask you to think that hard and just rock.

Really liked this - knew this band but not this album in particular. Cool mix of sounds, in general I think I liked the ones that best straddled the line between the various influences here. Sweet Thing for me is the high point of the album - interesting beat, more Pogues-esque vocals (with a cool riff on Blackbird at the end) and a really need fiddle part. I think it slows down a little when it gets really traditional Celtic-style towards the end (nothing wrong with Celtic folk music, it's just not as interesting when played "straight" here) but Stolen Child has a great atmosphere as an almost-closer (odd choice to throw in a snippet of This Land at the very end?) Overall this was really good and will definitely have replay value for me.

I feel like I'm in a run of albums that are so disparate in sound but that I enjoy, but not quite enough to call them 5s. This is another one that is definitely a classic and has some game-changing influence but isn't quite "masterpiece" status. That said it rips pretty damn hard - the guitars are really a cut above. Dimebag Darrell's playing is so good here, just razor-sharp, and he created tones that hadn't really been heard in this way before, with a downtuned chugging attack married to shredding solos. Walk is just an iconic blunt-force bludgeon of a song and there are other moments here that have shades of almost metalcore. This Love in particular vacillates from an almost Alice in Chains ballad to what I'd almost call a hardcore breakdown, really cool. This influenced a ton of stuff that I'd come to love in the early 2000s (Lamb of God, etc) and I totally respect its place in metal history.

Although I can see what this brought to the punk sound in terms of the blues/rockabilly/even country influences this just didn't really do a ton for me. The energy is OK on some tracks, the flourishes of steel/slide guitar on some songs is sort of interesting, and I can see how this probably influenced bands like Social Distortion or even the White Stripes. I feel like I haven't rated anything a 2 in a while so was due, and most of this I just didn't care for.

Very close to giving this a 5, but just not quite. I love the quality of her voice, the arrangements are beautiful with her piano playing, strings and vibraphone throughout, and it's really quite an achievement to have written this as a teenager. First Taste is the first moment I was really surprised by the groove and the next track is just a stunning ballad (the harmonies on "heeeights" oh man). This would get a 4.5 if I could, just love the vibe of it.

Although for me this doesn't quite hit lit Otis or Wilson Pickett, I can see how influential Solomon Burke was. This seems like it sort of straddles the line between a cleaner Sam Cooke sort of R&B vibe and that gritter, later-60s sound. His voice can do it all. Cry to Me is the biggest one I knew but I think is more of that earlier sound - Someone to Love Me is one of my favorites I'd never heard and definitely shows more about why he was so influential to "soul" being known as a genre. Good stuff.

Oh man this one brought me back to college. The first three songs of this album are SOOO GOOOD - two dance-y bangers and one downtempo, absolutely gorgeous song. I was ready to smash the 5 right there - it does sort of lull in the middle for me a bit though. Remind Me did in fact remind me in the best way how awesome that song is as well. It's just not quite even enough as a whole for me to call this a 5 but it's pretty damn close.

This is probably a 3.5 but not my favorite Steely Dan on the whole. Show Biz Kids and My Old School back to back are pretty great. A few other moments here and there, the closer is pretty good too with the wah-wah guitar and the cool synth line. I actually would consider myself a fan of Steely Dan but this is a little lower in the hierarchy for me.

Superior to the other Byrds album we've gotten so far, and this is more of what I think of as their "classic" sound. Pretty massively influential especially with the interlocking guitar jangle and that Richenbacher tone - you can draw a line from this through Petty to REM and the Gin Blossoms (which is a good thing here). Incredible take on the title track that I think improves the Dylan version in every way. Here Without You and Bells of Rhymney were two back to back that I really enjoyed. Vocal harmonies are universally great throughout. A few times where it veers Beatles-esque but overall I think there's enough differentiation in the sound that the Byrds clearly carved their own lane.

One of the classic albums in hip-hop history, and I think rightly deserving of its place. Absolutely groundbreaking in 1989, along with Paul's Boutique it just took sampling so much further forward (and also sparked years of legal disputes). I don't think anything else really sounded like this at the time. The hits speak for themselves (edge to Eye Know with the "Peg" sample I think, but Me Myself and I is also just such a fun song) but there were some gems in here I didn't really know, such as Ghetto Thang and Buddy). Probably an extra half star for sheer influence here, but this provided a sonic template for so many others to follow.

