Only By The Night is easily Kings of Leon's most popular release as it has 2 tracks with over 1 billion streams each. Now with that being said, even with this album's extremely high merits that does not mean this album is good by any means. I think Sex On Fire and Use Somebody will go down as the only Kings of Leon songs I can genuinely get down with as they both have this catchy aura to them and some really fun Rock moments in them that really hit with myself and millions of others. Everything else on Only By The Night is very forgettable and bland, but still better than whatever the fuck the band was doing on their debut album. I really tried again to give Kings of Leon a shot here but they are just so mediocre and uninspired that I can't help but nearly fall asleep listening to the slop this band puts out. This is once again nowhere near a "must hear before you die" status in my eyes.

I have never personally heard of The Pogues before, nor have I ever considered listening to a Celtic Rock album but I guess that is what the 1001 Albums to Hear before I die challenge wants me to hear. This unapologetically Irish album is quite a trip to my American brain as the compositions here are so weird and yet oddly fitting for the album and overall performances. The only track I seem to have had any familiarity to was Fairytale of New York, which I personally don't remember hearing at all. If you don't like Irish music or Folk Rock as a whole I would suggest avoiding this album as those are some pretty heavy elements used all throughout this album. The lyrics are simple and to the point and are sang in a way that really bounces off the instrumentation from The Pogues to make a very fun and cheerful listening experience. While I am not super huge on this album, I can appreciate the craft and effort put into making this so unique. Maybe I will return to The Pogues someday, but I think for now I have definitely had my fill of Celtic Rock for the time being.

Damaged is an album from the very early days of Hardcore Punk and when listening to it you can very much tell that in the overall structure, sound, and ideas the band is throwing out. It is a very simple project much like a lot of The Ramones' work, but instead of being very simple instrumentals and bare bone lyrics this album embodies the rage and angst of your typical teenager/early adult that really hasn't been captured as beautifully in its' harsh and jaggedness as on this LP. Some will hate how raunchy and tough it tries to be while others will enjoy it for the same reasons, it is a polarizing album that still stands the test of time and manages to continue to define a phase I'd argue 90% of people have gone through or are still going through in a way that makes you feel heard. I haven't heard this album in full in easily 3 years, but upon relisten I have to say I still very much resonate with this project. Maybe it is because I am still hugely into Punk music or maybe I am just showing off my age here, either way Black Flag still absolutely slaps and so does Damaged well over 40 years later.

When I was a wee-lad, before the Bohemian Rhapsody biopic might I add, I got really into Queen and started rolling the snowball that would lead me to where I am with discovering music in such deep and niche levels. I thought today would be a good day to return back to my roots with listening to what may just be Queen's most iconic project out of a discography of iconic releases. Personally I have always favored The Works, but haven't listened in full in a decent amount of time so that could have easily changed. A Night At The Opera is equally as much Rock as it is also very operatic, this album feels full of emotions and these grand swings that showcase each member's respective skills to their fullest. Brian May makes the guitar parts feel both enjoyable and thoughtful with his masterful guitar playing. John Deacon plays a more unsung role of being a backbone to all the song compositions and providing the final "oomph" the project needs to be seem as huge. Freddie Mercury does what he does best and gives one hell of a vocal performance full of theatrics and swagger unseen by any other artists of his time and beyond. Finally we have Roger Taylor who provides the pace and even some writing credits to help put the final pieces in place to help make this album and Queen as much of a spectacle as they truly are. While not every song on this album is perfect, I do still think the highs make up for some of the more clunky tracks like Good Company and Seaside Rendezvous. Overall I am really satisfied with how Queen has held up through my music listening journey and I hope to adventure through them more later on, but for now I have to say this is solid.

Cheap Thrills is a much more confident and consistent album that shows the band really starting to find their sound and develop in a direction that starts to pay off much more than their messy self titled debut album. This album is a slow burn that still does dip up and down in terms of quality, but whenever it hits one of its' "peaks" it really puts in the effort. Janis Joplin is so impressive with her both aggressive and rugged vocals and also softer and more "traditional" styles and how she is able to flip between them so seamlessly. While I do think this album lacks in the writing and flow departments I do think the instrumentation and swagger really does go a long way. Not one of my favorite Blues Rock or Rock albums in the world, but I can get why someone would be pretty gaga about Big Brother & The Holding Company's sophomore project. Nuff said.

Today's pick was Deep Purple in Rock, and I honestly have no idea what to expect. I feel like everyone and their mother has heard Smoke On The Water, but I have no idea what to even expect when it comes to this band or the music they make. This album throws you head first into the very loud and instrumental heavy Hard Rock the band was working within even prior to the 70s. I would also argue the music here falls into Progressive Rock though it doesn't all connect as smoothly from track to track, it just has long runtimes throughout the project. I can understand why this is such a big stepping stone as not many people really even knew what Hard Rock, early stages of Metal, and Prog Rock was in 1970 so having a band create such a booming and elaborate album really must have been a big deal, but I just can't seem to really get into this album. I can appreciate the compositions and the ideas behind the album but other than Child in Time, a track I wasn't even super huge on, I really didn't enjoy listening to this album. It came off as more of a chore for myself than anything else. If I wanted to listen to Hard Rock or early Heavy Metal, I'd rather turn on Black Sabbath any day than this Deep Purple project.

On today's album for 1001 albums before I die, I rolled this B.B. King live project from 1965. I have heard of B.B. King before but never checked out any of his music, and god damn does this album make me want to do that. It isn't often that the music sounds this good live that you wouldn't think there are studio versions because of how definitive this whole album sounds. I also have to say for this being a live project the audience really seemed so scripted with just how perfect they sounded all throughout the 35 minute runtime. Each song feels so perfect to show of B.B. King's vocals and killer guitar playing that both blend so well together on this very bluesy and soulful performance. It is live projects like Live at the Regal that really help sell my point that more people need to hear live albums, they can truly be the best thing an artist has yet to offer but since it is such a niche selection usually people just skip over it all without any question. If you want to hear one of the definitive live releases of the 60s, totally check this project out because it is nothing short of incredible.

Marty Robbins may be a name you may only recognize from his 1959, but honestly I think that's a damn good reason to be known for even if its' the only thing notable in his multi-decade career. This album is pretty by the books in terms of late 50s Country music, but I think what sets this album apart and makes it such an iconic piece of music from its' time is the story telling and world building. This album makes you feel like you are the cowboy of each story. The songs here each feel like their own spaghetti westerns with the whole movie fitting into the 2-5 minute runtimes. There really isn't super interesting about this album, but it just does a really solid job at being this perfect capsule of Western/Cowboy culture. Not bad by any means but solid on all fronts.

