1001 Albums Summary

Difficult to really know/hear the importance or significance of this album. We all hear about the Rolling Stones as this legendary band, but difficult to hear it here. Music is decent, but really feels like context is missing.

Not a fan of the old school back and forth and echoing style of rap from the 80's/early 90's, but you can't deny some of the hits from this record that carry into today IE It's Tricky and Walk This Way with Aerosmith. Easy to hear some of the early samples that are still used and today, which is fun. I'm glad we have evolved beyond all the just completely unnecessary filler that is plaguing some of these lyrical tracks - with "Now listen up here cause i'm here to say..." elementary school rhymes, which I guess pretty much started because of Run DMC and early rappers. I find all of the filler and useless intro-sentences really take away from the song Proud to Be Black, which would have a lot stronger of a message if it were better written without so many bars wasted on leading up to the point.

wow Pastime Paradise. No idea Gangsta's Paradise had direct inspiration from this song. Overall this album is incredibly soulful and funky. The lyrics are powerful and significant, but at times hidden behind music that feels upbeat and positive. It's a very interesting juxtaposition. Not to mention the obvious hits Sir Duke, I Wish, Isn't She Lovely; Pasttime Paradise and Village Ghetto Land were very interesting songs that made me stop and reflect for a bit. Disc 2 was a bit exhausting and difficult to get through. With the exception of Isn't She Lovely, I just got tired of it. There were so many parts where there was some dialogue or dramatic scenes in Black Man and Isn't She Lovely specifically that seemed so out of place and distorted that it was difficult to enjoy the song and in Black Man specifically, lost meaning. I understand the point of Black Man is to shine light on the achievements of people of color throughout history, but the part with the teachers and children regurgitating facts was more annoying than powerful since you couldn't really hear what they were saying other than the......color of the skin of the person they were shouting about. Is it about the accomplishment, the person, or are we just reducing them to the color of their skin? I think we could think of a better way to highlight the achievements of black or indigenous individuals in the past. Overall, If we put Isn't She Lovely on Disc 1 and just removed Disc 2......it would be a better experience.

This feels like David Bowie's existential dread album. 66 years old, just had a major heart attack, dark, seems like there's a lot of anxiety, dread and despair. For someone not familiar with Bowie's music, this album does not reflect him in his prime. I just feel sorry for him. I agree with others that said it was probably included assuming that it would be his last album. Just because it's their last album, doesn't mean everyone should listen to it. But maybe I would feel different about this album if I was a bit closer to the end of my own life.

Steve Huey said that this album is the first "artistic punk" album and I couldn't agree more. The album is exactly a blend of poetry and punk. Each song is a story with a specific purpose in mind, but some of the songs have so much going on (Land) that it needs to be analyzed. Elegie is straight up a poem set to music. There's one part in Break It Up when you can hear her obviously pounding on her chest while she sings.....which I have never heard before from a studio album. I can really understand why this album was so important as it is very unique and really needs to be analyzed. I completely get why Patti Smith has been such a huge influence on a lot of female artists even to today. There's definitely punk vibes, but the music perfectly accompanies the story that's being told, ranging from smooth to chaotic.

This entire album is 30 minutes long, so I guess within the span of my life, I can find 30 minutes to listen to it. This isn't what I think about when I think of rock music, but I can imagine myself cruising down Route 66 with it on while i'm not really thinking about anything. It feels like default easy listening. Not threatening, not controversial, very safe, the kind of rock music your Christian grandmother probably likes because she saw it on Good Morning America. Nothing groundbreaking here. I think this album was included simply because the author thought people should know who Tom Petty was.

Having never actually listened to Sinatra or the other crooners, I guess this is my chance. I only really appreciated the album on my second listen. The first listen, everything just kinda blended together. Second listen everything came together. Pull up the lyrics and digest what he's saying as even if they kinda sound similar, the nuances of each song are just perfect. I wasn't ready for this so early in the morning. This is a concept album mostly about loneliness and losing/lacking love. I think this type of music really hits different for expressing this feeling as it just seems to stop you in your tracks. He doesn't say much in the songs, but what he does say is incredibly impactful and perfectly encapsulates the emotion and there's nothing else to say. Everyone that's gone through it gets it. I like the little jazz sprinklings that you can hear in the album. In sections of Mood Indigo, it just sprinkles lightly in the background, just teasing you, in stark contrast to the absolute despair of the lyrics. I Get Along Without You Very Well is so comical. The whole song about him saying how great he's doing without her, except he's constantly thinking about her and reminded of her. Deep in a Dream is genius. A quick snapshot of him smoking in bed, falling asleep and dreaming of the girl he lost, startling himself awake and just being like......damn....... it perfectly follows up I Get Along Without You Very Well because even when we convinces ourselves we're doing great, there are these moments where memories just force it upon us to reflect and it almost starts the cycle over again. Can't We be Friends? Classic Friendzone. Love the jazzy vibe of this song and again, absolutely relatable. Timeless. These songs are just so relatable for anyone that has gone through a breakup and Frank did a fantastic job of covering so many nuances of what we go through. One particular note is that he doesn't seem to particularly disdain or hate the women who broke his heart, he's just heartbroken. At least the album ends on a hopeful note as I'll Never Be the Same and This Love of Mine are both decidedly hopeful. I learned after the fact that Frank didn't write this stuff, which is a same. But everyone that worked on it did a phenomenal job.

I have no clue how someone could conceptualize this album in 2006 as a 24 year old because it sounds like it's from the 1500's and we're on a pirate ship sailing the seas. There is such an incredible whimsical approach with lyrics that are more similar to Ye Olde English than anything we typically hear today. Her metaphors and analogies are so unusual that it makes it difficult to keep up with what the heck is going on in any of the 10+minute songs. Use of vocabulary is exceptional because it's just so out of place for today. This really is musical poetry and each time I hear an unusual analogy, I have to go back and try and figure it out. Like in Monkey & Bear, when the bear is frolicking in the sea and the bear's shedding it's clothes, which "fell off as easy as if sloughed from boiled tomatoes". Ok it's easy when it's written, but when you randomly hear her talking about boiled tomatoes in a song, you wonder how we got here. Also, she plays the harp. WHAT?! Honestly it seems unfair to have this album on a list with some of the more vapid, well known singers. Popular singers certainly have more public sway, but in terms of true artistic ability and value, I find this album on a completely higher plane.

This is my first time listening to Elvis Costello. Caught off-guard right from the first note with how bad this record sounded from an audio quality perspective. It made sense when I read that the entire album was basically recorded "live" in a studio and in one take because everyone hated each other. So they just set up the band as if it were on a stage and recorded it, so none of the audio was isolated. I feel the acclaim that it receives due to its sound is a bit unmerited because it was done completely by accident simply because everyone hated each other and wanted to get it done as soon as possible. It's not attributed to any genius or forecasting for future grunge, it was thrown together to push an album out. It is unique in that it does sound like a live performance, which is cool. Other than that, I think saying you should listen to 6 Elvis Costello albums before you die is a bit.......insane. The album is good, the music is good. That's about it.

First Beatles album i've ever listened to. What strikes me right off the bat is that it's a bit more rock and roll than I expected. Honestly my only other experience with the Beatles is slow songs like Yesterday and Hey Jude, which although are classics in their own right, i'm sick of hearing. So something with a bit more tempo is appreciated. This album is basically the result of The Beatles getting sick of everything and everyone, including they're psychotic fans, going out to "find themselves" and evolving....with the help of drugs. I love that they started trolling their fans with this and there's almost a mocking tone of "This is how we are now, deal with it." that really pushed peoples perception of The Beatles and pop music in general. I can see how it connected with the youth. This is definitely the catalyst to the free spirit "Peace and love" era of the 70's. Completely revolutionary, and LSD experimentation seems obvious in the tracks. From the India influences that show up in Getting Better and Within You Without You; and the weird little twangy alien voices they use in Lucy In the Sky With Diamonds. This album probably hits different while on acid. There's a couple songs that stand out in Being for the Benefit of Mr. Kite with it's carnival sound, and When I'm Sixty Four with it's weird old school Mickey Mouse up and down plodding around sound. Within You and Without You as well, just incredibly unique due to it's Indian sound since one of the members went to India to study the Sitar during their sabbatical. Within You Without You is transcendental in meaning and sound with it's Indian mantras. Just really cool hearing a band push the boundaries of peoples expectations and then see how it really impacted people with the 70's hippy movement. Lyrically, there's nothing super revolutionary as they seemed to get inspiration for songs from just random stuff anywhere from a parking meter attendant to stories they saw in the tabloids. The musical choices made to accompany these humdrum lyrics is what's really interesting.......which I guess still rings true today. Doesn't really matter what you sing about as long as the music works. Within You Without You and A Day In The Life have the most powerful overall message. A Day In the Life gave me goosebumps.

One of the reasons for doing this list is because I have never been able to have any really contextual relationship with music from previous generations. Household names that I know, and i've heard some of their songs, but never really knew. Or songs that I know, but no clue who sings it. Starting off...I didn't know Ziggy Stardust was a David Bowie song. I didn't know about this whole alter-ego thing either. Apparently I just didn't know anything about Bowie at all and it's hard to separate some of these legends that you just know as old men decades past their prime. This definitely has a rock opera feel and it's a shame that it was never realized as a proper rock opera. Rocky Horror Picture Show came out a few years after this album, and there are some definite similarities. The concept is that Ziggy Stardust is basically an alien that comes to save Earth from destruction. Each song more or less follows Ziggy Stardust through his journey. It's a bit hard to follow, which makes sense since the concept was decided after the fact. Overall the album is great. It's an original idea, with creative lyrics and great sound. Five Years, Starman, Moonage Daydream, Ziggy Stardust. This is an iconic album without the concept part, but the Ziggy Stardust alterego ties it together.

There is still something about how solemn and passionate his voice is that is incredibly impactful......and yes I know that is Johnny Cash in a nutshell. His voice just kinda affects you even though it sounds like an old man singing to himself in the corner of your living room on a lazy-e-boy. Cash lived a lot of life in his 71 years and this album does seem to be the culmination of that. Just bearing his soul here. Of course, The Man Comes Around, Hurt, Give My Love to Rose, I Hung My Head are incredibly powerful songs, especially with Cash singing. I'm not a huge fan of an album of covers and re-recordings being on this list, but after finishing, something about it feels ok. Obviously Cash's swan song before he died (let's just ignore that he's still releasing albums from beyond the grave). I think what makes this album special is the fact that it is his last album while he was still alive, the massive amount of collaboration with other artists that went into it, and the sheer emotion at which he was singing these songs knowing the end was coming.

This is a rare album that gets better as it goes on. It starts off very punk, but as it progresses, the lo-fi elements really come into play. A ton of female empowerment and reality from a woman's perspective that is really important even in situations relatively innocuous. Soap Star Joe - great song mocking the typical local idiots that think they're hot shit. Divorce Song - Great song about Shatter - wow, there's that lo-fi sound. Very entrancing. Flower - another great sound, really letting loose, basically objectifying some guy she wants to sleep with. It's funny how much this one sticks out but there are so many songs with rock stars saying the same type of stuff about young ladies. I'm fine with it, and think it's great to have a song that shows these thoughts go both ways sometimes. Expressing these inner thoughts is great. I'm a bit surprised with how uneasy I was during the first couple of tracks, and then how much I was enjoying it as it progressed. It's an hour long album and it was an awesome album with a lot of depth and nuance. Really stands on its own in terms of sound and expression. I can only imagine that many people try to compare this to No Doubt, but this album is much deeper and intricate than No Doubt, who is more of your proper punk band.