Another "tale of two halves" album for me - first few songs are decent to good, Mother is super weird (admire the audacity), but by the time the title track hits, the rest is near pop-rock perfection. King of Pain is my personal favorite Police song and the closing song is one I hadn't listened to a ton, but is beautiful. Not quite consistent enough to be a 5 in my book, but I love a good amount of this one.

You can see the seeds of the Missy-Timbaland partnership here just starting to blossom, but overall it's not quite the fully-realized thing it would become later. This was in the realm of pretty-good-but-not-great for me. Title track is the highlight, but overall wanted more from the beats and bars than I got.

I think I'm finding that 60s proto-jam psychadelia just isn't my thing. Probably a little better and more immediately accessible than Quicksilver or the Live/Dead album but this mostly just doesn't land with me. Some alright blues-y type soloing but also some of the guitar tones are just thin and sort of annoying to listen to. A bit of aimless organ noodling in the middle. It's not horrible by any stretch, but just not my "jam".

Another band from the list that I have a sort of outsized impression of their importance in music history, but haven't actually sat and listened to much. Really enjoyed this and see so many seeds of the modern synth-pop/synthwave that I love. Honestly way more poppy and melodic than I expected, with a few individual synth lines I recognized. Kraftwerk's whole aesthetic was just cool as well, the album cover, the way they dressed, the sort of futuristic vibes they were able to conjure - I think of them as krautrock but this is honestly pretty far removed from that sound. The remastered version just sounds good from a production standpoint as well. I think the bookend tracks of the album are the best, but surprisingly I hadn't heard "The Model" despite being the "hit" on this album. Overall really enjoyed this one.

I'm not sure where you'd situate these guys in the genre landscape, guys had a such a unique sound - punk sort aesthetic filtered through almost like acoustic skiffle or something. At least 3 songs on this album that I'd call hits, a few others that I knew as well, some I didn't. A lot of this is just fun, youthful energy that you can clap and dance along to (Blister in the Sun is actually a great karaoke song). The bass playing stands out from an instrumental perspective, whether electric or acoustic upright. Good Feeling has almost a Velvet Underground feel. A fun and enjoyable listen almost all the way through.

Actually really enjoyed this. Different, shinier, jazzier vibe from Steely Dan but still has the signature Fagen songwriting, with his chord voicings and layered vocal harmonies. IGY is a great song - the chorus and horn part in particular stuck in my head for days. New Frontier is I think the other "hit" from this album and is also just totally 80s synth fun. Also learned this was one of the first if not the first album to be total digital recording, which is a fun fact. Apparently took them forever to record due to that as well as Fagen's demands for studio perfectionism. This one got some repeat spins for me and I was sort of surprised by that!

Love the energy here. Keith Moon and Pete Townshend steal the show (no surprise) but some underrated bass playing as well. Some of these songs rip pretty hard, Young Man Blues in particular. I think the Tommy songs are actually not my favorites here, I guess they were new at the time, but I think the more straightforward rockers really shine. Honestly quite good for a live album I thought.

Did not expect to give this a 5 at all, but man this is a fantastic album. Jeff Lynne is somewhere up there on my personal list of genius songwriters/arrangers and his talents are on full display here. It's ornate, it's layered (some might say overstuffed but I won't), the production is excellent, it clearly references the Beatles and Beach Boys (in my book this is good, not a downside), just generally ticks all the boxes. It was (and probably still is) desperately uncool to like ELO but I have no qualms reveling in the near-perfection of some of these songs. The mini-weather-suite on side 3 is so cool, culminating in Mr. Blue Sky which is just a monumental song. Some really quirky and offbeat moments like Jungle that also caught me by surprise, as well as the horns on Across the Border. I think this one has become more well-regarded as time has passed but I just found it an overall listen that brought a smile to my face.

Definitely some nice grooves here, the classic War sound with the Latin rhythms firmly in place. Some extended jams that get a little long, but still show off their musical prowess. Overall a pretty good listen.

I think Leonard Cohen is rightly regarded as a really important lyricist and songwriter, and this has a few moments, but mostly just ain't it for me.

Pretty OK? I don't think it really stands out very much to me, he has a good voice but the music is just sort of innocuous, Clapton-esque in parts. Maybe would benefit from a repeat listen but I'm too backed up to have the time to go back to something that didn't grab me much initially.