If you thought Baduizm was smooth this project takes it to a whole new level that simply hasn’t been seen yet in her discography. Every second of this project is striking in every single way, by the end of Green Eyes my jaw was on the floor by just how beautiful this all was. There are so many highlights but honestly you should just listen to this album over and over again, each time will give such a treat of ear candy to your headphones and you. This album is a classic for a reason but god damn I didn’t expect it to be this mind blowing my first go around. I come back to this album and listen in full at least once a month for just about 2 years now. This album is damn near perfect with each relisten I am always picking apart a new track as a personal favorite. What originally started as Didn't Cha Know, then became Bag Lady, which became A.D. 2000, which is now In Love With You (Feat. Stephen Marley). The production here is so timeless and full of this undying youth that makes you wish to feel all of the emotions present here for years to come. It is an album no matter what stage of your life you are in it will always be relatable. Mama's Gun is nothing short of a masterpiece and a milestone in all of music. It is an essential that should be heard by all no matter what. All I have to say is thank you for Erykah Badu, she is such a gift to music as a whole.

On today's pick of the 1001 albums I should listen to, I rolled The Cure's Pornography from 1982. Believe it or not this is one of the few The Cure albums I have heard in full and yet I distinctly remember not quite getting/understanding this project my first time through. I remember this album being very dreamy and the production and lyrics both bringing this chilly and quite depressing feeling across myself, but I don't think I was into the more melancholic ideas the album was presenting at that time. Now after an unknown of time in between my last listen, easily 3 years at the minimum, I have a new found appreciation for this project even if I don't think it is the best thing in the world. If you like your music moody and full of sad or angry expressions then I would suggest seeing a therapist, or becoming an /mu/ core head as a lot of those albums fit the bill. In all seriousness, this album is a great way to feel like you aren't alone with those emotions as Robert Smith and company put together. While the music does get a bit lost in the production of this album with its' sweeping waves, I do still think there is plenty here to "enjoy" for any sort of music fan. The lyrics are dense and really match the project, the soundscape is still so bold today even if the music may not be as prominent anymore, and it is a short enough runtime where anyone can zoom right through this album without too much thought or effort. With all that being said though I do think everything I said is done to a pretty solid degree and not to anything I am truly impressed with, especially with how messy of a closer the title track is at the end. Pornography is cool and definitely not an album for the summer, but despite that I really don't get what all the hype is about here as The Cure easily has better production and writing on many of their other albums. I'd take Faith over this any day.

On today's roll of 1001 albums to listen to before I die, I got an album I had already heard before but instead of just copying and pasting my already existing review, I thought it would be much more fitting to give this a much deserved relisten. While my original score and review are not really all that crazy or mean towards the album, it really doesn't do this legendary group justice in describing their stellar debut of Jazz Rap legends. While this album may not have the strongest lyrics in the world, I do have to say that this is easily some of their simplest and most accessible production, hence why it is so accessible to all. I genuinely don't get how people can hear something like this and say they don't like Rap, it feels like an afterthought compared to all the soulful Jazz elements scattered all throughout this album. People's Instinctive Travels and the Paths of Rhythm may not be Tribe's magnum opus by any means, but man is this project a tight debut that really shows off who this group is and what they are about.

For today's 1001 albums to hear before I die, I got a Frank Zappa album!!! The Mothers of Invention's We're Only in It for the Money is the first album I have ever heard from this weird side project of Zappa and I honestly have no idea what to expect. Immediately this album throws you into some very on the nose political satire of the current state of the world back in 1969 with very clear jabs at police brutality and politics at the time. What I don't appreciate is how annoying and weird for the sake of being weird this project is, there are maybe 2 or 3 coherent songs and the rest are just the ramblings of a madman put into audio form. The randomness is not charming, fun, or even all the interesting and instead it feels like it too is played for satire rather than any actual meaning. We're Only in It for the Money is a very fitting title as this entire album feels like one giant cash-grab and swindle hosted by The Mothers of Invention. I know they probably have better albums but this leaves quite a sour taste in my mouth for anything else they have to offer.

I prepared myself to listen to the longest album in the 1001 Albums to Hear Before You Die series and then got served the second longest one for my listen today, I guess you can say that is karma working against me. Thankfully I have heard this album before, but I wanted to relisten because I feel I'd appreciate this album much more with all the knowledge about music I have now. For this project being the 2 hours and 52 minutes it is, I have to say this album absolutely flies by as each and every song here feels so unique in its' own right and doesn't repeat the same kind of genre, sound, or even vocalist throughout each and every track unalike some other albums of this size I have heard before. This album displays some of the most interesting wordplay and perspectives of love I have heard in some time as it takes quite a high level of creativity to find 69 ways of expressing love that don't sound repetitive, overdone, or bland. I also found that there were a lot more songs I loved this time around and I was able to pick out so many new favorites I have never heard before such as Absolutely Cuckoo, Abigail, Belle of Kilronan, and A Chicken With Its Head Cut Off. It is crazy to say but this album feels pretty consistent in general despite all the left turns it throws at you, it all feels so fitting for one another and I don't usually say that about projects with this much range or length but somehow The Magnetic Fields got it all figured out. This album is nothing short of an impressive feat and I can see why it is so revered and beloved.

On today's 1001 albums to hear before I die, I rolled a band I have always struggled to get into and appreciate due to how dated their sound is. That band is of course Kraftwerk in all their weird synthy glory. I was intially quite turned off of this project by the first song here, Die Roboter (The Robots) but after that misfire of an opener I found this project to be quite compelling as a Synthpop and Electronic album. For the time this came out it was quite ahead of everything else except for maybe a few Ambient artists at the time utilizing electronics in a very early time before they were everywhere, and surprisingly finding Kraftwerk was using these machines to their fullest potential given the technology. I can totally see why Kraftwerk are such influential and important figures as their music truly helped shift the world of music as we know it even if not nearly enough people know this band's name. Die Mensch - Maschine is not only an essential album to hear, but also a time capsule showing a very direct view at the point in which the world of music started to change as a whole. I can really respect the band continuing to push a boundary no one else had gone to and defining every decade of music since then with their discoveries, and while I may not be the biggest fan of their music and how it has aged in 2025, I can confidently say I am so thankful Kraftwerk exists.

I am sure everyone my age is aware of The Black Keys, whether you listened to them yourself through the radio or just El Camino as a whole or were exposed to it through your dad. There is no denying they are a staple of the 2010s as a whole, but do they still hold up 15 years later? On today's 1001 albums to hear before I died I pulled The Black Key's Brothers and man was this quite a wake-up call of sorts. This project mixes Blues Rock with a more Garage and slightly Psychedelic sound to create a sound that would define Rock in the 2010s, and I can't lie The Black Keys aren't even that special or good in their own sound. A lot of these songs sound very similar and feel so clocked in that they appeal to a more mainstream audience. To be frank, this album got very lucky and exploded into the mainstream the way the band did because they offer next to nothing besides a barely good listening experience. Nothing here is original or even all that engaging as it is so aggressively safe it waters down the impact of the genres involved. In basic terms it is good and nothing more. Nuff said.