So this album popularlized the "Bakersville Sound" combination of rock and honky tonk country, which influenced more modern country sounds. You can really hear that guitar electric twang that is associated with this sound and at this point is considered synonymous with country music. It's why this album sounds like the most cliche country album of all time; but this album created what we know today to be the cliche. I like the Streets of Laredo with it's deep bass chorus that really sticks out. Surprised this song isn't bigger. Overall i'm not really a fan, but I can appreciate how this album has influenced an entire genre 60 years later - for better or worse.

This album was difficult. I've already heard Songs in the Key of Life, which imo was a much better album, but I guess this was the album that allowed Stevie to transition into "Stevie Wonder". So it's interesting to hear Innervisions after Key of Life because IMO it's not as good......BUT once again, most of the albums on here are about context. This album was so revolutionary because 1) the TONTO synthesizer allowed Stevie to just mess around and do all kinds of weird stuff, and thankfully he was able to put that weird stuff into an album. Use of the synthesizer revolutionized pop music. 2) He basically did everything on the record himself. Played all the instruments with the exception of a couple guitar parts. 3) Right after the album dropped he survived a major car accident where he basically took a tree log to the face. Kind of a divine inspiration moment. I will say the music is incredibly well composed and is very complex. Seems like he had trouble just stopping and not adding another layer. Higher Ground is THE song on the album, and while some other songs do have a strong overall message, he's not very direct with it which is disappointing. This was a tough album to get through for me. I'm not a fan of R&B or soul, but there is no denying Stevie Wonder is absolutely a legendary talent.

Quintessentially 80's, but at least The Smiths have something to say. Quite a few songs seem to be critical of various people or types of people. Some of them are quite funny, particularly Cemetry Gates and Vicar in a Tutu, which I think are my favorites on this album. Funny how nothing seems to change in this world. Now more than ever are there religious charlatans seeking the spotlight for money while being the most deplorable sinners out of the spotlight. Vicar in a Tutu is expressing exactly that. Other songs are quite angsty. 80's emo music for sure, but it's a nice balance between edgy teenage angst woe is me and a valid commentary on the world. I tend to be a bit more drawn to their commentary than the angsty part, but it may also depend on my mood. I wasn't sold at first as The Queen is Dead was just way too 80's for me, but I liked the album further we went.

Never heard of this collab and it was so much fun. Not a country fan by any means, but this is way better than your classic country......because it's real country. Banjo, strings, harmonica, definitely your local barn hootenanny. This album is such a great idea, bringing together the old gen and the new gen to jam out, collab and bond for music. Kind of like the We Are The World collab. I really enjoyed hearing the bits before the tracks of how they approach the song as a way to connect the listener, because this album is about connecting the generations through music. I was scared of the 2 hour duration of both CD's, but this isn't an album you have to really analyze, it's importance is the collaboration of these great artists playing together and nailing all the songs in 1 or 2 takes.

This album was revolutionary in the earlyish days of the internet and the struggle artists have with the balance of physical and digital media and how it combats piracy. In the wake of the Napster outcry that artists had with people pirating music, Radiohead releases a digital album with the option for fans to pay what they want for it. People still pirated it, but many people also still bought the physical albums. This argument continues to this day with consumers and artists. Consumers still want to own media and support artists; but digital options mean both that you don't actually own what you buy AND does not do a great job in supporting artists in the least. We're still trying to figure it out, but in 2007 Radiohead at least attempted a new approach. That said, they could have released a complete dud with this pay-what-you-want format, but they didn't. The album is this great experimental, euphoric rock album that kind of takes you to a new world. I don't even care what they're saying, I just like being entranced by their sound. Like the music or not, the album and method used to distribute it was revolutionary in it's own right and the fact that it was a great album musically makes it an important one. There's also a Disk 2 that has been released which is.......straying a bit further from "rock" and is a bit too experimental for my tastes.

I'm really liking this album because of the trance/glitch hop/trap elements. This album was produced in 2017, and there's a lot of similarities with the modern KPOP that has crossed over into the west recently (2025) and focuses a lot on hard catchy beats as a foundation. Was Kelela the first to do this? Definitely not and songs like Truth or Dare or Altadena sounds exactly like it could be a Janet Jackson song from the 80's. I think the album is a good progression for R&B music that has, in my opinion, completely fallen flat as a genre in the last 20 years. It's cool to see how Kelela set herself apart in 2017 and I think she did so successfully. I'm really torn on this one because although I really like the album, i'm trying to justify it as being an album that you should listen to before you die vs just being an album that I like. The lyrics frankly are uninspired and follow the same R&B cliches of failed relationships and love. There's really no historical or cultural context, but I acknowledge there is historical bias. It's difficult to judge a contemporary album and it's impact unless there is an immediate cultural shift....but i've never even heard of this album or artist. I listened to it like 4 or 5 times today during work trying to figure out how I feel about it. 1001 albums is a lot and they can't all be life changing and sometimes it's just about hearing something new, which is part of why i'm working through this list. I'm glad I listened to this album for it's progressive take on R&B and mixing in electronic/Trap elements and I guess i'll leave it at that.

One of the greatest and most recognizable songs of all time in Song 2. Absolutely legendary and almost 30 years later, the song is still fantastic and you can't help but rock out to it....which apparently immediately outs me as an American. I had no idea they were this huge in the UK. For other confused Americans out there, the lead singer and chief song writer for Blur, Damon Albarn, also created The Gorillaz. This self-titled album was basically a rebirth after they almost broke up. They wanted to evolve from the Britpop scene and this album was a huge risk that paid off. It's harder, more experimental, and often times quite dark like in Death of a Party. Overall it's a great rock album and a great example of a already popular band reinventing themselves and ascending to new heights.....which we have seen so many times and is what separates legendary artists from the the status quo. It's a big risk. Much easier for a solo artist than a band.

First Springsteen album i've ever heard. I appreciate the album more on 2nd listen when looking at the lyrics. First listen, I was impressed with how great the band was, and very mixed on Bruce. Lyrics are a bit hard to follow without reading them. Band is just awesome. Back before the days of synth and digital mixes, it's awesome to hear proper full band rock out. Harmonica, Sax solos, very different from rock today. I'm not sure how I feel about Bruce. On some tracks his voice is ok, but others it just sticks out way too much and doesn't fit. Like Randy Newman doing rock. Anyway this album was I guess Springsteen's real "coming out" album and I can see how it would connect with a younger generation from it's storytelling. I like that the album doesn't focus so much on success with money and relationships, but more so on taking chances, and with that there is success and failure. In this regard I liked Thunder Road, Backstreets and Meeting Across the River, and Night. Thunder Road - Asking the girl to take a chance and go make their own lives together elsewhere. Backstreets - 2 friends that just kind of lost their friendship over time and missing that old connection. Meeting Across the River - Down on his luck criminal just wanting the chance for that big score to make it. Just a cool perspective. Night - Work sucks. We're all just working away for that bit of time to enjoy our lives. Overall it's a great album, but something about Springsteen bothers me and I can't quite pinpoint it. It almost feels like a curated album to brute force Springsteen into success. Maybe because i'm not a huge fan of his singing (yelling?) and the E Street Band is awesome and overshadows Springsteen...in my opinion.

Tribe was one of the most influential original rap groups and this album still stands up today easily. What sets Tribe apart is their beats almost have this loFi, African, hypnotic chill vibe. It's not overly aggressive, especially when you compare with the rap albums that gained a lot of attention in the 80's/90's. QTip made a lot of these beats as a high school kid, experimenting with sampling other songs, which you can hear clearly in some of the songs like Can I Kick It? There are some beats that don't "work" or a bit off, but overall they are fun beats like you would make for your friends, which is what original rap was all about. Hanging with your friends, trying some rhymes and talking about just the little things in a young kids life. No drugs, drive-bys; just chilling with your friends.

This is the Kings of Leons' first album. I've never listened to them and tbh I don't find that this album has any songs that really stick out individually for me. Overall, the entire album is very catchy and fun and has a real garage band vibe that is great and would probably be great live. I think the album is a great representation of garage rock that isn't common anymore. KOL would be awesome at a smaller venue where you can have that real hometown, local show experience instead of a sold out MSG type experience which is completely impersonal.

This album is quintessentially 90's. There's a lot going on, transcendental guitar rifts, random influences from Arabic, Indian, Spanish, as well as some "tribal" elements......whatever that means. It's got a cool vibe and this is definitely on this list as a "this is some weird cultural fusion music". It was just what I wanted for today to be honest, just a nice vibe that I don't have to think too much about. There's a transcendental and spiritual feeling to it that are catchy and each track has it's own "cultural element" to it. It's not bad, but i'm struggling to think of a situation where I would sit and listen to this kind of music.......other than because i'm doing this list. It's it's own thing, which is cool.

Put the lime in the coconut! Another song that I had no idea who sings this and if I ever did look, i'd say "Who the heck is Harry Nilsson?" and move on. Pleasantly surprised when it came on while listening to this album. This album is all over the place and it was difficult to peg just what type of music I was listening to. From pop to jazz to emotional ballads to the humorous "Coconut", it had a bit of everything. Hard to believe Without You and Coconut are on the same album......let alone consecutive tracks. It's grown on me after a few listens and the album cover gives Marc Rebillet vibes.....so i'm going to imagine that Harry Nilsson is just as playful and goofy.

Hard to believe this is The Doors debut album with Break on Through, Light My Fire, The End. The Doors have always borderlined "eerie" for me. Their weird psychedelic sound just feels like Halloween for me. Great album. Can't imagine what Vietnam war movies would be like without The Doors.

Some clear jazz and reggae/funk elements which make it a bit unique and the music is very solid. Becker on the guitar is awesome, which is what stands out the most for me. I am not familiar with Steely Dan and they kinda feel like the Coldplay of the 70's: huge following but meme'd on by everyone else. I've read a lot of opinions from Steely Dan fans on why they love this band, and I can hear both sides, although it's starting to parallel Rick and Morty fans when they start talking about you need a "higher intellect" to understand Steely Dan. You don't, you just need to get passed the overall bland music to get the points....which is why people often refer to this as "dad rock" or boring. As musicians, they're great; but it just feels out of balance to me. Like it's missing attitude or an edge that forces you into it. Maybe that's soft rock as a genre in general. All this to say that I am acknowledging their talent and that many people love them, and that it isn't for me.