Really liked this one and didn't really know most of it outside of Brass in Pocket. Cool punk energy with pop sensibilities, and Chrissy Hynde is just an awesome frontwoman. Guitar work is good, production keeps things interesting, Quite a debut honestly!

Another one of these classics that it's hard to say too much about that hasn't been said ad infinitum, but I think this firmly deserves its masterpiece status. A sonic wonder for headphone listening (or in a blacklit room with a great stereo while under the influence). It's spacey, trippy, epic and carved out a sonic lane of its own, with David Gilmour's solos riding above it all. Us and Them is probably my personal favorite (good lord the choruses of this one), but the line that sticks with me most is "hanging on in quiet desperation is the English way". Easy 5.

Truly "random" to get this right after Dark Side of the Moon?!? Another monster of a Floyd album. I'm admittedly not a superfan and couldn't tell you the ups and downs of their entire discography, but to have these two albums released back to back in the span of two years is pretty stunning. Tons of similarities, while maybe advancing some of the more electronic elements (Welcome to the Machine) and perhaps being a little more personal and emotional. I'm not sure it's better than DSOTM but stands right next to it I think as my two favorites of theirs.

Actually really liked this - Weller's voice is a lot more interesting in this context that it is on his solo stuff. These guys definitely fell from the punk tree but the sound is a lot more expansive. Hints of Elvis Costello, some of The Clash, and his voice sounds a lot like Colin Hay at points? Can see the massive influence this was on Britpop as well. Quite enjoyed.

Honestly hard to believe this is the same artist from Rid of Me, but I think PJ is known for constant reinvention. Did not expect an almost-concept album about World War I?? Some haunting tracks here to be sure - still a lot of dark and brutal lyrics but in a completely different sense than her earlier more personal works. Will probably go back for a repeat listen or two as I think albums like this probably benefit from that, but overall thought this was pretty impressively constructed.

I think I'm stuck in another run of "everything gets a 4" as a really good but not-quite-masterpiece album. Toyed with giving this a 5 due to its influence, but probably held back by some of the dated lyrical content and too many skits???! Some absolute classics here and basically launched G funk into the stratosphere (after The Chronic had already set things on their way). Dre's sonic palette is just great here, from party bangers to menacing almost horrorcore (Murder Was the Case). Snoop's flow is so unique and really sets him apart from other rappers of the era (and probably ever). A classic but not quite an all-time great album for me.

I might be more like a 3.5 on this but am giving extra credit simply for the album cover. For being one of the most popular albums of all time, there were a few songs here I hadn't heard - Jim Steinman could sure write a song and play the piano, and a few of these are probably the best "rock opera" songs ever recorded. That said I think it's best at its most fast and furious (title track, Paradise, All Revved Up) and worst at its slowest and schlockiest (Two Outta Three, sorry). But the heights are really really fun, and the lows are more "just OK" rather than actively bad, so 4 stars it is!

Liked this a fair bit less than Man Machine - comes out of the gate strong with Europe Endless and Hall of Mirrors, loses a lot of steam in the middle and gets a bit too repetitive in places (I realize that is a lot of what Kraftwerk is about). Franz Schubert is quite pretty. Still appreciate the foundation these guys laid basically for all electronic music to follow but just didn't latch onto this one as much.

Oh man this is a slam dunk 5. Iconic voice, classic soul arrangements in the Stax sound, a few timeless tracks, just stunning across the board. Looking up the credits on this one and some legendary players show up (including Clapton on Good to Me as I Am to You). Sweet Sweet Baby is one I didn't know as well but has just a great groove. This is awesome from front to back.

Sonic Youth is one of those bands that I feel like I should know better - I really don't know how to situate this album within their overall discography, but it honestly wasn't quite as noisy or experimental as I had built up in my head to expect. Kool Thing is really the only song I knew (and is great) but there are some other gems here. The guitar work is great. The sort of disaffected cool of Kim Gordon's vocals. It overall just sits at a spot between indie rock/post punk/alternative/even grunge and I like it.

Although it might be cliche to say this is your favorite Springsteen album (maybe Born in the USA would like a word as well) ...it's my favorite Springsteen album, probably by a long shot. Something about the blue-collar Jersey romanticism that others might call maudlin just speaks to me, and the music is just great. As many times as I've heard the title track in my life it's always thrilling, a perfect song. Piano and sax abound, and I'm here for it.