Live Through This is a classic album, not because of all the news about Kurt Cobain's death, but because it is a solid grunge project that Courtney really put herself into. There is so much great stuff to talk about here, but I need to just vent some things out first for anyone who needs to hear this. Just because this album was released not even a week after Kurt was confirmed dead is not a Courtney Love problem, that is a label problem, and anyone who thinks she "killed Kurt" can just get the fuck out of here. That is you not being able to cope with the alarming amount of mental health problems the world has and instead taking it out in a misogynistic rage on a woman who has done no wrong. Call them toxic or whatever the fuck you want, I wasn't there and didn't know them, but there are facts out there saying what did and didn't happen, so stop pointing fingers because you didn't like how history turned out. One thing I will say is that it is very hard to not imagine Kurt having at least a few touches in this album whether it is with Courtney's vocal sound or with how the project came together in the end. This album has a much better cohesiveness and quality to it that makes each song meaningful unalike their very fine debut. It rips through the 38 minute runtime like a knife through butter and it never holds back. It's angsty but in a different way from the most male dominated genre of Grunge, it has a lot of empowerment behind it while also being a fresh new experience for all to enjoy. Live Through This is an improvement like no other, and it cemented Courtney Love as an icon in my eyes, regardless of the circumstances happening around this album's release.

On today's 1001 albums to hear before I die, I rolled an album I have simply never heard of before by a band I am only vaguely familiar with, that album and band is War's The World Is a Ghetto. This album feels like a stroll through a neighborhood with all the different long winded tracks and surprisingly atmospheric feeling felt all across the album. It feels like a walk through the sounds of Funk as they continue to express themselves in unique ways as you continue journeying down the block that is this album. It is a very progressive listening experience that doesn't feel like your typical Funk project, which I find to be very fascinating even if it didn't wow me musically. It is a solid project with some very interesting and intriguing compositions that are definitely worth picking apart and diving into. Nuff said.

Follow The Leader is Korn's most well know album by a long shot, this and Issues have somehow managed to stand the test of time and still be some of the most streamed Nu-Metal projects 25 years after it came out. Personally I think this album is a lot messier than Life Is Peachy as it truly is yet another mixed bag of songs ranging from actually great to embarassingly bad. As much as I wish this was on the quality level of Life Is Peachy, it simply is not, it feels a lot less interesting and consistent especially now that their formula is running a bit dry here for me. The first 4 tracks were actually pretty cool, but after that I just didn't really care or connect to the album, it just flowed by with some decent bits and some very bad bits in between. Korn's bit of being gross and sad is really starting to fade fast as their music doesn't really have much going for it other than that, and even Limp Bizkit had something to look forward to as they did try to make solid music for part of their career.

On today's roll of the 1001 albums I should hear before I die, I got yet another band I have only heard in passing but have never officially checked out any of their projects, I got Motörhead's Ace of Spades. This album is exactly what I'd expect some senior mechanic to listen to as he douses himself in every car fluid imaginable while trying to change your oil. This album is pretty standard and by the books Hard Rock with some influences of early Metal scattered throughout and not much else. The vocals are ragged and at times quite hard to hear, the instrumentals are the main sell as they absolutely rock with each track but lack variety once you get 30+ minutes into this album, and the songs feel very same-y despite the tracklist clearly stating the songs are different. I wasn't really impressed by what Motörhead had to offer outside of the kickass title track, as everything else feels like a copy of the first song. If someone put this on I would enjoy every track except for the very weird song Jailbait, but I would never choose to listen to this again.

What an underwhelming release from Bad Brains, really thought this project would be so much heavier after having the title track in my rotation for months now, but turns out this is a more Rock than Punk project. Even though that transition doesn’t sound too far from their original sound, this album really doesn’t make a good argument for the transition and feels like a different band entirely to the point I had to keep looking back to make sure I was hearing this project. If anything I am just glad this was one of if not Bad Brains' shortest album coming in at 31 minutes, but the ride to get through this entire project was quite stale in comparison to their last two albums. The dub elements are pretty much gone and replaced with some very light rock with a few little breaks in their style to have these little punk moments. Honestly really disappointed here and will probably only come back to this for the title track and nothing more.

Speaking of collected punk groups I think it was more then due that I talk about The Clash and their self titled debut album. When punk was blowing up around this time it was all focused on anger and rage, and reasonably so, but The Clash managed to add a bit of camp to it all that ended up becoming apart of the image most people think of when they hear the word Punk. Another thing I enjoy about The Clash is that they aren't super in your face, which is why I think so many people enjoy them. They still hold a torch to more traditional scream-y punk music but they are more cool about it all making it more accessible and open to the masses as kind of a stepping stone. I will say this album doesn't flow as good as some of the other The Clash albums but it is extremely consistent and solid all around.

Ok it is time to get to the more well known Butthole Surfers albums, starting off with easily their most controversial project Locust Abortion Technician. What a fucking fever dream this album is, pure insanity in every way of expressing it. This album will go on long instrumental tangents out of nowhere and have it evolve and stretch over 4 tracks, and then randomly get back on the original path it was going on with another track with vocals. This album randomly goes into this psychotic area every now and then almost like a tick or a episode unfolding right in your eardrums. This project is more of an oddity than an actual quality release in my eyes, but if you do seriously like this could you explain why to me? I don't get how people could genuinely enjoy Butthole Surfers music unless it is the few songs that are actually appealing. Like how do people enjoy this album, it is an experience more than anything and one I don't think I will be going back to anytime soon.

It is insane to me that people really only know him for his debut album and the Superfly soundtrack when he has a discography full of wonderful music. This album is nothing short of badass with a Soul sound to really help capture the Blaxploitation era of films this soundtrack was inspired by so beautifully. It has also very much set a standard for original soundtracks and still impresses over 50 years later. There is instrumental tracks here and there is also plenty of Curtis' sweet and silky voice to help make this album come off so smooth. As with any soundtrack it can feel a bit all over the place but man does it also do a really good job of stringing everything together. Even if you don't really like soundtracks I would totally give this one a shot as it not only defined the 70s beautifully with the production here but has also become somewhat of a timeless classic through plenty of sampling. Thank you Curtis for yet another wonderful contribution!!

