Very stereotypical “classic rock” record. But to be honest, doesn’t really grab my attention like other “classic” albums. Pretty middle of the road for 60s/70s rock. Short record and consistent sound throughout with nothing pushing too far out from the rest in creativity—so much so that I might even call the songs repetitive. Not sure if there is anything on this record that find the need to I’ll revisit. The recording sounds nice. Like a lot of classic rock. I give it a 5-5.5/10 Standout(s): Green River Bad Moon Rising

I’m am pretty much entirely unfamiliar with Bowie’s music and had zero expectations for this. Started off kinda meh, not offensive but unimpressive. There were a few moments of conventional songwriting that were pretty accessible. The shift halfway through to ambient, experimental sounds is where it really started to grow on me. The later tracks were did more for me than the first half. I appreciate how nothing on this album stayed past its welcome—every idea was direct and then it moved on. No chance for boredom. I could see this growing more on me with repeat listens. 6/10 Standouts: Be My Wife Warszawa Subterraneans

No thanks. Cheesy and overproduced. The charm is lost on me. Musical theater melodies, which I don’t hate, but everything else just misses. Is it a satire? I can’t tell. Everything is so campy, and I can’t tell if it’s supposed to be intentionally sarcastic. So theatrical and melodramatic, with textures as thick as cold oatmeal. The tracks drag on and overstay—the longer it went on the more I hated it. For 70s rock, it feels very shallow. 2.5-3/10 Could have done without the ASMR intro too.

I’d heard of this record before. I knew it was considered a reference quality audiophile record. It sounds awesome. Musically, I’m wasn’t sure it was my style, for I’ve tried to listen many times, but haven’t fully gotten into it. But this time, it really clicked. There are truly some great moments throughout this album. Overall, pretty mellow, which I enjoy for decompressing and thinking. But, it’s bursting with interesting bass lines, pleasing progressions, unique sounds. The longer the record went on, the more I found myself vibing. I enjoyed it more than I expected. Every time I listened to this, the more it grew on me; I found myself gravitating to melodies that were beautifully different, yet pleasing and shockingly emotive. Right now, I’m feeling 8.5-9 Standouts: The Golden Age Lonesome Tears Lost Cause Little One

Very stereotypical “classic rock” record. But to be honest, doesn’t really grab my attention like other “classic” albums. Pretty middle of the road for 60s/70s rock. Short record and consistent sound throughout with nothing pushing too far out from the rest in creativity—so much so that I might even call the songs repetitive. Not sure if there is anything on this record that find the need to I’ll revisit. The recording sounds nice. Like a lot of classic rock. I give it a 5-5.5/10 Standout(s): Green River Bad Moon Rising

Pretty avant-rock. Structures are different, but overall a pleasant tone. Harmonies and progressions are pretty unique and cool throughout each track. But it takes a certain mood and attention to get the most from these tracks. Thom Yorke is a surprise on “The Mess We’re In.” This album does sound very much like a more guitar-and-acoustic-instrument-oriented Radiohead record. Maybe a little less experimental than that, but similar vibes. Some weird choices in production where vocal peaks are staticky. Sounds like when a vinyl is cut too hot. Not for me and rather annoying to me. I appreciate some of this record (especially on the front half or so), but overall, I’m not sure if it’s for me. 4.5-5/10 Standout(s):

An interesting concept album. Very classic rock in stereo. All about about a deaf, dumb, blind kid named Tommy. It’s a really long record—overstayed its welcome, in my opinion. But the musical ideas throughout are varied and interesting. Timbre and tone of the record doesn’t change or have big swings in variance throughout the really long runtime, which make the experience remarkably linear, but on the whole a little bland(?). There are exceptions towards the end of the record where it gets a little weird. But getting there was a slog. I like the record but the “same-sy” sounds played with a bloated runtime keeps me from getting more from it. 5.5-6/10 Standout(s): Overture Pinball Wizard Sally Simpson I’m Free