This might benefit from a few repeat listens but given the backlog of what I have going in the project right now...I actually really like a lot of FKA twigs, but just don't think this album hits nearly the heights of some later albums like Magdelene. I do like her vocal sensibilities and the production here is cool in parts, but some of it just doesn't quite land.

The opening track was so interesting that I was preparing for this to be an under-the-radar masterpiece of pop combined with cool songcraft, social commentary, and unabashed queerness - Relax is clearly also a banger, but agree with the critique of it bogging down in the middle with unnecessary covers. That said I did not know these guys were from Liverpool and quite enjoyed the Gerry and the Pacemakers cover. No issues whatsoever with the maximalist 80s production but not enough interesting musical moments to hold my interest for over an hour. So outside of the epic title track and the certified hit, didn't find as much here as I was hoping for.

Tough one to rate - this is pretty revolutionary in terms of evolving the NWA sound, sociopolitical and racial commentary, unflinching looks at life in the projects, etc. Endangered Species is pretty awesome with the Chuck D collab, and some good Slick Rick-style storytelling. But man the misogyny is pretty rough in parts, and songs like You Can't Fade Me are a very tough listen in 2026. So I recognize the place this one has but still find it hard to rate too high.

My wife's mom loves Joan Armatrading (and I think took my wife to see her when she was really young) and I can see why Joan was a favorite. So unique in many ways, straddling the line between a bunch of genres with a voice that is pretty amazing and can do it all with incredible range. The first track is awesome - the acoustic voicings, piano, and steel guitar?! Just great stuff. The Tracy Chapman comparisons are inevitable which is by no means a bad thing, to see the foundations that Joan laid here for another great artist. Also hear echoes of her influence on people like Natalie Merchant. I was pretty floored by this and will definitely get repeat spins.

Beautiful album from front to back, probably alternates between my 3rd or 4th favorite Radiohead album. Not exactly a "back to basics" album but very much a full band effort. Weird Fishes/Arpeggi is my personal favorite with the the way it builds and stacks the interlocking guitar lines, but so many other musical highlights. I just love this album.

This is cool - definitely had not gotten too much into the scene this came from but can heard echoes of this in other places that I encountered UK garage/2-step, like Burial. The piano line in the first song is awesome and some neat little jazzy flourishes throughout. It is sort of long and can start to sound sort of same-y which is probably my knock on it. It does add some interest when the hip-hop/grime influences come in like Desperado. Crazy Love is a fun song with the plucked string part, title track is good. Probably good background/working music, I liked it in parts.

The knock on this might be that it's sort of fluffy and innocuous, but I actually really liked it. The vocal harmonies are just great and I like the sort of subtle bluegrass flourishes. Have to feel like people like Alison Krauss took some notes from this. Some of the songs are actually pretty sad (Rosewood Casket?!) but found this a pretty enjoyable overall listen.

I hadn't listened to this as a full album in quite some time, but this is an absolute gem of a record and a landmark in hip-hop history for very good reason. The Dust Brothers created an incredible tapestry of sampling here that redefined the way beats could be constructed (like who thinks to 1) request sampling rights to "When I'm 64" and 2) slow it down to make an almost vaudeville rap song?) Dancey party moments (Shadrach is my favorite in this vein), slower moments that just go hard (High Plains Drifter), just a sonic collage of epic proportions. I love this album.

I'm going to file this away in "just OK" territory for now. I think a lot of that comes from the album never even coming close to reaching the musical high that is the opener, and my expectations were probably too high. You'd probably call this post-Britpop but it just doesn't have enough standout moments outside of the Drugs Don't Work to make it very memorable at all.

Toyed with giving this a 5, I do think this is DM's masterpiece and a mostly great listen throughout. It feels dark and almost goth, but with danceable pop sensibility and some all-time great tracks. The production is great, the synths are clean and sparkling, but the energy is brooding. Enjoy the Silence is so well known but also just so good, and Policy of Truth is another banger. Waiting for the Night is one I hadn't heard but has an almost Kraftwerk-like simple beauty to it. Overall really good.

I hadn't come back to this one in a while - Paper Planes is clearly a juggernaut, but I don't think I liked the rest of the album as much as I maybe did when it came out, and certainly not as much as her debut. Mango Pickle Downriver is one I sort of love in an offbeat sort of way. Come Around is cool too. Some interesting sonic elements, but just doesn't work as well as a whole and I'm also sort of soured on her as an artist now that she's gone off the rails politically.