For today's 1001 albums to hear before I die, I rolled a project I was both very excited to hear and equally not excited at all to hear, today I got Red Hot Chili Pepper's Blood Sugar Sex Magik. As much as I tried giving this a fair shot I really don't see what so many people see in this album, it is quite bland and all over the place listening experience headed by one of the most polarizing voices in Rock ever. My dad used to play a decent amount of Red Hot Chili Peppers for myself and I always enjoyed listening to their hits, but after hearing one of their albums in full I totally understand the hate these guys get. Yes each person here is very talented, but they waste everyone's time with doing next to nothing coherent for 1 hour and 13 minutes on this project. The only songs I could genuinely enjoy here were Breaking the Girl and Under the Bridge which are leagues above almost everything else here. This project feels like a parody of what popular music is and not in a good or funny way whatsoever. Again I am in disbelief at just how bad this album is as I am sure RHCP have better projects but if this is the bar for their most popular album I can't imagine it getting much better with any of their other releases...

Really a Kings of Leon project is considered one of the 1001 albums I should hear before I die? Give me a fucking break... Unfortunately this is the one I rolled for today and while I really could care less to hear this, I am still listening just to see what this is all about. The vocals here are garbage and feel like they are trying to rip The Strokes off while trying a Southern Rock sound, and let me tell you first hand they do not mix at all whatsoever. There are also plenty of voice cracks and weird vocal decisions here to really make you scratch your head as to what exactly Kings of Leon are trying to do. You can only excuse a debut album so much before you start to realize they just suck, and that is the case here. I am still in absolute shock that this album made the cut as it has next to no relevance outside of this listen and isn't even the best Kings of Leon has to offer. Overall such a questionable album to place in a list with stuff like Abbey Road and Mama's Gun to name a few.

On today's roll of the 1001 albums to hear before I die, I got an album by an artist I truly have wanted to check something out from but never did, Fela Ransome-Kuti. While this release is not a studio project it is still a representation of Kuti's music in the live setting and surprisingly is extremely compelling overall. This album is so groovy and is such a great time to get down and dance to. This is music I am sure people in the audience were on their feet for and had an equally great time as I did listening to this album as all the instruments mesh together to create a very wonderful blend of Afrobeat and Jazz-Funk. This is music where it is really easy to get lost in with just how entrancing each of the performing artists here are and with just how skilled each and every member of Africa '70 truly is. While I did very much enjoy this project, I don't get why this is seen as essential by any means. Sure it is really solid on all ends but I don't think anything here really blew my mind in terms of the quality or compositions. It is just some damn good live performing, that's all. While I am glad I finally checked out some Fela Kuti, I do wish I was able to get more out of this in general.

For today's 1001 albums to hear before I die, I rolled a group I had been wanting to hear a full length project from but somehow never officially got around to. Today I am listening to The Temptations' Cloud Nine from 1969. The Temptations are a Soul group spanning from Detroit Michigan yet helped immensely in expanding and defining the Philadelphia Soul sound during their run in the 60s. Their greatest hits are easily some of the most underrated I have ever heard and I'd totally check that out if you ever get the chance, but that is not what I am here to talk about today, I am here to talk about one of their last 60s albums and see just why this is considered a "must hear" by some. As far as Soul, Funk, and even that small bit of Psychedelia the band mixes in goes this album doesn't really push any boundaries whatsoever and honestly just shows how much the group is able to adapt to the ever-changing sonic landscape of their respective genres. I have never heard a 9 minute song from The Temptations before but man do they pull it off with quite the swagger and style of a group with their elaborate resume. While I did enjoy this project, I don't think I'd say this is anything extraordinary or even all that memorable. It is good for what it tries to do, but is by no means a "gold standard" of any of the genres it is a part of. I am glad I finally got around to a Temptations' project but this one really wasn't all that I hoped it would be.

Man I didn't realize how much I was missing out on Lynyrd Skynard's music, especially when it comes to their debut album (Pronounced 'Lĕh-'nérd 'Skin-'nérd). I don't mean to be handing out 5 stars like candy but god damn have I just been listening to banger after banger after banger all week long, and Lynyrd Skynyrd's debut happens to be one hell of Rock album. I may not be too familiar with Southern Rock as a whole other than some of Creedence Clearwater's greatest hits, but this album is a huge collection of some of the best songs the genre has to offer. While I do respect Lynyrd Skynyrd for trying to show off a more friendly and "cultured" version of the south, I do not condone or respect any of their usages of confederate flag media as I find their reasoning to be wildly out of touch and downright stupid. With that being said these white boys from down in the boonies sure can make a tune or two. This album is full of that sweet southern charm oozing off of each track with the help of Ronnie Van Zant's powerful vocals and lyrical abilities and some of the best guitar parts the 70s has to offer all in one 43 minute project. We all know this project is a classic and a truly iconic piece of Rock, but man do I wish I realized that sooner. Oh well, now it will go down as one of my all time favorites and for damn good reasons.

Can you believe this thing was recorded in just 4 days by an artist who had never released a single project ever before? That is the story that started the legendary career of Folk legend Joan Baez, who at 19 wowed people for just what she was capable of doing with a guitar in her hand and a whiff of that youthful creativity flowing inside her. While a lot of the songs here are renditions of popular tracks from the past, having them shown on such a display as this with Joan's gorgeous singing is nothing short of stunning. Everything from Scottish Folk tales to the iconic House of the Rising Sun are all pieces that come together to make Joan's beautifully aged debut album. This album is a really solid representation of Folk music as a whole before it really started popping into the mainstream with Bob Dylan. This album is extremely consistent and a damn good time, so if you haven't already you should definitely give Joan a chance here because she really kills it on this album.

If this kind of theatrical and Symphonic Rock is for you then I couldn't be happier, but for myself it was just a bit too much for me to enjoy here. While I can respect the effort to make such interesting Progressive Pop that feels so mystical with the blend of electronics, I can't say I found this album to be very compelling or even up my alley in terms of taste. The only real standout here is Mr. Blue Sky as that song alone is both one I've had plenty of time to digest but also understands how to make a Progressive song much more Pop-y than normal. Everything else here feels like a watered down version of the Alan Parsons Project albums I have previously covered. The songwriting here is also just decent and doesn't help the case of this album just dragging itself out way too much. This album obviously has its' own set of fans and I am okay with not being one of them. I am glad I gave it a shot though and tried my best to see eye to eye with what ELO had to offer, but Out of the Blue was just not my cup of tea. Nuff said.