Bluesy, folksy classic rock with just enough variance and changes in timber tone, and tempo to keep me engaged the whole record. The twangy guitars interspersed with clean electrics were a vibe. The vocal harmonies were a bit cheesy throughout but weren’t totally off-putting and sometimes actually did add some depth. The middle of the record was its strength, I thought. It started off a little slow and ended on a downturn, but the middle was quite good. Overall, I liked it and might revisit some of the highlights. 7-7.5/10 Standout(s): Pre-road Downs Judy Blue Eyes

Part folk, part blues, part jazz, part atmospheric rock, part bluegrass, part singer-songwriter. Great Record. Slapped from start to stop. Though the first half is stronger (after the opening track). Standout(s): Everydays (Live) Expecting to Fly Bluebird Rock and Roll Woman

Interesting. I mean, “Pictures at an Exhibition” is a classic. But there’s so many versions. I went in thinking do I really want to listen to another version of something I’ve already heard? “The Gnome” kicked that thought right out of my head. Oh man. The tones, sounds, atmosphere, just so big and punchy. Kicks you in the face in the way you want. Not forward like sometimes metal can be. Super proggy but still grounded. Just absolutely ripped the whole way through. I enjoyed this more than any other adaptation of “Pictures at an Exhibition.” Great idea, great execution. Standout(s): The Gnome The whole thing 9.5/10

Some real earworms on this album. But between the hits I found a lot of filler. Inoffensive, but couldn’t find a lot to really get lost in. Standout(s): Hanging on the Telephone Heart of Glass

Initial thought was of how much I enjoyed the sound of this record. The drums especially have a, kind of, nostalgic punch to them. Most of this records feels surprisingly open, despite the grungy, distorted tones in the guitars and vocals. But this didn’t really scratch any musical itch for me. Not bad or irritating, just not anything I’ll reach for again. And I really do like the vibe of this record. But beyond the production being pretty cool, not much for me to grab a hold of. 5.5-6/10 Standout(s): Zürich is Stained Here Jackals, False Grails: The Lonesome Era

I recognize how great this album is in the pantheon of music, but I can’t help but feel a little bit sad about how this record sounds. It sounds…old. Really holds back the listening experience, in my opinion. It’s like watching a black-and-white film. Some people love watching those movies, but it’s not for me. Hearing the microphone consistently clip with Aretha’s voice and the static drone in the background left me wanting more. Pretty easy to listen to passively even if, overall, the songs were a little same-y. I don’t think I’ll find myself revisiting for active listening—pretty good, inoffensive background stuff. If the recording sounded better, maybe I could look past the mid songs to hear Aretha. Also, I hate fade-out endings. Just end the song. 4.5/10 Standouts: Respect Dr. Feelgood (Love is Serious Business)

Production is clean, punchy. The tracks really stand out, basically each one has a distinct musical moment that just sticks. It’s not perfect and some of the songs are meandering and long. But I would like to revisit this one another time. 6.5-7/10 Standouts: This is the Day Uncertain Smile

So cool. Each track is rife with unique, exciting sounds. It’s a pretty long album with some challenging cuts, but it was interesting and ever-changing. It demanded my full attention, and it didn’t let go the whole way through. I’m glad I heard this one today. Will definitely revisit. 7.5-8/10 Standouts: Beetlebum Song 2 Death of a Party

I’m not sure I get it. It did not hit today.

I liked the tidbits explaining what was going on throughout this album. But, I can say this is not for me. Sitar drones and idiomatic plucking thoroughly wore me out with as long as it went. If I’m rating purely on how much I enjoyed this record: 1/10 My wife asked me multiple times to turn it off.

I can respect its influence on hip-hop, but it’s not my jam. I know some people find a lot of charm in this record, but it felt muddy, messy, and just not very enjoyable to me. Probably not something I’ll ever revisit.