What the heck am I listening to? It really feels like the result of the puppet Dracula rock opera that Jason Segel's character was working on in Forgetting Sarah Marshall....except every scene is an uncomfortable sex scene. Although I do like Middle-Class Heroes where it starts off being a fedora tipping weirdo and then basically predicts that the girl is just going to be a complete loser after finishing school, popping out kids and not really doing anything; which of course, is a commentary on the struggling middle class in general. The album grows on me the more I listen to it. I can see why Neil Hannon has been involved in TV and musicals because he's a good storyteller and writer in a way that translates well to visual media. The orchestral addition to the album really adds to the fantasy, which is what makes it feel like a rock opera. Through a Long & Sleepless Night has great imagery and captures the depraved insanity of this insomniac........then the transition into the Casanova Theme which is just pleasant and reminds me of the MASH theme song for some reason. I dunno, there's something about this album that I really enjoy and is similar to The Rise and Fall of Ziggy Stardust in that it's such a visual album that it would be great on stage. I think it's easy to get the wrong impression about this album and the lyrics because you're hearing snippets that are quite.......questionable; but the actual song

Syd Barrett's debut album after getting kicked out of Pink Floyd after he completely shut down mentally. Seems like this album was completed with much difficulty as well. I got to say, I am really not a fan of the 60's style, muffled, echo'd vocals. There are moments in many of the songs where he's just sitting there strumming with no vocals, which is so weird. I'm not sure if that's a stylistic choice or not, but it's really noticeable and makes it feel like there's something missing or he completely spaced out and they just didn't edit it. Golden Hair really stands out with a definitive psychedelic sound. Best song on the album for me. B Side......wow, why was this included? 《If It's In You》He is completely out of his mind and incoherent. Very hard to listen to. It's tough to grade this. It feels like we are looking back and almost romanticizing a man going through a several mental health crisis and being driving by the studio to complete an album. The other problem is the more I listen to it, the more it grows on me. At least side A does. I think if you're going lose your mind, there is something strangely poetic about losing it with psychedelic music.

I wonder who named the Ray Charles albums? He debuted in 1957 and this album released in 1959....and was his 7th album. 7 albums in 2 years is a bit ridiculous. I do like the jazzy blues that they have with the big band. There's a huge difference between A Side and B Side since it's big band brass vs strings and i'm a bigger fan of the A Side. B Side is just too slow and too Bluesy for me. I wish Ray's piano was more of a spotlight instead of more of an accompanying piece. Am I Blue? really stands out as a very emotional piece. Ray has a perfect voice for the blues.

Springsteen again. I think in terms of "shut your mind off and enjoy the music" it's ok. E Street Band is still awesome and i'm still not sold on Bruce. Can't understand him at all, and he's either mumbling or screaming and it just doesn't do it for me. He still just seems fake to me. Like he was intentionally writing songs with the purpose of resonating with "working class people" when he's never been anything of the sort. Pandering. The politician of music. Not a shocker when Born to Run was the hail mary "succeed at all costs", marketed out the wazoo album. Don't get me wrong, the music is good enough, just not a fan of Bruce's singing or his writing. BUT if I just shut my brain off and don't think how much of a blue collar poser Bruce is, it's enjoyable. Maybe i'm missing something, but I've never listened to Bruce before this list and i've had the same feeling on both this album and Born to Run.

Interesting album. Never listened to The Cure outside of some hits (Friday, I'm in Love), and what an interesting contrast. This album is very minimalist and dark. Not a whole lot of singing and the tracks are so eerie. A couple of tracks with lyrics that had to have been singles, but they really stand out in an album of creepy dark ominous tones. I respect it as it's pretty unique, but it's a bit difficult to casually listen to outside of the singles.

Although i'm not a huge fan of the blues, I can really appreciate what Tom Waits is doing here. "Contemporary" blues that still has that "everything sucks" feel and he's a great storyteller for these downtrodden scenes. In the Neighborhood is so upbeat as he sings about how much everything sucks in the neighborhood. There is a bit of dark humor in a lot of the songs and the way-too-much-detail poetic style is part of that. It's also in Shore Leave and Frank's Wild Years. Such a good voice for this style of music as well. I can't imagine him doing any other style of music really. His voice is just THE blues voice.

I've only heard Howlin' for You from this band, I think from MLB The Show. Sometimes I'm looking at the critical acclaim for albums on here and see "Was named one of Spin's top 40 albums of 2010." So this wasn't even the best album of 2010 according to Spin....it was #30....soooo what about all those albums more acclaimed than this one from 2010? Are those albums on here too? It's a good rock album, but sometimes I'd like a bit more explanation on why this album specifically was chosen because i'm missing something. There is a bluesy vibe, but I don't think this sound is super unique at this point. Maybe it was more unique in 2010? The music is pretty good, but i'm not really finding anything beyond that. In terms of albums you should listen to before you die, I'm sure I could find a better one not on the list that might give a more unique perspective to music.

While listening to this album, Don't Stop just kind of caught me. It's such a weird style of psychedelic rock that sounds like they're playing backwards. It's the type of thing that sounds super cool in conversation but is incredibly hard to pull off, and it works in this song. The Stone Roses I guess pioneered the "Madchester" sound, which is like raving, psychedelic rock which was prominent out of Manchester UK. It does have a late Beatles, 60's hippie movement sound. No surprise people like to get high, party and listen to weird music. Really sounds like something from the 60's, early 70's. There are still a few songs that are traditionally BritPop, which are also the weaker songs on the album in my opinion. Britpop is just.....not for me..... Overall a solid album and really cool. Doesn't feel like 1989 when listening to it.

Adele's 21, what a huge album. Rolling in the Deep, Set Fire to the Rain, Someone Like You, Rumour Has It, are HUGE and were all on this album. Adele has such a great "lower range" voice makes her sound so much more powerful and emotional, which perfectly suites her ballads. Of course it's a breakup album, but she is so much more fiery than the typical "woe is me, i'm so sad" style of breakup albums. Musically, there's a lot of going on as she transcends genres, ranging from almost like a doo-wop in Rumour Has It to a country (Don't You Remember) to almost like a musical sound in One and Only. A lot of range. If you're alive, it's basically impossible to have not heard the singles on this album, but it just kinda cements how insane this album is in terms of power, relateability, and reach. Great album.

Ok ok Aussie Punk. Finally something that's not US or UK based. This album seems way before it's time, with the ska-punk elements of the brass band, and is this the first punk album with a harmonica? Very interesting but I dig it and I think somehow fits somehow. Audio quality of this album is really bad though. A bigger fuller sound would be so great, so that's a bit disappointing. Overall, this is pretty much as punk as you can get. Hard sound, anti-establishment lyrics, and the addition of the brass/harmonica is great. It's even more special since they're from Australia. Not sure how known they were at the time in the US/UK, but they would have fit right in with the punk scene. Is the first reference of "crashing out" in No, Your Product? Kidding, but I do enjoy hearing phrases that have come around and are prevalent again.

Another really unique, revolutionary punk album. The Gun Club blends punk rock with a really traditional blues lyrical sound which is really cool. Similar to The Saints - Eternally Yours, these sounds just go together really well and you can hear their influence in The White Stripes. This isn't one of those albums with subtle blues....it's very overtly blues punk. Promise Me has this really cool sound that includes shaking some coins, which I haven't heard before and is interesting. Just a great punk sound and I love how they stayed true to the blues. Love the train snare on Black Train.

This album was a breath of fresh air. "Ocean music" is exactly how I would describe it. The first track is quite funky but then quickly evolves into a more experimental ambiance type ride. I found Backwater to be a really funny song. It's so upbeat and happy and positive......as they're stranded in a raft in the ocean and dying trying to keep their minds off things. Some of the tracks are so unusual and just interesting. Experimenting with some really weird sounds/tones/notes that is almost offputting but strangely enjoyable. Such as in King's Lead Hat when it sounds like he's just slamming on the piano. Hard to describe really because this album has so many different elements. It's smooth, it's ambient, there's some rock/pop elements but overall just a really fun, relaxing album to listen to. Spider and I is probably my favorite track on here, it's so chill.

The Temptations are obviously legendary for their awesome vocals, great motown and funk sounds. For people unaware, The Temptations were pioneers in creating a sound that transcended race and help bring black artists to mainstream radio during segregation. Their sound inspired the Jackson 5, The Beatles, Rolling Stones.....basically everyone. Not saying these guys are copycats or lack originality, but it's the nature of art. You hear something new/different and want to incorporate parts of it. Like the funk in this BUT just not a fan of the falsetto wailing. I know that's kind of a part of it in this time period, but there's something grating about it. I do, however, love the deep bass vocal interjections and the bass guitar riffs. Psychedelic funk though? I'm not sure. I hear the funk. I'm not really hearing the psychedelic parts. This album was The Temptations starting to transition from Motown to something new, but it definitely feels like a WIP here for sure. B Side for example feels just like straight Motown still. I'm also not a fan of Runaway Child........it's just not for me. Idiot kid shouldn't have ran away. Listen to Psychedelic Shack or their stuff post 1970 and it's way better imo. I was looking for their connection to Funkadelic because I love their album Maggot Brain....and it's post 1970. So this album is a catalyst to their transition to something more. Personally, I prefer what they evolved into over where they started. Cloud Nine isn't my cup of tea exactly, but I recognize this was an important fork in the road for The Temptations. All the elements I really like from this album are featured more prominently in their later work, and it's disappointing if people listening to this don't explore what came after. Honestly, listen to this album and then listen to Psychedelic Shack or Take A Stroll Thru Your Mind and it's shocking it's the same Temptations just ONE YEAR later.

So this is the album that helped REM blow up and of course It's The End of the World as We Know It and The One I Love are songs that everyone has heard before. And their other best known songs came on albums after. The album is very upbeat and just feels optimistic. Michael Stipe has such a iconic and recognizable voice that it's almost a detriment. It sticks out and there isn't much of a vocal range. It's like a kazoo playing in every song, you can always hear the kazoo and no matter what you do, a kazoo sounds like a kazoo. It's a good album, but a couple run-throughs is enough.

Never heard of PJ Harvey, but this album was a pretty good indie rock album. I actually have no idea how to classify all these rock sub-genres. It's not very heavy, but it's a pretty chill rock album. Very melodic and heavenly euphoric. Q Magazine had it as the top album for their Women Who Rock list...which seems....a little extreme, but it is a solid album. I like The Whores Hustle And The Hustlers Whore and We Float the best. Not a fan of the Thom Yorke songs.

If you don't recognize Carole King, you recognize her songs. She wrote or co-wrote over 100 songs that charted on the Billboard 100. This album still has the record for consecutive weeks at #1 on the Billboard 200 by a female solo artist. Huge songs on this record with I Feel the Earth Move, It's Too Late, You've Got a Friend and You Make Me Feel Like a Natural Woman. This album was Carole King stepping out and getting recognition for her incredible song writing ability, and of course, she's an incredible singer as well. Down to Earth and relatable singer.....with freaking Joni Mitchell as a background singer. To me, this is your classic 70's pop album. Slow paced, actually has something to say, great storytelling, sax solos. In terms of a daily listen, it's too slow for me, but it's a powerful album. Smackwater Jack is probably my favorite song on here because it really strikes you as real, especially in 2025. About a guy that buys a shotgun and goes on a shooting spree. He's caught after a statewide manhunt and killed by the police. The theme of the song is that you can't reason with someone that's in a rage. Could be an allegory for domestic abuse, but the point is true in general "You can't talk to a man with a shotgun in his hand. You can't talk to a man when he don't wanna understand." Not sure if it was meant to feel so heavy, but this one really stood out for me. Also crazy how You Make Me Feel Like a Natural Woman doesn't have more listens on Spotify.