Well I guess I am finally diving back into Tom Petty thanks to the 1001 albums to hear before I die challenge. I feel I should preface that Tom Petty is by no means a great or even good singer, but man does this guy have some killer lyrics up his sleeve that really help make up for his lack of singing ability. I feel that aspect actually makes Tom Petty a much more relatable rockstar of sorts as he is kind of like the average joe with a sharp as a knife pen game. The songs here aren't ever meant to be anything super extraordinary or grand, they are simply some nice and laid back Rock songs to pass the time. I can totally understand why some people wouldn't dig this album, but they are honestly missing out on a pretty solid Rock album. Some of my favorite tracks are Breakdown, Mystery Man, and of course American Girl. If you don't want something that is straightforward and to the point I would suggest listening to something else, but I can happily say that is sometimes exactly how I want my Rock music to sound.

Steely Dan may have single handed created and formed my taste for yacht rock and their debut is no exception from that love. From it's cheesy but fun sound to it's jazz rock blend, Can't Buy a Thrill is more then just a throwaway yacht-rock project but a staple of the genre and a hell of a debut. Everything on this project seems simple but so well cordinated to make you want to best the phattest groove anyone's ever seen. I don't get how anyone could hate this project, it's dumb fun in the best way. Steely Dan can really rock my boat.

It makes complete sense why this is one of the if not the best selling album of all time, it is a must hear by everyone and everybody. But after 42 years has this thing still stood the test of time? My answer is yes, but not completely. Don't get me wrong some of the songs here will simply never die down like with that perfect 3 song run of Thriller, Beat It, and Billie Jean but what about The Girl is Mine or The Lady In My Life? In my opinion The Girl is Mine is a bit cheesy, especially with that dialogue interlude part of the way through the song, but overall it is a really nice duet between Paul McCartney and MJ. Besides without them teaming up for this project Michael would have never have known he could buy other people's discographies, like what he did to The Beatles nearly a decade after this. The Lady In My Life is the song everyone seems to forget is on the album, and probably because it is objectively the worst song here. It really feels a bit disjointed from the rest of the more accessible Pop songs as a bit of a wildcard that doesn't always stick the landing with everyone. Literally ever other song here I think is damn near perfect, but this project is held down by two great, but lacking songs that really could have pushed this album into being a definitive best album of all time. I don't have any malice towards anyone who thinks this album is perfect, but for 42 years on its' belt it is surprising the amount of flaws this album has garnered since it was released.

Only By The Night is easily Kings of Leon's most popular release as it has 2 tracks with over 1 billion streams each. Now with that being said, even with this album's extremely high merits that does not mean this album is good by any means. I think Sex On Fire and Use Somebody will go down as the only Kings of Leon songs I can genuinely get down with as they both have this catchy aura to them and some really fun Rock moments in them that really hit with myself and millions of others. Everything else on Only By The Night is very forgettable and bland, but still better than whatever the fuck the band was doing on their debut album. I really tried again to give Kings of Leon a shot here but they are just so mediocre and uninspired that I can't help but nearly fall asleep listening to the slop this band puts out. This is once again nowhere near a "must hear before you die" status in my eyes.

Every Frat Boy's favorite album and just for 3 songs. Oracular Spectacular is more then just a mouthful of an album title, it is MGMT's debut album and it is pretty solid. Not going to touch on the big 3 songs because that horse has been beat to shit so lets talk about the other 7 tracks. Weekend Wars is a slow but really fun track that honestly deserves more respect, it is a fun "rock anthem" electronic track that just feels great to listen to. The Youth is a very misplaced song on this album and the start of a bunch of questionable picks for this project. It is mostly an indie rock song which is weird on a heavily electronic album, or at least that's how I see this project. 4th Dimensional Transition is yet another forceful attempt to make this project half electronic and half indie rock when the indie rock really doesn't work at all with this duo. This is an electronic group and once they realize that then they are golden, but the indie rock songs are rough and decent at best. Not going to lie completely forgot what Pieces of What sounded like mere minutes after. Of Moons, Birds & Monsters is the only good rock song here because it is heavily electronic in a trippy way that makes you want to sink into the ground. The Handshake is a simple and well executed track that gets the pass because it is simply good, no other reason. Future Reflections is such a let down closer for this project because it does the stupid indie rock thing again, just shows how this album struggles with any sort of identity and instead becomes a very lop-sided game of tug-o-war. I think one of the best ways to sum this up is with the comment @polduan made, "split this album in half and you get two different projects - first one is amazing, the latter just okay."

For today's 1001 albums to hear before I die I rolled The Monkees' Headquarters, and I have no idea what to even expect here as I never thought I'd listen to one of their albums in full. If you have never heard any 60s music before and don't want some crazy Psychedelic obscurity to ruin your perspective of this decade, this is a pretty safe choice to listen to. I don't see why this is an essential must hear before I die as it is a pretty standard and by the books Pop Rock album from that time with absolutely nothing interesting to offer. This is one of the most nothing-burger releases from this decade I have heard. I only really liked Forget That Girl and everything else here was just fine to decent with no other real standouts in my mind.

On today's pick for 1001 albums to hear before I die, I rolled an album and artist I have never heard of yet the description of the album seemed to really intrigue myself. Today I got Talvin Singh's OK, a late 1990's Atmospheric DnB album. Even from the very beginning it is clear that Talvin's music here is heavily influenced by the European underground and his own musical heritage from India, which I find to be quite a unique perspective as I feel it brings to light some sounds that simply don't get as much recognition or praise as they normally would. As much as I can respect this album's very original approach to the genre it is embodying, I can't help but say that most of this project just wasn't really for me. While I was never bored throughout the project's 1 hour runtime, I can say that there wasn't too much I latched onto outside of Butterfly, Eclipse, Light, and the very intense Vikram the Vampire. This album for sure has its' moments but I feel as a whole it doesn't quite ever stick the landing. I don't understand why Vikram the Vampire has like 20 seconds of silence at the end but okay I guess? I can definitely see why OK is so divisive as I continue to add a very mixed review to the pot, but I also can see someone really digging the blends of cultures and musical ideas here as I truly have never heard another project like this. OK is commendable but that doesn't automatically make it good by any means.

For today's 1001 albums to hear before I die I got an album I did not expect to be hearing today of all days with Janelle Monáe's acclaimed debut album The ArchAndroid (Suites II and III). While this album isn't nearly as direct and in your face about following the story started on Suite I, it does in fact add chapters to the overall story and continue building Janelle's own world. This album is theatrical and grand while never feeling cheesy or over the top. I completely get it if some of y'all want to call me crazy for this, but I far prefer Suite I to this album. Don't get me wrong I still like this project but man did I definitely feel like I was getting lost in the entire tracklist by the time it was coming to an end. It is such a huge project in terms of scale but if you aren't super invested in what is going on like with the flashy Suite I, you can definitely drift out of this album's focus without it ever picking you back up. Unfortunately that is exactly how I felt despite really liking some truly amazing tracks here like Faster, Neon Valley Street, and Dance or Die. I can appreciate all the time and effort Janelle put into this project but it just wasn't as much for me as I had initially thought.