This has some really cool moments that show off the band’s unique rock sound, with heavy grooves and riffs that stand out. At the same time, a chunk of the record feels pretty one-note, and a few tracks don’t leave much of an impression after the fact. Still, it’s a solid album with flashes that I will probably revisit. Standouts: Regular John Avon

I’m am pretty much entirely unfamiliar with Bowie’s music and had zero expectations for this. Started off kinda meh, not offensive but unimpressive. There were a few moments of conventional songwriting that were pretty accessible. The shift halfway through to ambient, experimental sounds is where it really started to grow on me. The later tracks were did more for me than the first half. I appreciate how nothing on this album stayed past its welcome—every idea was direct and then it moved on. No chance for boredom. I could see this growing more on me with repeat listens. 6/10 Standouts: Be My Wife Warszawa Subterraneans

Of the records I’ve heard on this list, this is certainly one of them. Inoffensive for the most part. Unremarkable.

Weird. Kinda operatic. The “sparkly” production kinda lost its appeal on me after the first 20 minutes or so. The record has some cool moments and it’s very ambitious. But it didn’t connect fully with me. Maybe it would another time. It’s by no means bad, in fact, it’s quite good. It just didn’t really click. Typically, I’m a pretty big prog rock fan. Sometimes, it takes time to grow on me. So I am open to a revisit in the future. For now 6/10

“Dad rock” before “dad rock.” Just impeccable recording. Everything sounds so clean, clear, precise, punchy. I found myself wanting to push the volume up—just enrapturing production. Musically, there’s a warmth to this record. Inviting, invigorating. Couldn’t stop listening and nodding my head. Something very nostalgic about it but not “old.” It’s been a while since a record just made my heart happy like this. Blues, jazz, rock, pop, bop—varied and inspired, every idea hits and is executed expertly. 9/10 Standouts: Night by Night -immaculate reeds Any Major Dude Will Tell You East St. Louis Toodle-Oo -just made me smile; Main Street, USA With A Gun Charlie Freak -really cool melody Really the whole record is a standout

Every time I hear Bowie I think the same thing: I’m not sure I like this. There’s nothing overtly offensive in this record, but it walks a thin line of being almost annoying. It’s pretty funky, but doesn’t really scratch the funk itch for me. The songs felt repetitive and stagnant—with no groove. In fact the longer it went on, the more I anticipated the end of each song. For such a heralded artist, I’m disappointed. 3/10

Soulful and classy. The harmonic colors are pretty simple and straightforward, but the melodies shine. Her voice is nuanced, intimate, and expressive—very impressive. Something about the record feels southern, maybe it’s because of the title. The arrangements of the songs got a little same-y for me; not many change-of-pace songs(the ones they had were the best of the album, imo). Easy to listen to, but a little too much filler holds it back. The high points are high, but between the peaks, I found a lot of the tracks to be inconsequential. 5.5-6/10 P.S. — I hate when songs fade out. Just end the song. Standouts: Just a Little Lovin’ Son of a Preacher Man The Windmills of Your Mind

The sound of this album was abrasive. It was shrill, overwhelming and intense. Springsteen sounded like he was shouting basically on every track. Combining a lack of nuance with overproduction, this record was noisy. There were musical elements that I liked, like the saxophone, harmonica, piano. But every instrument was attacking my ears. The musical moments that I liked were overshadowed by dense mixes. The back half of this album really saved it, in my opinion. There was more subtlety and musicality, and, frankly, the songs were more pleasing. I just wish the instruments weren’t muddy and harsh. 6/10 Standouts: Born to Run She’s the One Meeting Across the River Jungleland

Groovy, good vibes all around. A very fitting Friday record. I was surprised at the musical depth throughout the tracks. Noodling guitars, rich woodwinds, bright brass, growling bass over simple, happy-go-lucky grooves. If “_ skank _ skank” upbeats is not your thing, this might be a long record. But, besides the repetitive reggae off-beat twang, there is so much to love. Hypnotic basslines throughout, atmospheric guitars on “The Heathen,” driving percussion and horn punctuations on “Exodus,” intimate stripped-down arrangement in “Turn Your Lights Down Low,” optimism in musical form on “Three Little Birds.” And “Jamming” is a B.O.P. What a track. Fun, playful, celebratory. Interplay with Marley and the background vocals exudes happiness and energy. What a response to an assassination attempt 8-8.5 Standouts: (Basically the whole thing) Natural Mystic Guiltiness The Heathen Jamming Turn Your Lights Down Low Three Little Birds One Love/People Get Ready