This is a 15 minute album, but it feels like 45. So the Circle Jerks are basically THE hardcore punk band that had an incredible influence down the road. This album is from 1980, so it was pretty revolutionary for representing this underground hardcore punk youth. I'm sure their shows must have been absolutely wild. The members have gone on to be in other huge bands like Bad Religion and Black Flag and Queen of the Stone Age, so obviously they are musically talented and it shows with this album. Their playing is really solid so no complaints there. Musically, I think I am passed this phase of my life. Punk is such a great musical representation of youth rebellion and this album is pretty much right in line with that. Hating the mainstream, hating the establishment and basic people...and of course, drinking and partying. Honestly it's a pretty great album for the hardcore punk genre. I wish it was longer for the sake of it even though I don't really want to listen for 45 minutes. Can't take anything away from it, it's a great album for the hardcore punk scene and everything it represents.

I dunno, this album didn't really hit for me. Bad Moon Rising has over a billion listens on Spotify, but it just felt bland to me. They call it rock, or Swamp Rock, but it just feels more like country to me. I can see this album being a reflection of everyday life back in the 60's/70's and I can hear it, but it just doesn't hit. They had 3 albums in 1969. That's a bit much. They have a solid sound so it's not hard to imagine being able to churn out music, but it all just feels so safe. They found their comfort zone and they just kinda sit there. Might come across as blasphemy, but it feels like CCR is the old version of Coldplay or Imagine Dragons. Very vanilla, very solid bands that play to their strengths and produce great music, but don't expect any surprises. It's no wonder so many people still love them after so many years: because they're safe and familiar. Feels like i'm being overly harsh, but when I hear about people's love for CCR, I expect a bit more. So safe. No risks. Just easy strumming. Pretty sure someone with no guitar experience could learn any CCR song in a day.

This album is just incredible and I wasn't prepared for the range. The mix of funk and jazz elements makes for incredibly unique beats and the Beastie Boys do an awesome job of at times taking the backseat to the beat and letting it play. I really like the beat for B-Boys Makin With the Freak Freak. That weird little goat/sheep baaaah sound with the beat is weird and I like it. Not sure how else to describe it. I love that this beat is just all over the place, but it's perfect for the Beastie Boys only somehow. I loved the transition from Shambala to Bodhisattva Vow. Shambala is basically an instrumental introduction and Bodhisattva Vow starts the vocal track. Really cool idea and I loved that we got to enjoy Shambala in this state. Heart Attack Man caught me off-guard as well as it's just pure punk. I love that they made this a "live instrument" album rather than traditional looping. I enjoyed the regular tracks more than any of the singles. The Singles are 100% Beastie Boys, but the album tracks really allowed them to explore a really cool hip hop sound using live instruments and it's just awesome. Makes me wish there was a Wu Tang and Beastie Boys collab album.

Happy to see some House music on here. Basement Jaxx is a staple in the genre and while I haven't listened to this album specifically, many of the songs I instantly recognize as they've been remixed and included in sets for a long time. Most people have probably heard Red Alert. What I love about EDM is that you can just shut your brain off and just feel the music. Escape from what you're doing and go somewhere else in your mind and "the music keeps playing on and on".

Never heard of Goldfrapp before, but this is such a beautiful album. The pop/orchestral music combined with the hypnotic vocals of Alison Goldenfrapp is just mesmerizing. There's really almost an other-worldly alien feel to it - especially in Deer Stop where they're using a weird alien voice that is slightly offputting. Oompah Radar and Horse Tears both give me vibes that i'm stuck in an abandoned haunted carnival; then other songs sound like the intro to a James Bond movie.

2nd REM album in 10 days. It got almost perfect ratings, probably because everyone thought the lead singer was dying of AIDS at the time and critics started connecting dots that didn't exist. Of course, Michael Stipe is still alive today and doesn't have AIDS. Overall it's a good album and IMO better than Document. I can't help but think the overall rating is inflated due to the rumors that he was dying. Obviously, it's an emotional album, and a great album, but let's not get carried away. Their singles are still simply iconic, there's no debate about that. Everybody Hurts is an incredibly emotional and relatable song and probably still resonates with new listeners. Favorite songs are New Orleans Instrumental No 1 and Sweetness Follows.

I don't think there's a band out there that has a more iconic cover art and title style. One of the most influential heavy metal bands and you know you've made it when sensitive Christians start burning your albums for reasons they just conjured up. They first started burning albums in 1966 when the Beatles said they're more popular than Jesus, and the Christians had so much fun buying albums to burn that they kept looking for excuses to do it afterwards. I do like that this was back when there was an actual singing element for metal compared to now which is mostly incomprehensible throat wailing. There's a nice melodic progression to the songs that is very heavy, but still very musical. Make sure that you listen to Sanctuary as well as it's left off the 2015 remaster on Spotify. Although Iron Maiden wasn't the first heavy metal band, they are quite possibly the most influential on the metal genre as a whole, inspiring bands like Metallica, In Flames, Anthrax, Alice in Chains etc.

The Special Edition version's sound quality really sucks. The Steven Wilson Stereo Remix from 2011 is much better. The Yazz Flute scene in Anchorman when he screams out "Hey Aqualung!" finally makes sense. There are also flute solos galore on this album for any flute aficionados. The big thing with this album is that I guess it was assumed to be a concept album and everyone said it was a concept album.......except the people who made the album. Whatever though as it caused the band to blow up so I guess they can't be too mad about this. Love the artwork of the album as it tells a great story in it of itself. The music is great, very folk Rock and the flute solos are something else. Worth it for the rock mixed with flute alone.

I've only heard the Sgt Peppers album from the Beatles, and it makes me a bit fuzzy on the timeline when bands release albums every year and limited stuff can happen during this time. So this was before Sgt Peppers and after The Beatles pretty much got sick of the status quo and started to rediscover themselves. A lot of LSD, but before Paul McCartney tried it - He tried it for Sgt Peppers. This is the "Beatles are bigger than Jesus" album. It seems like more of the beginning of reinvention and self-discovery. Testing the waters for what can be accomplished in music from the use of non-traditional instruments to studio production techniques to the straight up invention of ADT (Artificial Doubling Technique) by Ken Townsend for this album specifically. And the ADT was without hyperbole completely revolutionary and changed music forever. A good prolific example of ADT in the world is in the song Lucy In the Sky with Diamonds on the Sgt Peppers album or I Want To Tell You on this album. The alien warbling of his voice is the effect of ADT, which is applied to a lot of instruments on Revolver. So people that don't understand or like the album need to understand that this album without exaggeration revolutionized the direction of music. It's ok to not like the music, but the technical impact of the album is undeniable. Personally, I prefer the Sgt Peppers album, but this one, of course, is excellent as well. I like I'm Only Sleeping and Love You To.

This is why I like doing this list, learning about a lot of unique artists that were revolutionary but lesser known today. T. Rex, the first real Glam Rock band. I hear a lot of similarities between T. Rex and David Bowie, and no surprise Bowie and Marc Bolan were friends. Honestly this album was a real ride and I can't help but feel their live shows would have been amazing. T.Rex was an inspiration for people like Boy George, Duran Duran, Bowie and created the glam rock genre. The songs are super catchy and there's often an element of weirdness that makes it feel unique. Weirdness such as "Spaceball Ricochet" or the way Marc sings "Metal Guru" or that are just....different. Different perspectives are what drives innovation.

The solo album from co-founder of the Beach Boys Dennis Wilson. Another tragic story with a tragic end. It was interesting reading about Dennis' life, connection with Charles Manson, and downward spiral. The album seems to switch between very emotional melodic pieces and upbeat funk. The drop in Time really caught me offguard. The song is two minutes of emotional wailing and then there's this really funky beat drop for the final minute with no vocals. Overall, I can't help but think this album was "critically acclaimed" because of his tragic death. If Dennis Wilson's death wasn't so tragic, how would this album be seen? While it is beautifully composed, there's almost this "cry for help i'm literally drowning" feel; which is almost ironic since he died after diving in the ocean in December while completely drunk and drowning.

The California Sound - which went from folk/rock representing Cali's beach culture to basically representing the Hippie movement of the 70's. I'm not really a fan of this style of music that focuses on intense vocal harmonies. It's nice to listen to, but for me, it doesn't hold up well over time. I can appreciate the harmony, I just prefer to listen to something like Queen or even Bone Thugs in Harmony, who uses group harmony sporadically and with a bit more comprehensive musical focus. Don't get me wrong, it's beautiful and CSN are great musicians; but these tracks feel like the gimmick is the harmonies, which isn't for me. While listen to this record, I really do envision a simple life on the beaches in California, watching the sunset, going for drives with friends and just hanging out. It's perfect music for this kind of mood. I have to say, I absolutely hated Song With No Words. Just freaking write something instead of filling it with "duh"'s. I DID like their cover of Harry Nilsson's Everybody's Talkin'.....although it make me appreciate Harry Nilsson a bit more and I am upset I can't retroactively improve my rating of albums as the music digests over time.

Unbelievable how awesome this album is. It's got a punk rock vibe but there's such a deep musical element that makes it almost sound like a dance album. Each song is extremely catchy and has great hooks. You can't help but bob your head or sway to each track. Shirley Manson is awesome and I love her attitude even though she seems like almost unapproachably cool. It makes sense seeing that Butch Vig was in this band. Prior to this album, he also produced Sonic Youth, Smashing Pumpkins.....and of course the Nivana Nevermind album. So the talent was there to be successful, but then they found Shirley, who brought it all together. Fact is, it's not punk, it's not your traditional rock, it's not pop, it's kind of a mix of everything......which we all know "Purists" hate anything that isn't "pure". Wikipedia (I know, I know) has it listed as Power Pop, which I think is accurate. It's heavier music that appeals to a wider audience since it checks a bunch of boxes.

Sly and The Family Stone were the group at the forefront of the soul, funk, rock movement of the 60's and the first successful racially integrated, mixed gender rock group and this racial unity was kind of the theme of their music. They were kind of the hippie movement personified (peace and love) and yes, they performed at Woodstock. Everyday People was their huge hit with the theme of "we're all people, together" and was an anti-prejudice anthem. This message was prevalent in their music. The song "Don't Call Me N-Word, Whitey" was interesting and made so much sense. There's really no lyrics besides two figures, one white, one black, telling each other not to call each other a racial slur. The rest is a talk guitar. Of course, the message being that as long as we keep calling each other slurs, there's not going to be any progress made in any kind of relationships. It's said that Sly Stone pretty much paved the way for funk/hip hop/R&B and black artists in general. I think that requires a bit more of a deep dive than i'm able to do right now. I'm always fuzzy on timelines and influences, but The Temptations were also very much around at this time and they were also doing their funk/psychedelic thing at this same time, so i'm not sure who is influencing who at this point. This genre did develop at the same time though.......and required a lot of drugs. Sly & the Family Stone had their own serious issues with drugs too as it was just rampant during this era. Overall, cool band, great messages, sad demise. Musically, i'm not a huge fan of this type of funk. Everyday People is a song everyone has probably heard, and they did have a huge influence on music in general, so that is to be respected.