Bitches Brew is one of many jazz masterpieces underneath Miles Davis' belt, but I'd argue it's his most important release of them all. It started a whole new movement of jazz and created a giant ripple into the world of jazz that can still be heard today in modern jazz and jazz infused projects. The music in this project doesn't quite reach the same heights as Kind Of Blue, but I do think it is the closest to reaching it out of everything by Miles I have heard. The songs are long but full of thought provoking sound combinations that keep your mind thinking from front to back. As I slowly wrap up the album I don't really have too much else to point out other then the textures of the sounds feel amazing with some good headphones on. It's a classic. Nuff Said.

Man it has been a while since I have heard Big Star, but boy am I glad the 1001 albums to hear before I die is making me listen to this killer debut album again!! This project is a very intimate experience that far exceeds any of the other elements at play here. All things considered this album really isn't all that special and is honestly quite standard, but how it presents itself is really what sets this apart and makes this one of the more essential Folk Pop albums of its' time. The instrumentation along with Alex Chilton's vocals are so touching that you can't help but simmer down and relax as he soothes you with his charm. It is a very to the point album that doesn't pull any punches, some would even call it simple, and yet I feel that is why I like this album so much. Really glad I finally got back around to relistening to this album as it is just as good as I remember it being.

Buena Vista Social Club is a nice relaxing summer day with an ice cold lemonade in your hand, but I think the backstory of this album may be more interesting then the music itself. I do not want to discredit any of the artists involved with this project as they all absolutely kill it with their craft but I think the music as a whole isn't the most engaging or entertaining. I feel like suits itself better as background music to a walk through a historic oldtown. I don't see myself coming back to this project anytime soon as it really doesn't mix well with anything other then walking around.

I don't think I've ever seen a rock trilogy, let alone a Tetralogy with as much respect and love as Led Zepplin's. Led Zepplin IV is arguably the band's most recognized and beloved release of the entire 4 album run the band was on and when listening to the album it is easy to see why. Not only are the songs here incredible in their own rights, the instrumentation, album structure, and just everything is so well coordinated and put together that you really can't ever stop listening once you start. As much as I feel I can add comments about this album's overall quality, I truly don't think I can because of how many other people have dissected this album over the past 52 years. I totally get why this is so renowned and seen as a staple of the genre because of just how impactful each and every song here is on Rock and Roll even to this day. Each track feels like an odyssey put into musical form, especially Stairway to Heaven and When the Levee Breaks. While I do think Led Zepplin III is more my speed, I have to say this album is still great nonetheless.

For today's 1001 albums to hear before I die, I got an album I had never heard of by a group I had only heard of from word of mouth. Today I got Destiny's Child's 2001 album Survivor. In case you didn't notice the very young photo of Beyoncé on the cover, this was her musical group before she went solo and really made a name for herself. I get that this project may be a big deal as it is one of Beyoncé and company's best work in Destiny's Child, but can we be a bit honest with ourselves and realize just how mediocre this project really is? There are some solid singles here, but other than that this is a pretty fine to decent Contemporary R&B project that doesn't do a whole lot in the grand scheme of things. This album walks a very fine line of being just fine to being decent and I think I am just barely leaning on the decent side of things. It runs out of ideas and really tries throwing anything at the wall, including the main "survivor" theme of this album back at tracks just so it can feel more cohesive and it just doesn't work. There are solid tracks here but not an album by any means.

Ok Neil I didn't know you got down like that, you are one groovy motherfucker and all it took you was a trial run with your debut album. Right after leaving Buffalo Springfield Neil jumped right back into a brand new group, Crazy Horse, and made sure he would get the recognition he deserved by making himself the main centerpiece of the band. This album is much more Rock oriented than Neil's usual solo Folk sound, and honestly I much prefer what he is doing with Crazy Horse if you ask me. This album shows range and craftsmanship from all of the musicians attached as they are able to switch up emotions, genres, and even soundscapes quite a good bit all across this album's runtime while also having 2 long songs where they still keep the momentum going. Everybody Knows This Is Nowhere is an impressive sophomore/debut album that shows a whole lot of character and leadership from Neil as he manages to really guide this band to greatness. Makes me really excited to see what else he has up his sleeve later down the line, but I feel I need to finish up some other loose ends before I start diving into him more.

I have never personally heard of The Pogues before, nor have I ever considered listening to a Celtic Rock album but I guess that is what the 1001 Albums to Hear before I die challenge wants me to hear. This unapologetically Irish album is quite a trip to my American brain as the compositions here are so weird and yet oddly fitting for the album and overall performances. The only track I seem to have had any familiarity to was Fairytale of New York, which I personally don't remember hearing at all. If you don't like Irish music or Folk Rock as a whole I would suggest avoiding this album as those are some pretty heavy elements used all throughout this album. The lyrics are simple and to the point and are sang in a way that really bounces off the instrumentation from The Pogues to make a very fun and cheerful listening experience. While I am not super huge on this album, I can appreciate the craft and effort put into making this so unique. Maybe I will return to The Pogues someday, but I think for now I have definitely had my fill of Celtic Rock for the time being.

For today's 1001 albums to hear before I die, I got an album I have been wanting to hear for some time but never got around to on my own. Today I got Slayer's Reign in Blood, and I couldn't be more pumped to be rocked by this project. I also had no idea Rick Rubin of all people helped out with the making of this project, because damn did dude have good taste in Metal if he helped out here. If you want to hear some killer 80s Metal that doesn't feel cheap or watered down this is definitely the shit you should be looking for because holy hell does this album feel like a 28 minute long rollercoaster, and one I really got down with. Thrash Metal has always been one of my favorite Metal subgenres because of just how much the guitars get to shine through as their own lead singer of sorts. Thankfully it isn't just the shredding that is incredible but the vocals, drum work, and overall pace of this project all feel so synched up to create one killer album. This thing beats you down and doesn't hold back but you can't help but enjoy yourself as you go through the ass-whooping of a lifetime. If this is how good Slayer is in their early years I am definitely going to have to come back and listen some more as I had a great time all around. Definitely should have gotten to this sooner but I am glad I got to it now.

As much as I have heard about Eric Clapton and his contributions to music, never have I ever heard an Eric Clapton album before. So when I was recommended Blues Breaker to hear by the 1001 albums to hear challenge all I really expected was some great guitar parts, and it definitely delivered, just not to the extent I had initially hoped. Other than this having the collaboration between Eric Clapton and John Mayall, I really don't see why this album is deemed as significant by the author of the book. Yes the guitar playing here is nice and dandy, but without that this project has nothing to stand on and falls apart more than a house of cards. I can appreciate the technical elements on display here thanks to Clapton's signature guitar playing, but I don't find this album to be impressive or all that essential even with its' inclusion here. It is an album with a lot of lost potential that really isn't made up with anything else here. Honestly feel like this was picked for the artists alone and not for any other reason because this is decent at best.