No thanks. Cheesy and overproduced. The charm is lost on me. Musical theater melodies, which I don’t hate, but everything else just misses. Is it a satire? I can’t tell. Everything is so campy, and I can’t tell if it’s supposed to be intentionally sarcastic. So theatrical and melodramatic, with textures as thick as cold oatmeal. The tracks drag on and overstay—the longer it went on the more I hated it. For 70s rock, it feels very shallow. 2.5-3/10 Could have done without the ASMR intro too.

Though there’s a simplicity on this album, character is in the songwriting, conviction in the composition. There’s a rawness. Musicians just making music. The vocals sound bleak, rugged, emotional—wry and bitter at times. It pulls me in and makes me feel indignant, like maybe there ought to be a chip on my shoulder. Using unique sounds for atmosphere is very effective on this record. Organ on “Vampire Blues,” Wurlitzer piano on “On the Beach,” djembe, slide guitar, harmonica, fiddle create textures that feel intimate and stirring. Guitar solos on “On the Beach” was the best moment on the album for me. The record is kinda a downer, but I enjoyed it. There’s not really any hits, but the longer it went, the more I just felt it. Musicians just making music. I’m torn on what to rate it. I’m not sure how often I’ll revisit it, but I am glad I heard it. 7/10 Standouts: Walk-On On the Beach Ambulance Blues

I am not sure if have ever listened to this record straight through. It’s disjointed and eccentric. Textures, timbres, tones vacillate from track to track. The record never stagnates, though, as fresh ideas constantly emerge. I can appreciate how quickly they explore a musical idea and then move on. But, on the flip side, there’s some ideas that I wish were fleshed out and developed more. Not every idea hits—the sitar song “Love to You” is a big miss. But the Beatles knew how to write songs. Some masterful gems sprinkled throughout the tracklist. “Eleanor Rigby,” “Here, There and Everywhere,” “Yellow Submarine” shine as high points showing the versatility of the Beatles’ excelling songwriting. I am not a super fan of how often vocals only come from one channel. It felt like it happened way too often. Tonally, there’s a coldness and tightness to the voices, guitars and drums, like the sound is clenched—a product of the era I guess. Still leaves me wanting more from a production standpoint. It’s a classic for a reason. Some bonafide bangers, creativity galore, meaningful moments help boost past an inconsistent tone, and often underdeveloped musical ideas. 8/10 P.S. I hate when songs fade out. Just end the song. Standouts: Eleanor Rigby Here, There and Everywhere Yellow Submarine And Your Bird Can Sing

There’s something about the new wave sound profile that I just kinda like. The driving percussion and jangly guitars provide so much energy and almost irreverence. Dark, aggressive, pounding. Just from a timbre and tonality standpoint, I think I would like to revisit this record. I like sad music, I guess. The production sounds a little thin for my taste, but that’s kind of everything in this style from this era. But I think it adds to the vibe of the record, so I don’t count it as a negative. While nothing really wowed me on the first go around, I think this album could grow on me. 6-6.5/10 Standouts: Frankly, Mr. Shankly There Is a Light That Never Goes Out

This record had a glossiness/sheen to the production that was hard for me to overlook. Instrument choices and sound effects were cheesy and felt kinda silly. It was honestly hard for me to take this seriously. At its best, I view this as background music; at its worst, it was cringy and unmoving. The vocalist sounded like he had a few cotton balls under his tongue. There was also an annoying sibilance on “sss” sounds that made it hard to listen to. I will not revisit. 2-2.5/10