Another awesome album from Iron Maiden along with their iconic album art. This is the famous "Number of the Beast" album that got Christian conservatives upset (shocker) despite not looking at what the song was actually about (also a real shocker). Of course, this only brought even more publicity to the band. This album was just as good as their first album, but included Iron Maidens imo most iconic song for us normies in Run To The Hills. I was fond of The Prisoner as well as the theme of the song just feels more relatable. It's based on the old UK show The Prisoner where people are basically trapped in a government run idyllic village where people are just known by their numbers......but I think most people that work in some sort of white collar job can relate to just feeling like a faceless number. Anyway, another great album from Iron Maiden.

First thought: Oh god, another Declan MacManus album. From this point on, I refuse to use the first part of his name on principal since he stole the real Elvis' name as a marketing gimmick. I have just left this album on loop and it's grown on me almost to the point of enjoying some of it? Apparently this album was instrumental in creating the New Wave style of music that is similar to REM, Devo, Duran Duran etc that replaced punk music as the underground sound. The thought that this is considered "underground" makes no sense, but the UK has always been culturally weird. (yeah, I said it) I do like the song Less Than Zero, Waiting for the End of the World and Watching the Detectives. The rest are meh. Understand the historical significance of creating the New Wave genre of music, still don't like Declan Macmanus' music, but this album was better than Blood and Chocolate.

Never listened to Portishead despite hearing about them through the 90's. Listening to this on Halloween and the first songs Mysterons and Sour Times feel perfect for today. This album helped pioneer the Trip Hop genre which I personally really like. I spent a lot of time listening to Glitch Hop and I really get the same vibes here. A lot of hip hop inspiration from looping, sampling and record scratches that are really cool. The deep bass and drum beats on the album are awesome. When coupled with the vocals of Beth Gibbons, it creates this almost ambient, haunting sound. Someone related to old spy movies, but I don't get that vibe at all. It's way too hip hop for that. It's like an avante-garde, blues hip hop album. Really unique.

Sometimes when listening to an artist i've heard about before, it makes me realize that I just never had any real clue about them other than hearing their name. First of all, yeah......no idea Janis Joplin died in 1970.....Maybe i'm confusing her with Stevie Nicks or Patti Smith? I wasn't alive in the 70's so I can't really say i've really heard her music other than Piece of My Heart.....which I only just now learned was Janis Joplin. Don't blame me ok? I basically don't know who sings anything, which is why i'm doing this list. I've heard that Janis is basically the queen of Rock, but this album is so confusing because it's so soulful and bluesy. It is rock, but it fits in closer with The Temptations or Sly Stone than The Eagles or the Rolling Stones. Her passionate raspy vocals also caught me by surprise. Another talented life tragically cut short. I think it's natural to compare Amy Winehouse to Janis, but I think the reality is that Janis' popularity was sky high at the time of her death, which had to have been soul crushing to so many people. Hard to compare it to someone today. Like if T Swift passed away suddenly? Or Chappell Roan? Either way, i'm still not a huge fan of the late 60's early 70's soul, blues, rock. Janis definitely has a unique and special voice and I can see her influence on so many artists and it's a shame that we lost her so young. Cry Baby is an incredibly passionate song and such a perfect example of the power of her voice.

I don't really follow the music scene in France, so i'm not sure how popular Christine and the Queens are there.....which by the way, is one person. "And the Queens" does not refer to other people in the group apparently, it's all just one person. I listened to the French side first since I assumed it would feel more natural. Definite Janet Jackson and late 80's/early 90's pop vibes, which I think they were able to pull off well. It's a good catchy sound which kinda does fit in a niche group when we have seen a small synthpop/synthwave revival. They definitely channeled their inner Michael Jackson for Feel So Good. Seems like this was their "coming out" album in being a bit more secure in their gender identity and sexuality, which is why there are a lot of snowflakes upset in the reviews like this album personally kicked their dog. It definitely is a culturally important album representing a larger movement that includes the the less "black and white" side of LGBTQ that blew up around this time and continues to today. There are plenty of homosexual artists that have been huge in the industry, but fewer trans or genderqueer artists even today that I am aware of. Overall I found the album good and catchy. Although the English side was a bit hard to catch all the lyrics, the essence was still there. I didn't find it "edgy" or "in your face" at all in a way that called attention to their sexuality or gender, but still a cool album nonetheless that I would have never heard otherwise.

Who would win in a wrestling contest: Lemmy or God? Trick question, Lemmy is God. Not a huge fan of live albums, but this one sounded so polished.....then you hear the crowd and realize it's live. You also kinda get a "best of" album, so I guess that's cool. The downside is......and I hate to be "that guy".....but it just kinda runs together after a few songs. Albums allow for an ebb and flow throughout an album and for someone new to Motorhead, I wish I would have gotten the Ace of Spades album first. Yeah, it absolutely rocks and is an awesome live album......but you'll see a band live that you like......not one that you've never heard before. It's great to get a sense of the energy and how hard they rock, but bad to get a feel of full scope of the band outside of singles.

Interesting album, especially when reading about some of the lore and background behind the album that does change my perception of it a bit. Most people know Gimme All Your Lovin, Sharp Dressed Man and Legs, which are all great, but I enjoyed Thug and a couple of the other more musical tracks as well. Did ZZ Top sell out? On one hand, this was their 8th album. You can't blame a band for wanting to mix it up and evolve at some point. On the other hand, part of the transition didn't feel authentic. They couldn't even play their songs live without assistance, not to mention the calculated decision to create songs around 124BPM since analytics showed this BPM to be more popular, and then the music videos on MTV to cater to a younger audience. I liked the album overall but the background of it leaves a bad taste in my mouth. I'm fine with artists wanting to evolve and grow their music if it's authentic. This doesn't seem to be authentic to me. From deliberately choosing a BPM because it was shown to be more popular, taking away writing credits, incapable of even playing your own songs without a tape track playing I mean come on. This was a business decision to make more money. The singles were great, but the bad songs were just......really bad. Not a fan of TV Dinners or Bad Girl. TV Dinners is just lame. I mean, you couldn't come up with something better? But no wonder it sucks, it's 100 BPM! Bad Girl feels just as lame and uninspired. Just bad song writing.

Debut album of Dire Straits. I pretty much know them for Money For Nothing because of the iconic MTV music video. This album is famous for the Sultans of Swing song, which has 1.6 billion listens on Spotify. I personally don't get it. While listening to the album, the song came and went and it didn't seem like anything special. I listened to it again and still didn't notice anything special....so I dunno. I think Down to the Waterline is the better song. Honestly the guitar playing on the album is excellent and incredibly polished. Hard to believe this is a debut album since it sounds so experienced. It's a good album.

Oh my god! Thriller on a Monday morning. Got a little jolt of excitement when this album popped up. I had this album on vinyl when I was a kid and although I remember having the vinyl, I have no memories of listening to it. Funny how that works. Dare I say that this is the greatest album of all time? Not even a real MJ fan, but this album can't really be denied. Most records sold of all time (We don't count cheap "Best of" albums) and each song is absolutely iconic. In terms of cultural influence (while being a person of color), in terms of causing MJ to blow up to the degree he did and elevated to heavenly status across the globe. His music videos were like movies that told stories. The Moonwalk. All this came from this album. And just a few years earlier he was told black people on magazine covers won't sell. This was the next album that he dropped and without exaggeration altered history. Try going anywhere on the globe that doesn't know Mike. There's no one else like that in music before or since this album specifically. I can go song by song and yeah The Girl Is Mine is pretty cringe.....but it's also pretty revolutionary. Paul McCartney just dropped his first solo album after the death of John Lennon earlier in 1982 - which included Ebony and Ivory with Stevie Wonder. Then he makes a song with Michael about a interracial relationship with them both banging some girl and JOKING about which one of them gets her. Was there another song about an inter-racial relationship before this with two huge stars? Thriller - The most iconic music video of all time that is basically a movie. Absolutely incredible and game changing. Beat It - Van Halen on guitar with a classic riff and solo. Actual Crips and Bloods dancing together in the iconic MV, the group choreo. Iconic song. Billie Jean - Probably the most recognizable songs and beats ever. Michael did the first moonwalk to this song. This dude changed music and dance. PYT - We still use this lingo 40 years later because of this album. Human Nature - A really beautiful song that in hindsight kind of captures Michael's loneliness. A longing for real human connection. It's funny that as people were moving away from Disco, there is such a heavy and apparent disco element in PYT, Thriller, Billie Jean. I mean it's there in spite of the death of disco and it worked because of Michael Jackson and Quincy Jones. There are a ton of albums that have changed the direction of music, but none that have changed the world to the degree of this one. Singing, Dancing, Music videos, and culture. Michael Jackson brought people together and despite his weirdness and controversy later in life, no one can deny he is the King of Pop. If you have somehow missed his music videos, do yourself a favor and watch Thriller and Beat It.........and then watch Weird Al's parody video Eat It (Which MJ also loved).

No idea what i'm getting into with this one, but the album cover sure has a lot going on. Flute solo a la Jethro Tull in River to Consider. Can never be mad at a random flute solo in a song. The album is very solid and a great modern example of progressive/psychedelic rock. This album would have fit in perfectly in the early 1970's with the many progressive/psych rock bands that were everywhere. I love the focus on the instrumentals and it doesn't feel too cluttered or forced with lyrics, you can just enjoy the rock. The fact that they're all great musicians and sound incredible is kind of a given here. They sound great and it's a great album. That said, they're not really pushing the envelope or reinventing anything, they're just a solid band. I commonly hear stuff like there's no rock bands anymore......well here you go.

When I think of the indie-folk stuff that was emerging in the 2000's, this is pretty much what I think of. A collection of random topics and events that centralize around Illinois were thrown into a hat and Sufjan picked some at random to make a song about. It's like he was playing Cards Against Humanity: Illinois edition. Just because he wrote a song about something obscure like a random UFO sighting, doesn't mean that it's a good topic to write a song about. Props for making songs not about the cliche topics, but good song-writing and creativity to me means a bit more than flipping to a random page in the Illinois Encyclopedia Britannica and making that your song. Now that that's out of the way, what IS extremely impressive is that he pretty much made this entire album himself. The music is composed beautifully and it's incredible he did it all himself. It really is a beautiful album, BUT it's also not something I could really listen to after today. It feels like an academic version of a music album. Like reading The Catcher in the Rye in class and studying it even through the book is not entertaining at all and you're slogging through it specifically with the intent of writing an essay on it and then selling the book off. Of course, there's always one pretentious weirdo that thinks The Catcher in the Rye is their favorite book.

Slacker rock is pretty accurate. This album feels more like some high school friends making an album than a professional effort. Not necessarily a bad thing by any stretch as there's something to be said about a down-to-Earth relating-to-their-audience type of work. In mood and theme, it's closer to punk than rock with great "high school energy".