Almost a 5-star album just based on sheer influence, but not quite there for me as a whole in terms of personal enjoyment. However - the opener is just stunningly evocative and is pretty much ground zero for heavy metal. Nothing really sounded quite like what they conjured up here in 1970 with the doomy, occult atmosphere and the slow crushing riff. The rest of the album has its moments (NIB is my favorite of the later tracks) but is less overtly metal as we know it and more just hard blues, which is why I'm probably not 5 stars here, but hard to deny the importance of this album.

Somehow didn't know any songs on this album besides Take Me To The River (which is a banger). The classic Talking Heads sound is very much here, but not as interesting as some of their other material. The guitars in particular are the standout element as they are across a lot of their discography. Quite good but not a masterpiece.

Influential? Sure, I guess. Hard to take this without the context of Elvis basically making black music more palatable for a white audience, including covers of Ray Charles and Little Richard that are way worse than the originals. Blue Suede Shoes is undeniably great but not a lot else here that really grabbed me, including songs with multiple hundred-millions of streams I had no idea even existed. Most of this barely rocks and has almost no grit or soul to it. Gonna Sit Right Down and Cry is probably the best of the rest but most of this is kinda forgettable.

A cool part about this project is listening to an artist that has such clear influences from something you've already listened to, in this case I don't think I'd really realize how much LCD Soundsystem is indebted to Talking Heads. There are hints of other things we've gotten recently like Depeche Mode and Kraftwerk, but doesn't seem like much of a deep analysis to see the TH influence front and center. I think this album is quite good, and to me it feels more like an indie rock record with electronic influences rather than the other way around. oh baby is a great opener, and i love the way that how do you sleep? builds and builds from the opening percussion. Some of the tracks definitely get a little long and I don't think this is a perfect album by any means, but a lot to like for me.

Not bad not great? Feels like I can see how people like Jack White followed in some footsteps here with the raw, semi-unhinged garage rock Jon Spencer laid down. I do appreciate some of the off-the-wall nature of this and maybe it also feels bit like early Beck in that sense. Chicken Dog rips pretty hard, a lot of the rest is a bit forgettable.

I wanted to like this more than I did, and it should fit sort of the Stax-centric 60s soul aesthetic that I love, but most of this just didn't super click for me. Track 2 is awesome though, super cool groove and bass line, but elsewhere it's just a little bit slow, plodding, and meandering. Track length is long, the extended instrumental sections don't quite hit. The last song is sort of a cool build by the end but takes a WHILE to get there. Filed under "just ok" as a whole.

I loved this album when it first came out and I still love it - I find it just as good now as I did then. The stacked vocal harmonies, Robin's absolute gift for writing a vocal melody, the instrumentation and dynamics, it's just great. White Winter Hymnal is on my "favorite songs of all time playlist" but there are so many other great moments. Tiger Mountain Peasant Song is stunningly beautiful, and the guitar work and harmonies that build on Quiet Houses are another high point. Really beautiful album from start to finish.

Tough one for me - I really appreciate the genre-crossing element of this album and recognize its importance. I love Ray's voice, I love the piano playing, but...some of this just sounds a bit dated for it being 1962? Maybe the strings, big band, and backing vocals are just a little schmaltzier than I remembered and detract from the overall experience. I honestly thought this was recorded in the 50s until I looked at the record back. Some good stuff, some that I care for less. One of those that I feel like I should rate higher (I own it) but just was sort of middle of the road for me.

One of the better albums from the SF psychadelia scene that we've gotten so far. Grace Slick sounds great and her voice has a lot of power here. Two huge songs that have stood the test of time, but also some nice quieter and more acoustic moments like Embryonic Journey and Comin Back to Me. Funny to get this a few days after Fleet Foxes as there are a lot of lines to draw between those two bands I think. The more standard blues-y moments are less good. Overall a pretty decent listen.

Man, Janis could wail. A unique and generational voice - I don't know that it's the objectively BEST voice, but she just had a certainly quality. This improves on her debut in almost every way - better and more polished songwriting, and her band sounds great. Tight playing all around, great grooves, and the piano and organ playing really stuck out to me. Two all time classic songs but some other gems in here. Half Moon is great and followed up by basically a song for the band to go off, which they do. Really enjoyed this one actually.