Ego, misogyny, and conflict. “I’ve got a lot of money and girls. Some people hate me, but it doesn’t matter cause I’m better than them.” The lyrical content is mostly un-relatable, unrepeatable, and unremarkable. The production is very cool. There is a bounce and depth that coerces head nodding. That is definitely the highlight of this record. The album was very cohesive; however, it felt to me like each track was not accomplishing anything new. The flows, the beats, the production from track to track rarely evolved or did something musically different from another. Therefore, songs began to feel too long, too repetitive, and monotonous. At over an hour, the runtime was bloated and filled with songs that were indistinct. 4.5-5/10 Standout: Heart of the City (Ain’t No Love) Renegade

The sound is kinda iconic. The problem is every song sounds the same. Very homogeneous, which gets stale after a while. The singles shine, but the deep cuts are bland and dated. So much toothless filler on this album really drags it down. I want albums to give me a reason to keep listening or come back. But as it kept playing, I found myself thinking, “Has this looped? Did the album restart?” Everything sounded so similar. I don’t see a reason to revisit. 4/10 Standout: Sharp Dressed Man

I was expecting a boring ‘60s record with generic songs/vibes. But this was really unique. Harmonically varied and sonically interesting. I love a weird album that is executed well. Folksy and psychedelic. I quite enjoyed it. 7/10

I like the instrumentation on this record. Production is raw and gritty in a good way. Songwriting is wry and bleak. It’s definitely a pretty mellow sounding, slow-paced album. Probably not gonna get your blood pumping, but not everything has to. Linda’s voice is the heart of this record—very pleasant and classic. The use of various instruments and vocal ranges to create varied and interesting textures is really the standout of this album. Makes it standout from just a standard folk-rock album. There are lowlights; some songs are a little cheesy and some tracks just get lost with uninteresting melodies and rhythm. I am glad I hear it 6.5-7/10 Standouts: Down Where the Drunkards Roll The Great Valerio

Some good songwriting throughout this record. The problem is having to wade through the plethora of shallow, uninspiring fluff. This record is too long—it’s unfocused and indulgent. Pacing was all over the place, making it difficult to digest, even after spitting it up into multiple listening sessions. There’s a reason movies aren’t 4 hours long (at least not very many good ones). The production was puzzling on this one. Some songs sounded very nice, but others had a dated sound that was hard for me to get into. I want the production to pull me in, so I can just focus on the music; unfortunately, the production often got in the way. Front-loaded record with moments of greatness, but it got lost in a mess of mediocre. 5.5-6/10 Standouts: I’d Have You Anytime Isn’t it a Pity

Groovy, funky, jazzy. Gorgeously nuanced and compelling vocals. Harmonically balanced with great diversity. There’s a coziness, like a sweater that fits just right. There is a loose, live-band feel that makes the record feel alive and intimate. Yet, it’s precise and masterfully crafted. Loved the sound of this record. Some BASS, which is nice to hear on this list. Atmospheric keyboards, big drums. Late-night, immersive, enrapturing. So many cool percussion sounds that fit in so well to create unique textures and vibes. It’s not a perfect record. Some of the songs feel bloated and some of the choices miss (like the stereo sweeps on A.D. 2000). Nevertheless, this was a great record. Looking forward to listening to this one again. Glad I heard this 8-8.5/10 Standouts: Cleva (feat. Roy Ayers) Orange Moon Green Eyes

She's a talented vocalist, there is no doubt. But this record felt like a showcase of virtuosic singing, and not a record that was focused on creating something meaningful. Aguilera felt cranked up to 100 the whole time; which is something that is not necessarily a bad thing, but felt overbearing over the entire runtime. Not a lot of nuance or subtlety. It's like any virtuosic instrument--sometimes it's awesome, but I don't want to listen to over an hour of riffing and over-singing. On the bright side, there were some really catchy tunes on this record. On both halves of the double album, there were songs that really dug in with infectious melodies and pop-py production. At its worst, most songs were still inoffensive, even if most tracks were pretty forgettable. Not enough on it to take it higher, and nothing to drag it down. 5/10 Standouts: Hurt