Mixed feelings about this album. On one hand, the history behind it makes Paul Simon seem like a real piece of garbage. Basically Heidi Berg was like "I love Afrikans music and want to make an album that uses South African music and influences, this tape is kinda what i'm going for." Paul then listens to the tape and is like "LUL GOOD IDEA THANKS FOR THAT I"LL TAKE IT FROM HERE, NERD!" Real dick move. This was also made during the height of Apartheid, the period of extreme racial segregation in South Africa. Huh...sounds familiar....I wonder if any other countries did something like this? Only this time the world grouped up and tried to completely boycott all things South Africa until they stopped. There were also economic sanctions. Queue Paul Simon going to South Africa to make his stolen idea for an album a reality. Many people were upset. In hindsight, boycotting all cultural and artistic elements of South Africa was completely idiotic. The black citizens were suffering and it should have been encouraged to work with the indigenous population rather than also boycotting local black artists. It does feel a bit like appropriation, and I think he gets away with it specifically due to the complete global boycott of South Africa. We Are The World just came out, which was Michael Jackson and Lionel Richie's charity event to raise money for the famine in Ethiopia which was HUGE and included basically every famous singer ever and raised the today equivalent of $230 million. So Africa was hot and it was the perfect time to rebel and go to Africa to record an Africa-influenced album and also shine the light on some of the horrible stuff still going on there. So that is why this album is important. I totally get the "appropriation" angle, and agree to an extent; but there wasn't going to be a South African artist emerging to represent their culture at this time specifically because of the world's complete boycott of all things South Africa. But it's irrelevant. The FACT is that Paul Simon made it and DID bring a incredible amount of awareness and appreciation to African music....and he ALSO profited greatly off 1) Stealing another persons idea verbatim and 2) Taking the music of another culture and selling it under his own name. But if we hate Paul Simon for this, then there's a long list of other artists we also have to hate for doing the same thing.....The Beatles for example for appropriating Indian culture and music into some of their later albums. It's kinda what the industry does. So we can take it for what it is and use it to transition into supporting more authentic artists. Listen to a Ladysmith Black Mambazo album or two after this. Shaka Zulu or Zibuyinhlazane, which has the song Homeless without Paul Simon. With all that soapbox stuff over with......god Paul Simon sucks. I'm just not a fan of his style at all. I do like the African elements and the music in general......but I just do not enjoy his personal style of lyricism and singing. Ignoring the history and drama behind this album, I think there is a number of artists that could have done a better job. I have to give it a 3 for bringing the normie worlds attention to music in Africa, but it doesn't deserve any more because he stole the idea for this album from someone else.

Finding this album entrancing to the point of making me fall asleep. I thought I was going to hate it, but it's strangely mesmerizing. Yet another tragic story of a talented musician's life cut short. Hard to describe why I like it so much. Simple melodies, his soft voice. It's monotonous and he tends to hold his notes for too long and too often, but something about it just kind of hits. The melancholy nature of it just makes me kind of sit here and.....feel....and then I drift off.

Not a very impressive album really. This was George Michael's "Please take me seriously as an artist" album, but it just falls flat for me. He's a good singer, the album is produced well, but it's completely forgettable outside of Freedom! This album also pre-dates all the George Michael weirdness and the AIDS epidemic of the 90's. He definitely had his issues later in life, but 1990 was what should have been his peak, just coming off the success of the Faith album. But this is what he came up with.....which was supposed to have a Volume 2....but Volume 1 was so lackluster they saved themselves the humiliation of a Volume 2 that was probably also nothing by ballads.

Probably the most anticipated album on this list, and I can honestly say this is my first time listening to it. Of course, i've heard all the things like syncing it up with Wizard of Oz and all that stuff, but never listened to it. First, the continuity and track transitions are flawless. I love with one track seamlessly runs into the other and every song on this album does a wonderful job. The album was gripping from start to finish. I love the psychedelic nature of it where you can just get lost in the music. Lost in thought. A musical trance. I like that most of it is without lyrics. I like the theme and concept of the album, which is probably why it resonated with so many people. Yeah it sounds great, but the theme is problems that every day normies deal with.......not just Pink Floyd. Time, Money, Mental Health, dying, all these stresses that plague everyone. We don't need a metaphor for it when it's constantly there, looming. I love that they use the snippets from the interviews with people in the studio throughout the album, which adds to the grounded nature of the album. Not a fan of the intro to Time with all the alarms going off. Come on, that's just wrong. How am I supposed to fall asleep to this album? Other than that it's just wonderful. The harmony with Wright and Gilmour in Breathe is insane. First listen I figured it was a recording technique like in The Beatles Revolver with ADT, but it was two people......that sound the same......in harmony. Really cool. I am less of a fan of the song Money though since it really breaks the psychedelic theme of the record. But what do I know? Money is the most listened to song on the album. I mean the song is fine, I just don't think it fits in the album and definitely sticks out in a bad way. Pulls your out of the contemplative mood that the entire album puts you in to play a "dad rock" radio hit......and then Us and Them lulls you into the mood again. A-side would be perfect without the stupid alarm clocks ruining my day. B-Side would be perfect if they replaced Money with a song that sounded a bit more consistent with the rest of the album.

I think Brian Eno is one of those guys that fly's under the radar (pun intended), but has had such a huge impact on music. The father of ambient music, coining the "ambient" term with this album. Without this, would we have modern day lo-fi, chillhop, trance, EDM etc? These genres are so widely appreciated today for work and study spaces and it's awesome being able to listen to the albums that started it all. I've listened to Brian Eno's Before and After Science, which I really enjoyed, but learning a bit more about him, he's really up there in GOAT status in the music world. I really enjoyed this album exactly for the reasons why he made it. Calming music that is just kind of there while you contemplate. It's the same reason why I enjoy trance music (also thanks Brian for your influence on that.) Anyone that says the music is "boring" is missing the point of it. In today's world, it's common for people to turn on the tv or have a podcast in the background while they're not paying attention to it. Why? There's some psychological and emotional comfort in having some type of noise. The audio stimulation helps people relax and reduce anxiety. Queue ambient music. It provides this stimulation without needing to listen to lyrics or interpret the meaning behind songs. It's just there, supporting you while you go about your business. My co-workers have white noise machines that they use at their desk to break the silence. While I sleep, I play audio of rain and thunderstorms. These are all ambient ideas that originate from this album. It's not in music form, but the exact same idea all originated from Brian Eno, and this album coined the term. Just really cool to find the source of something that you've never really thought about.

Trying to remain neutral here, but while this guy is singing, for some reason during Victoria and Yes Sir, No Sir, all I hear is a British Patrick Star from Spongebob. It's a decently fun album, but nothing revolutionary. Just a fun album. I wonder if this album had any influence on the David Bowie "Rise and Fall of Ziggy Stardust and the Spiders from Mars". Titles are similar enough and they're both "rock operas". This album preceded Ziggy Stardust by a couple years, so it seems plausible, but I can't find anything about it. I originally thought this album was a concept album that started with King Arthur to "modern" England, which I thought was a cool idea.........but.........it's actually much more boring and about his sister who moved to Australia with her husband. I wouldn't watch this rock opera, but the music was good enough.

This reminds me of an unironic version of The Divine Comedy's album Casanova. I Spy sounds similar to Through a Long & Sleepless Night...........although Casanova came out a year later. I guess this is the period of overtly sexual cringe vampire Britpop. Pulp sounds a bit like Keanu Reeves with a British accent at times. It's catchy music and i'm sure Common People was the quintessential Hugh Grant movie theme song, but it doesn't hold up well at all imo. Just sounds too much like horny, edgy teenagers "rebelling" by openly discussing sex and just sounds juvenile. But I get the appeal for the horny, edgy, teenager demographic that then became the emo demographic. Aside from the edgy lyrics, the actual music is great and pretty fun to listen to. I'm giving this one point higher than I think it deserves just because I think this album is probably the crowning "achievement" (if you can call it that) of the Britpop era........and then the genre died; for the betterment of the world. It's produced well and I like it a lot more than than the Oasis/Blur petty rivalry that dominated the era. Overall I still prefer The Divine Comedy's Casanova because of the orchaestral elements and I think Neil Hannon did a better job of having a "please don't take this seriously" vibe. Pulp was also creepy, but the vibe felt like they were actually serious, which is ridiculous.

I've listened to Countdown to Ecstasy and so far my feeling has not changed at all about them: Great musicians that can produce great music, but it also just feels dull and uninteresting. I'm just stuck between hating it by default for some reason and also acknowledging that the music itself is very polished and sounds great. It just firmly in the "good musicians, nothing special" category.

I'm so happy to go from the completely flaccid Steely Dan to rock hard and throbbing The Prodigy. This is an album that really defined a genre in the late 90's and held prevalence well into the 2000's. With this album I think, high school, Unreal Tournament, CKY, that crappy movie Swordfish with John Travolta, Halle Berry and Hugh Jackman, and Blade. This album blends EDM and rock/punk in such a great way that really amps you up. Yeah, the style is a bit outdated now, but these songs went so hard at the time and were revolutionary by combining heavy rock with rave culture, and they fit so well.

I'm always surprised with how the Rolling Stones sound. This is more country blues than rock, and I always thought they were pure rock. They started recording this album, and then fired one of the founders of the band, Brian Jones, who promptly became a member of the 27 club and died immediately after after getting drunk and diving into a pool. Just crazy to think that one of the founders of the band died, and then the band kept performing for the next 50 years. 50 years! I dunno. The music is there, sounds great, but the style is not for me. I get why people like it, but it's not my style. Gimme Shelter and You Can't Always Get What You Want are the best songs on there, and the others are just too country for me. Stones are just so weird to me. They're a great band......but something feels missing to me. I think in my head, I have them built up as this legendary rock that changed everything.....and the music just doesn't live up to what they are in my head. Unfair to them because it's good music, i'm just left feeling unfulfilled.

If I Was Your Girlfriend is probably the creepiest song i've ever heard. I've read all the arguments for how this is a romantic song, but if any male acts like this with one of their female friends, they would get instantly ostracized. The song was so jarring in a terrible, pathetic way. I was initially excited to see this album on here and i've never listened to Prince before....but man......it was not for me at all. But the entire time I was listening, I was thinking that i'm sure this album is incredibly well received. Lo' and behold, it is. It's basically the theme song of the 80's, especially I Could Never Take the Place of Your Man. Not dissing it, there are some incredible songs on here. U Got The Look, Sign O The Times is incredible, Starfish and Coffee, It, are all great and deserve the hype. Prince was definitely a musical genius and one of those completely untouchable, almost mythic figures........but the duds were real duds. I hated Adore. I hate the 80's male falsetto Soul Glo sound. JUST LET IT SHIIIIINE THROUUUUGH. It just bad. Hot Thing wasn't great......and other sounds were solidly mid. Basically this album didn't live up to the Prince hype for me and maybe none of them will (Haven't heard Purple Rain yet). I listened to the whole album probably 5 times at this point and it just doesn't change how I feel about it. He's a musical genius and an absolute legend, but this album just doesn't get me going. This was kind of his "coming out" album, and i'm glad it has been so well received, but it falls short for me. Ok maybe one more listen....i'm really trying here.