For today's 1001 albums to hear before I die, I got what is said to be an extremely influential Country album, yet I have never once heard the artist's name or the album title. Today I got Loretta Lynn's 1967 classic? Don't Come Home a Drinkin' (With Lovin' on Your Mind). This album looks, sounds, and feels like something you'd find at an estate sale listed for $20 with a shit ton of writing or scribbling on the cover and more cracks than a sidewalk in the sleeve. This is surely a "grandma essential" and I bet if you were to ask your grandparents they would probably tell you about hearing this project for the first time. Country has never really been my strong suit, but these long ballads really are putting me to sleep more than anything. If this had more changes in speed and even rhythm I am sure I could have gotten down with it more, but this album is one slow dance after another and it gets quite tiresome by the end of the 28 minutes. I really tried here y'all but I guess I'll have to giddy up to the next album without much more thought.

I never was the biggest Funeral fan, but when I was reminded of this album through Fantano's most recent "Overrated and Underrated" video I knew I had to give this another chance to see just how poorly this album has aged in my mind as well. To my complete surprise I think Melon might have actually been onto something. It feels very dry in a lot of spots that I originally loved and thought were pretty exciting, now it feels like a memory I wish lived up to how it originally felt. All of the moments this album helped create and inspire afterwards have been washed down to pieces of what they used to be by 20 years of aging gone horribly for this album. Not even the once incredible Neighborhood #1 has survived the onslaught of aging as well as I want it to, it was once a go to winter staple for me and now it feels like a fading memory. Man I wish I liked this more, but I think this album will continue to fall for me as time goes on as it truly isn't as remarkable as many people make it out to be anymore. Instead of being a spectacle it once was, it now lives in the shadows of other albums it inspired.

I am a bit behind on my 1001 albums to hear before I die challenge so don't mind me if I try and get all caught up here real quick. Recently I was assigned yet another project I had absolutely no idea or expectations with Tortoise's Millions Now Living Will Never Die. This borderline Ambient/Post-Rock project is a really weird blend that I surprisingly got down with a good bit. This project feels like it should have more meat on its' bone, but is in actuality a pretty lean project with not too much to it outside of some very subtle compositions. With no vocals whatsoever, the performers really have to carry their weight with their compositions, and I'd argue they do a decent to good job throughout this project's runtime. Even during Djed I can't lie this album was losing me a bit. I respect the hell out of having an entirely instrumental album with such soft and gentle instrumentals, but sometimes it comes off as more background music than really thoughtful pieces painting pictures of a landscape. I like what Tortoise was going for here, but I want something a bit more focused next time around. Maybe TNT will be just that, but I'll have to wait another day before I get around to it...

The Disposable Heroes Of Hiphoprisy is not only a fucking mouthful of a name for this side project from Michael Franti, but is is also the name of the artist behind the album I got for my 1001 albums to hear before dying challenge. Today I got this odd project's one and only project, Hypocrisy Is The Greatest Luxury. I am all for Political Hip Hop or some lyrically dense shit, but god damn do the beats and Michael's half-assed rapping/slam poetry voice really not do it at all for me here. This album tries to be more serious than it even takes itself by having some utter goofy beats over some really intense commentary on media as a whole. He just doesn't sell this new side at all and just comes off as very ill-suited for this kind of music. Again I respect everything this album is bringing to the table but this just did not work for me whatsoever and really rubbed me the wrong way in almost everything I tried digging at. I really tried here but man did this just not hold up, I don't even think it even sounds all that great for a 90s Hip Hop album either if I am being honest...

Last time I listened to this project according to my Last.Fm was back in 2022, and today I was asked by the 1001 albums to hear before I die gods to revisit this album and see if my liking of this project has grown or shriveled up in the past 3 years. This unapologetically New Wave album feels like something that would exist in a Post-Talking Heads world, but was actually released side by side with the group's earlier works just as they were starting to get very weird and experimental. As another comparison of bands, I felt a lot of Oingo Boingo influences coming from this project not only in compositions but also the vocal characteristics of the lead frontman Ric Ocasek. This project is really confident in presentation while also being just enough Rock to feel like a transition from one era of music to a new.....wave. please laugh. Anyways, I really enjoyed this project and would totally recommend it to anyone curious in diving into some more niche albums from the 70s with a bit of swagger to them.

Bad Company is a band I have heard of but never dove into any of their music, my only real association with it is that Paul Rodgers' daughter, Jasmine Rodgers' is in the band bôa. Anyways, for today's 1001 albums to hear before I die I got Bad Company's debut album Bad Co(mpany). This project is a pretty laid back and groovy Rock album that fits the stereotypical mold of the times so beautifully it almost hurts a bit. Everything from rocking to sappy love songs are all encapsulated in this 34 minute run-through of just about your standard Rock album for the time. This album isn't remarkable or even all that memorable by any means, but I can't lie and say it isn't good if barely even so. There really isn't much to say or look at here and I again question why this album was even included, especially when the popular song here isn't even all that good or special. This album kind of does its own thing and takes its' time which can be a bit frustrating as you wish it would get on with itself a lot faster or in a more meaningful way, but it truly doesn't care about what you think or want. Bad Company's debut self titled album is definitely a project I wouldn't mind hearing again, but is far from being essential in my eyes and that is quite evident even from the beginning.

I guess the 1001 albums to hear before I die gods knew of Taylor's newest album coming out at the end of this week as they assigned me her 2014 album 1989 to hear today. This album was always one of my favorite Taylor Swift projects to hear as I remember it coming out and my mother/sister being obsessed with it. Again this is an album where I am very clearly not the target demographic, but even I didn't mind this squeaky clean and extremely polished Synthpop album. I can't lie I was raised on the 2000s and 2010s radio so I do have a bit of a soft spot for some of the cheesier releases from around those times, and 1989 is one of them. Don't get me wrong I don't love this project, and I totally understand for some I definitely will rate this higher than expected but like can we at least try to have some fun and enjoy this for what it is worth? As I mentioned before this is a very squeaky clean sounding project and I very much know this is kind of what Taylor's sound is, but here it is done in a way that is not very annoying and is pretty tame all things considered. She has a tendency to over do it or to not bring enough substance to the table but I think this album works in finding a good balance to have everything at. It is a very plain album and, in my humble opinion, does not deserve to be anywhere near a list you need to hear before you die. 1989 is serviceable, and that seems to be the bar Taylor likes to shoot for when it comes to her music.