Pretty great for a debut and immediately hooks you in with his gift for melody and lyrics on a trio of great tracks right out of the gates. Alison is the star of the album I think but Watching the Detectives and Red Shoes are also stellar songs. I'm not sure this is really revolutionary from a music standpoint but is a good blend of sort of 50s rock and roll with a punk aesthetic. Quite good overall.

Not quite 5 stars for me, but the hits are so big on this one that they are worth 4 almost on their own. That said there are some other great moments - the opener actually shreds, and '39 was a great songs that I'd maybe heard but never really listened to before (the choral aaaaahs? time dilation?!). The jaunty little British cabaret numbers are so fun (Lazing, Seaside Rendezvous, and Good Company). Not much more to say about Bohemian Rhapsody honestly but there really isn't anything like it in the rock canon that I know of, and it has its place there for a reason. The Prophet's Song I'm positive I'd never heard before (somehow) and is pretty great with the stacked acapella harmony section. Overall a really fun listen.

Despite being one of the great concept albums, I don't think this is quite 5-star Floyd for me. Some great songs to be sure - side 3 as a mini-album would be 5 stars in and of itself, starting with Hey You and ending with Comfortably Numb, just epic. Some great guitar solos. Other songs here I don't care for as much, like Young Lust - I definitely like Floyd at there moodiest and most atmospheric, rather than the rockier/funkier parts. It's a little long, but the story is pretty good as the narrator moves through childhood trauma, into a mental breakdown, and back out. I think it's good to very good, maybe just not great.

Very solid album that basically picks up where Born to Run left off. Misses some of the Wall of Sound production quality that makes me love Born to Run more, but still some great moments from the E Street Band. The two "side openers" are probably my favorites here. Definitely up there with my favorite Springsteen albums.

Man - despite being a Minnesota with hardcore leanings I'd never really spent too much time with Husker Du outside of Zen Arcade, and this was great. If it was just the Bob Mould songs it might be 5 stars - it's overall a little long, and I just like Grant's contributions less, but some awesome songs here. Ice Cold Ice is an absolutely stunning song with the opening guitar chords, the way the tempo picks up with the guitar pick slide, the call and response vocals, and the harmonies on the chorus. Amazing stuff and I'm sad I'd never heard it before. Bob's guitar playing is fantastic and has some really interesting chord voicings for 1986. Some shades of REM in here too? You can heard the punk and hardcore roots still but the melodies are strong and like later era Replacements as well, starting to veer into early alt-rock territory (which isn't a bad thing to me). One knock is that the recording quality isn't great and the drums sound really thin/weird, almost like they are electronic drums, but that's overall pretty minor given the quality of songwriting.

Wanted more from this one. Starts off really strong and I was prepared to actually like it quite a bit, but just sort of meanders through a lot of other slower tracks that are trying to be jazz or soul and don't quite hit the mark. Not really sure why Holding Back the Years is their biggest song? It's just sort of a lite AM radio jam and a little schlocky honestly. Jericho is OK, the closer is OK. His voice is sort of interesting in parts, but yeah, this one wasn't for me.

Hard to believe this was almost 13 years ago, but I loved it when it came out and I love it now. This is a 5 star album that I'm giving more based on my own personal connection to it rather than a sense of "importance" in the overall music landscape, but I do think CHVRCHES has inspired other bands in this space. Huge and anthemic in all the right places, starting with track 1, and it just GOES from there. I'm a sucker for this exact brand of shimmering indie electronica and this might be sort of where it started. The synths sound massive and crystal clear, the beats are pounding, and Lauren's voice and gift for melody are a great compliment to the music. The Mother We Share is an all-time favorite song of mine (Night Sky is also in the running), but so many other good songs here. Fantastic throughout.

This is an incredible album. I knew the few songs that most people know, but the rest of it really blew me away. Hardly a note wrong, and such a cool mix of soul, funk, and psychadelia with healthy doses of social commentary. Some absolutely ripping grooves here, including the breakdown on You Can Make It If You Try (the organ sample that I recognized from the Jungle Brothers song, but had no idea where it came from). The bass playing is just stellar, especially on I Want to Take You Higher. Minor knock that Sex Machine is a bit long and repetitive, but still has some great talkbox stuff going on. Overall I loved it and this significantly increased my respect for Sly as a visionary artist.