So having never listened to a Van Morrison album, I realized I confused him with Jim Morrison....so this album was not what I was expecting. I was expecting more rock and less bluesy folk rock. Van Morrison is also still alive. Not sure why i'm surprised by that. That said it's a great album and I love the jazz elements...and it's the early 70's so you had to throw in some yazz flute. I like the folksy LSD trip sound of Everyone. Just sounds like it would go with a crazy acid trip with rainbows and singing smiley trees and bunny rabbits as you're frolicking down a golden brick sidewalk. Like the jazzy-ness of Moondance. There are several songs on here that would be great "swan songs" like Caravan, Brand New Day, Glad Tidings. This would be a good album to listen to as you die.

First time listening to Neil Young. Wasn't a fan of CSN and the album I listened to didn't have Young yet....but how much could he really add? So this is my introduction to him.....and it's a concept album. So this album was done a couple of month after two of his really good friends both died from heroin OD's and most of the songs reflect this, or similar sad themes. You can really hear the hurt in his voice on this album as it's very raw and full of pain and emotion, which might come across as poor singing, but tough to sound pure when you're hurting. It's a good album and it sounds/feels like a personal album more than one made for the public (but why publish it?), which is probably why it was so well received. It's refreshing to see an album that's so emotionally raw and powerful.........but it's not one I can really listen to over and over again.

Oh FFS. I just had to endure Paul Simon's cultural appropriation solo album, now I have to listen to this turd again. I'm actually somewhat ok with Garfunkle, but Paul Simon just seems to rub me the wrong way. The whole thing with them breaking up seems to be because Paul Simon didn't want to be, or couldn't be the song writer by himself. We know from Graceland, he's incapable of coming up with ideas on his own and has to take them from others, so it's not surprising he couldn't function without someone giving him the ideas for songs. Credit where it's due, once he's stolen a concept, he's a great writer but he's completely flaccid without his pills. Maybe that's harsh and maybe i'm wrong, but that's my impression of Simon at this point. That said, S&G together produced some iconic music together. Simon doesn't exist without Garfunkle and Garfunkle doesn't exist without Simon, and they were better musically together than apart. Of course i've heard their hits, and it was nice to listen to this album in it's entirety. .......and ranting again, it's unbelievable how short the songs are. average of what, 2min 20 seconds? The "legendary writer" couldn't come up with one more verse? Scarborough Fair is the longest song at 3:14 and it's the longest by a good 45 seconds. That's crazy. Silent Night / 7 O'Clock News is such an impactful song. The peaceful harmony of Silent Night juxtaposed over news bulletins which are just......tragic and depressing. When you step back though, these specific bulletins were resolved, they were just depressing at that moment in time. MLK's open house march WAS successful in helping pass the 1968 Fair Housing Act, which the previous bulletin said had no chance in passing. Richard Speck was found guilty and died in prison from murdering those student nurses. Nixon's war in Vietnam was ultimately a failure and we know that he lied to the American people about the war and the war and Nixon are viewed pretty unfavorably in history now. So there is hope on the horizon even if it seems bleak in this moment. Yeah I wrote too much, but I write these things for myself anyway. Good album, songs too short, Paul Simon sucks.

This is crazy. I was just yesterday looking at the original lineup of Woodstock 1969 and saw Ravi Shankar on there and was thinking I wonder if he's on this list. Lo and Behold here he is. Also he's Norah Jones' father! Ravi was the guy that brought the Indian influence to the Beatles albums, as well as Ray Davies in the Kinks and many others.......so this guy is pretty much the guy that brought Indian music to the West, which is just incredible. Right off the bat, the first "track" in this song is teaching about the Indian "ragas" which are basically set foundational melodies. It's why when you hear a song with a sitar or this "Indian sound" it sounds similar....because the raga's are foundational and you use improvisation to build up from the foundation. It's really cool and this first track is a crash course in Indian music theory. Really smart to do it this way for a western audience that is inherently stupid; as you can tell from the user reviews of this album here. And of course, this music was huge with the Hippies and TO THIS DAY there are huge communities of Hindus and white Americans that study mantras practice transcendental meditation that are remnants of.....Ravi Shankar and the Hindu influence during the hippie era. Ravi isn't the only guy that brought Indian culture to the west, but he had a more significant role in the music industry since he had a major influence on the Beatles and George Harrison, as well as other prominent western musicians. Keeping in mind that this is Indian CLASSICAL music, I think it is my preference for enjoying music from other cultures. The best way to enjoy unfamiliar music and instruments is to enjoy it in it's natural state. The sitar sounds great and extremely difficult to play and Ravi is a master. It's simple in that there are only a couple of instruments playing and no vocals. I'm glad there are no vocals as it just allows you to feel the music and vocals would ruin it. It's closer to ambient music or Trance music to me, which is why I enjoyed it. I don't know if this is Ravi's best album, but I'm glad one of his albums is on the list because he is an instrumental (get it?!) part of music history and culture and doesn't get the credit he deserves.

I pretty much know The Cure only from their new wave hits "Friday I'm In Love" etc and this album caught me completely by surprise with how dark and gothic it is. Basically, lead singer Robert Smith was either going to kill himself or get all his emotions out in album form. The result is this almost over the top dark and dreary album. The struggles of being 23. It seems like "Emo" accompanies Punk music and "Gothic" accompanies rock. It's the same type of "Woe is me, my life sucks" topics, but at least gothic is a bit more artistic about it whereas emo doesn't leave anything to the imagination. I really liked this album. It's such a different sound from New Wave and I think it fits The Cure so much better. It still has heavy synth throughout the album as required by the 1980's and of course, Robert Smith's voice is incredibly recognizable. I really liked Cold as it really just epitomizes that dark gothic feeling of the album and the end feels almost optimistic?

I JUST listened to Neil Young like 3 days ago and now they give me another Neil Young album. Sigh. I previously listened to Tonight's The Night from 1975 and today it's his 1972 album...which wasn't horrible. I originally wrote a review for this album that was overly harsh. After listening to it a bit more, I think the appeal for Neil Young is directly his ability to speak to regular people. He's a brilliant songwriter and his songs on this album and Tonight's the Night are relatable for normal people. He's also not a great singer. A Man Needs a Maid is particularly "amateurish" in singing ability and in many of the songs he's saved by his features....who happen to be Crosby or Stills. But I think the bad singing is what makes him a bit more relatable. He's a great storyteller and I guess it doesn't matter if you're a sensational vocalist if you can still convey that emotion and feeling. Overall I can't say that i'm a *fan* of Young but I can understand the appeal as he has a way of speaking to regular people. Old Man is a good example of this, even though the protagonist is 24, there's this dooming feeling of "getting old" and what that means and the fear of being alone. Even though the "old man" would laugh at a 24 year old having these worries, it doesn't mean the feelings are invalid. Time goes by fast and that 24 year old will quickly be that "old man". We see that today when people that are like 27 are "Unc status".

I love the albums that come way out of left field that take you down a rabbit hole. This album didn't really start acid house, but it was one of a couple innovators for acid house and the rave scene in the UK. I'm not super privy into how acid house started, but Trance has always been my go-to genre, so i'm very familiar with this music. Acid house started in Chicago, but quickly found a place in the UK and the underground rave scene. If you were around in the 90's, there were all kinds of news reports demonizing "Raves" as weird drug parties that were dangerous, almost like they were a threat to society. In reality, they were just huge dance parties with music, and yeah people did drugs, but nothing about this was new.....it was just a new name and the party would be in different locations. Although it started in Chicago, I think acid house, house, trance, techno, etc all are better represented in the UK and Europe as a whole. Once this movement took hold in the UK, it really only grew from there and even today Europe is pretty much the Mecca for dance music and it started here. 808 State was one of the pioneers of acid house and their song Pacific State (not on this album) is well known to anyone that listens to EDM. This is an album that represents a movement and a culture, and although there are a couple of albums that could have been chosen, it's awesome to see that history represented here. EDM and dance music has always been incredibly inclusive and offers an escape from all the drama, politics, religion, work and just stress in general. The point of this music is to lose yourself and just feel the music and not think about anything. It's meditative and kind of goes hand in hand with psychedelic drug use. You don't need to talk about it or have a conversation about it......just dance and let the music flow through you.

This is right up my alley. I really enjoy all types of the psychedelic rock and apparently there are all kinds of new terms for this style of music like "Shoegaze". Anyway, the style of music that just feels like it drones on and you can be lost in thought as the music flows through you. I've never done shrooms or LSD or anything like that, but psychedelic rock or EDM is what I would want to listen to when I do it. I am less of a fan of the lyrical tracks like A House, Catch the Sun. I think Doves excels with the psychedelic vibe and Sea Song and Firesuite, Rise, Lost Souls are sweet spot. Here It Comes pushes the line a bit for me. This album came at a point in time when the music was dominated by Mickey Mouse Club pop, the classic 2000's hip hop, Destiny's Child, and this album is in a completely different direction; almost a revival of the psychedelic rock from the late 60's and 70's. This sound I think kind of evolved into things like lo-fi and the psychedelic rap of Travis Scott. I'm not saying Doves inspired this, just saying that the 2000's was a revival that then took popular music and blended it into the subcultures that we see today....and Doves was part of that early 2000's movement. I may be completely stretching here. Overall it's a great album and I really enjoy this vibe...........minus the lyrical tracks. When they try to do your classic pop/rock type songs, it just doesn't work for me.

Gonna be totally honest, I think this is the first time i've ever listened to Jimi. Kinda why i'm doing this list, I know of these guys, know their influence and their legends.......just never bothered to listen. I think this album is a bit over my head. Outside of the psychedelic tracks (which I really like), there is a lot of experimentation and noodling that i'm just not sure about. That said I really liked the psychedelic tracks, Voodoo Chile, 1983, Burning of the Midnight Lamp etc. Some of the other tracks it feels like a guitar exhibition and everything else is just background for the guitar to shine. I also like the song about him hitting someone with his car (Crosstown Traffic). Of course, Voodoo Child and All Along the Watchtower are songs everyone knows and probably the strongest ending tracks to an album ever. I wasn't aware that Jimi's rise and fall was so abrupt. Basically within 3 years he blew up, did 3 albums, changed music forever, and then died at 27. Just crazy. Honestly, I say he changed music forever, but I'm just parroting what other people have said. People say that he revolutionized the guitar, but it's hard to recognize this as someone that doesn't play the guitar and has no clue where other guitarists were at at this time. If I listen to other bands around this same time period, it's hard to say what really stands out. Maybe nee a side by side. There's the scene in Back to the Future when Marty goes back to the 50's and just shreds on the guitar at the school dance and everyone stops and is like "wtf is happening right now?" Would that be the best metaphor for Jimi Hendrix and the world? This guy shows up and starts shredding and playing the guitar with his teeth and behind the back in front of Eric Clapton and everyone's just like "wtf is happening?" and the world changes.

Damon Albarn, from Blur, created the Gorillaz as an "animated band" that kind of explored all musical styles. They were completely unique when they came out and absolutely blew up. The animated style, the anonymity, combined with the super catchy beats, it was hard to avoid them when Clint Eastwood came out. For those who haven't seen it, I would suggest watching the music video for Clint Eastwood and Feel Good Inc for an idea. I've obviously heard their singles many time, but this is the first time listening to their whole album and I was pleasantly surprised by the diversity of styles that they brought. A lot of trip hop and lo-fi mixed with some other styles. Gorillaz were one of those culturally significant groups that everyone knew. I think this is a valid inclusion as they were huge and so different that it's worth checking out.

Rage is one of those bands that I didn't really understand until I got a bit older and started to pay attention to the world. They were always a great sounding rock band, but they're also so incredibly lyrically powerful. One of the first to blend a hip hop lyrical style with heavy rock. Every issue addressed in their music HAS NOT CHANGED in the 3 decades after this album released, which is just depressing. Killing in the Name STILL rings true and is even more true right now with the ICE running the streets, which is just pathetic for the US as a nation. Message is awesome, music is awesome, Zack de la Rocha is a genius, Tom Morello is a genius on the guitar. This is an easy 5/5 album and with that said, every Rage song pretty much follows the same pattern. Repetitive lines, awesome guitar solo, more repetitive lyrics and end with some verses sprinkled in there. It's a simple and predictable formula that only works because Zack and Tom are gods. Unfortunately, the "Rage" against "the machine" is pretty much contained in album form. This album came out in 1992 and could have come out today and would have equally expressed many peoples frustrations. This album is basically a Call to Arms that didn't happen and the social problems of America have only gotten worse. Shout out to the reviewer 2 weeks ago that was upset with RATM's call for violent protest, but is also unhappy with their album cover featuring the ultimate form of non-violent protest. These Boomer Karen's really just are unhappy with everything.

Last two weeks all i'm getting is Paul Simon and Neil Young. I'm sick of both of them. I've heard Graceland and PSR&T and now this album. This album was done after separating from Garfunkel where Simon, I guess, had to prove that he's an actual musician and this proved that he was capable of writing songs and making music. Lyrically the songs are open and honest. Nothing overly creative, it's like conversational songwriting. Don't get me wrong, I think there's skill in being able to communicate your emotions effectively and directly, and that's what he does.....it just doesn't blow me away. It doesn't help that i'm just not interested in his music and this album is full of cartoony melodies. In terms of albums to listen to before you die, this one is replaceable and forgettable. I get that it established Paul Simon as a legitimate artist without Garfunkel but.........ok? Great. I think we can afford to drop this album since he's so represented on this list. As you can tell, I don't have a high impression of Paul Simon.

Since people doing this list tend to skew towards closed-minded boomers, i'm not surprised this album has a below average rating. I would guess that the newer the album, the lower people rate it. FKA Twigs is someone i've just heard about in the news and think "no idea who this is" and move on. As a boomer myself, (albeit open-minded one), it's difficult to hear new artists that are coming out in droves, especially when the first time you hear about them is celebrity gossip trash news. And once again, this lists love for Mercury Prize nominees, but not the winner. I will say that I was not expecting this album to be this kind of dream pop or glitch pop. I like the song Closer, which almost like a dream version of a choral hymn, which is great. I really like this album as it's close enough to the EDM style, psychedelic genre that just allows you to flow with the music. A concert/club environment would be really cool. I've been a long enjoyer of the original trap music (not what it's become now) and glitch hop as well as EDM and GOA trance and this fits perfectly with what I currently enjoy listening to. It's not without flaws though. I think she stays in the same falsetto vocal range a bit too much and i'd like to see a bit more variation. It's a lot of airy, high vocals. Great album though and the rating definitely suffers from primacy bias.

Ah Limp Bizkit. Peak 2000 right here. When the rap rock genre took off with Limp Bizkit, Kid Rock, Tech 9. His singles were absolutely HUGE when they came out with Rollin, Break Stuff, My Way, Take a Look Around. Limp Bizkit was popular due to counter culture and a result of everyone who hated the Mickey Mouse Club bubble pop that was also dominating music, N'Sync, Backstreet Boys, Brittany Spears, Christina Aguilera were absolutely hard countered by Limp Bizkit, Eminem, Kid Rock etc. Guys like Durst, Eminem, Kid Rock at the time represented a young, working class group and they really stood alone, and there was more of an overlap with hip hop than metal. You see that with the Xzibit, Method Man, Redman, DMX features on this album. Metal bands did not share this demographic and metal fans did not like Limp Bizkit. It was a different type of aggression that appealed to the struggling middle class, blue collar workers. The whole "IDGAF, everything sucks" type of lyrics appealed to this audience. It's an angry album, immature, not deep at all, Durst's voice can be annoying, but it is a great album to represent 2000's counter culture (along with Eminem's first two albums). It is a fun album and great to rock out to in your car. It's funny that this album has always been so polarizing. It's not horrible and definitely has some appeal, it's just not something to listen to to feel inspired. It's just an angry aggressive album which has it's place. I like that it's included in this list because it really does define an era and a group of people, and the overlap and hip hop collaborations were awesome. Eminem shouted out Fred Durst in The Real Slim Shady and they kind of represented the same group of people. The only difference is Eminem went on to establish himself as one of the GOATs in hip hop and Limp Bizkit just kinda faded out along with the Hummer humvee's of the early 2000's.

Second album i've listened to by Radiohead and i'm really impressed by their style and they're not at all what I originally thought they were based on my casual experience with them. And I still haven't listened to OK Computer yet, which i'm sure is on this list as well. I like this experimental rock that almost flows into ambient rock. "Behind the scenes" this album was the result of Radiohead wanting to find themselves and trying to get away from their own commercialization. They had a large internet presence and back in the Napster days, this is a good example of Napster helping music as i'm not sure if this was really an album that MTV could promote. It doesn't feel much like traditional rock and it would be tough to sell it to the MTV crowd. Maybe i'm wrong. But in the days of Limp Bizkit, Mudvayne etc and those very few 2000's rock bands, this is a completely different direction. As a teen in the 2000's, there's a reason why this album wasn't anywhere on my radar. It's hard to find something new if you don't know that you should be looking for something. Anyway, it's a great album with an ambient/psychedelic feel that is great. There are some messy bits and at times I jumped into the middle of a song and just felt like "WTF is even going on here?" but with a continuous listen, I like the ups and downs of it, including the moments of chaos and darkness. I like the rebelliousness of doing a 180 when you're successful and this was a make or break album that almost killed the band. I'm glad they pulled through. Overall, I like In Rainbows more though.

I'm not really familiar with Leonard Cohen.....but he wrote Hallelujah. Yes, THAT Hallelujah......the one literally everyone in the world knows. This is a complete surprise because I thought this was one of those songs that was like hundreds of years old........apparently not. Written in 1984. The "hit" song on this album was Suzanne....which I do not get. I read that the first time he played it, the crowd went crazy. For this? I liked So Long Marianne better. This is as folk as folk can get really because it feels like he wrote poems and then started playing the guitar to it. So if you're into lyrical storytelling, this is probably a great album for you.... I don't know what was going on with One of Us Cannot Be Wrong with the background screaming. It seemed out of place and just weird. This song and Teachers were a weak end to the album. Overall, this album isn't for me, but he's a very poetic songwriter, which i'm sure a lot of people can appreciate.

Wow. I hate it, but what a fascinating history......with a special guest appearance of Richard Branson.....so weird. Actually it's not so bad. Faust is included as a representative of Krautrock, which was Germany's post-WWII (1960's) counter culture attempt to create a unique "German" music identity while separating themselves from both their Nazi history as well as the soft power of the UK and US. With the US and UK dominating the music industry, Germany wanted their own German culture and sound. The result being Krautrock. Makes total sense. I feel like Kraftwerk is probably the most famous Krautrock band, but maybe Faust was chosen because they had a brief moment outside of Germany thanks to......Richard Branson of Virgin Records. Briefly listen to Kraftwerk - The Model and it is 100% what I think of with German music outside of Rammstein. You really hear the electronic, synth weird style that Krautrock is going for and it's totally unique in the 70's....before Synthpop popped up in the 80's in the US/UK. Really cool. Back to Faust, there is less synth reliance in this album, and it's a lot more "rock" but there are still those weird elements in there like the xylophone and laser sounds in The Sad Skinhead. There are also psychedelic, droning elements that identify the genre like in Jennifer or Krautrock, the first track. The first track for me......is just horrible. It's like a 12 minute intro to something that never happens. Jennifer and some of the other tracks are more tolerable though. I know this is kind of a characteristic of the genre, but holy moly some of the tracks drone on and on for way too long. Krautrock and Giggy Smile could just cut off by 75%. It's A Bit Of Pain.........includes a bit of pain, which is incredibly obvious when listening to it, so I guess it's aptly titled. What a troll song. It's a weird album, but I love being able to learn about some of these sub-genres and the history behind them. Again, Faust probably isn't the best representative of this genre, but probably one that is most agreeable to "the West" (meaning the Cold War West). Glad this is included rather than another Elvis Costello album.

“Stop Britain from becoming a black colony,” said Clapton at the time. “Get the foreigners out. Get the w*gs out. Get the c**ns out. Keep Britain white.” Start this off with a quote from 1976 just to see what kind of person Eric Clapton is. He expressed remorse for this by saying: "There was this sort of air of this in the early '70s. I'm not excusing myself. It was an awful thing to do. I think it's funny actually." Hawhawhaw. So funny. He also protested COVID restrictions, so he is exactly this person. But enough about the main person in this band, this is the only album for Derek and the Dominos, which was basically Eric Clapton post his other bands. Maybe it's just one of those days for me, but this album droned on and on for me. I can hear the passion in Have You Ever Loved A Woman? and I pretty much stuck it out to hear Little Wing, remake of Jimi Hendrix's song, and Layla. Little Wing was well done and great. One Rolling Stone writer said of Layla: "there are few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself that the effect of hearing them is akin to witnessing a murder, or a suicide … to me, 'Layla' is the greatest of them." Yeah.......a bit of a sociopath statement to make there. I can't say anything bad about the song, it's an awesome song with a great beat switch going from the screaming guitar to the smooth, melodic piano. The insanity of wanting a woman so badly and then finally getting her and living happily ever after, so it's really a great song and kind of makes the album worth it. Overall there are like, 3 great songs, 1 insanely good song and the rest is just not there for me. The ending song, Thorn Tree in the Garden, takes you from rock hard to instantly flaccid and wtf were they thinking? Just end the album with Layla.

The legendary Christmas album from producer Phil Spector. I'm not a fan of Christmas music, mostly because i'm sick of the same old recycled songs and that it's apparently impossible to create anything new. Sia did an incredible job with her original Christmas album, which deserves a 5/5 and more recognition, but that's neither here nor there. This is a great album because the musical groups involved did such a great job of creating a classic, upbeat version of all the songs. I enjoyed The Ronettes most of all, but they all did a great job. It's the kind of album you can put on during Christmas and not feel horribly depressed. As far as Christmas albums go, if I have to put on an album of the classic Christmas songs, this is the go-to. But if it's just me, i'm listening to Sia's or Kaskae's Christmas album.