Before Fishmans was as widely accepted in online music board circles, there was Milton Nascimento and Lô Borges' Clube da Esquina leading the charge on widely appreciated foreign releases breaking into American audiences. This album is widely considered to be one of the greatest musical releases of all time, and that was quite daunting to be aware of prior to going into this album but I wanted to still try and go in with a clear mind as I had no idea what to expect. While I do not know what Milton is saying on this project whatsoever, I can still appreciate the feelings and compositions this album puts me smack dab in the middle of. It is a journey of an album that takes you across so many different sounds, styles, and emotions until it finally comes to rest at the end of its' 1 hour and 6 minute runtime. Again I do not understand a lick of Portuguese, but what I can tell you is that you can feel how Milton is portraying each word in a way that crosses language barriers to be interpreted in a beautiful way. I wish I had more to say here but I feel that more people shouldn't be afraid to cross borders musically and give stuff like this a chance because there were some tracks here that utterly blew me away once I gave them a spin.

This album continues to impress and relax me into a place of pure comfort. I don't know what is so relaxing about the scratchy and disjointed mixing heard on this album but it makes me want to lay down and float. The main reason for the score drop are some of the interludes and small choices in sounds that I feel make them a bit clunky at times. This album and Portishead's Dummy continue to put me in such a relaxing trance and have dug a deep hole in my heart where they will forever stay treasured and praised. I listen to this album at least once a month for the past couple years and never once has it gotten old or repetitive in my eyes. Such a thought-provoking and impressive piece of music.

How does one even begin to explain an album as entrancing and musically dense as Drive Like Jehu's debut album Yank Crime. This isn't your typical kind of Post-Hardcore album as there is a more of an emphasis on the instrumentals than the lyrics. This album feels like mixing Swans and Fugazi together as the instrumentals can really get you into a "flow state" and the lyrics punch as hard as they are as dense as your typical Fugazi track. If you aren't a fan of the more Post-Rock elements I would avoid this despite all the rave reviews as that is a key element to the project with the secondary focus being the more Post-Punk/Harcore pieces. This album is an odyssey of sorts and takes a lot of patience and time to chew through, but is such a delight in the end even with the heavy subject matter and soundscapes. Really glad I got around to this and I'd recommend it to anyone even slightly interested in hearing as those 53 minutes felt like a lifetime in the best way possible.

Chemtrails Over the Country Club feels like Lana decided to ditch everything she had working towards with Lust for Life and NFR and return to the Honeymoon era of things, and like expected it is underwhelming. Underwhelming seems a bit harsh when you put it against two of my favorite Lana Del Rey projects, but the more this project went on the more I did like it, but I do wish it was more consistent for the first half of the album. The folk change is not a change I expected but came to admire more especially with the standout track Dance Till We Die, god I love that little saxophone. I am surprised at how much this album turned my feelings around and I feel like if anyone would give this a proper chance they'd agree.

The Band is a band I have wanted to dig into for some time as I have always heard great things about their music and band as they stand as somewhat of an underrated gem of their time. While I initially thought I'd be hearing their self titled album The Band by The Band, The Band's first album was actually Music from Big Pink, a much more laid back and calm Folk Rock album. The writing and instrumentation really didn't pop as much as I had hoped for a 60s Folk Rock album and instead felt like lukewarm and plain if you will. I just didn't find a whole lot to latch onto despite the fact that the music is well put together. I was quite underwhelmed here and I really hope their self titled can reel me back in as this was quite stale to me.

Before they were known for their utterly wild album, Trout Mask Replica, Captain Beefheart and His Magic Band were a pretty by the books 60s Blues Rock band. Their debut album, Safe as Milk, is the most recent album in my 1001 albums to hear list to be selected for my ears and I wanted to give it a peep to see what this project has to offer in the grand year of 2025. This project really isn't anything special even for the 60s and it honestly shows to me just how novice Captain Beefheart and His Magic Band is. The one standout song here was I'm Glad, but it seems that most people who hear that song enjoy it. Everything else here felt fine and very middle of the road. None of the songwriting, instrumentation, or even effort felt all that special or unique and this album just went in one ear and out the other. Wish I had more to say here but unfortunately this was just not it for me y'all.

Ryan Adams as a person may be pretty murky with all we know about him now, but back in the day he was a pretty respected and beloved artist who's work ethic, even today, is like next to no other. My father is more of a Ryan Adams fan than myself, but I can't lie I do catch myself going to his discography every now and then, mainly with his album Prisoner which I would HIGHLY recommend. Anyways, for the 1001 albums to hear before I die project I got his debut album Heartbreaker, an album I've never heard before, and I'd like to talk about it! This album is a lot more Country than I expected as I am more used to it being more subtle in his music. It isn't anything super crazy or out there as an album but does establish Ryan Adams as someone to look out for in the Alt-Country/Singer-Songwriter scene in the 2000s as he brings quite a refreshingly accessible take for the new millennium. It is a nice project to have on in the background while working in your garage, but I wouldn't call this a "must-hear before you die" kind of album. Hope I can dive into some more Ryan Adams at some point as I am starting to itch for him again as the fall season comes around.

As I continue to catch up on all the 1001 albums to hear before I die recommendations I have piled up, I stumbled across Quiet Life by Japan. While I do very much appreciate the very 80s sounding New Wave this project embodies, a whole month before that decade would take off, I do also feel it holds this project back as a product of its' time. This project tries to be challenging but just comes off as subpar after all these years of aging. The songwriting is pretty unremarkable outside of Quiet Life, which also happens to be the only song from here I enjoyed. It is pretty fine and doesn't do a whole lot for me other than fill in 44 minutes of my time. I can see why others would enjoy this but I just couldn't care a single bit about this album after the first 5 minutes. Glad I checked it out but I won't be back anytime soon.

I think it is quite undeniable that Elton John and Bernie Taupin are a match made in heaven as songwriter and performer. With Elton's album, Madman Across the Water, I feel they were finally able to tap into their creative potentials as artists on a much greater level than some of their one song hits on previous albums. Even with that being said I do feel this album is very front heavy and does wane off more in the back, but still has some nice deep cuts to offer all around. The writing of songs like Tiny Dancer, Levon, and even Indian Sunset paint such beautiful pictures full of depth and detail that really make the songs here pop so much. While not Elton's sharpest musical output ever, I do have to say this is when I really would have started paying attention to him as an artist because listening to this album feels like watching a shaken soda about to explode in glorious fashion. Don't sleep on this project it is full of some of his best material to date!

For my next 1001 albums to hear before I die I got a French Industrial Rock album from the late 80s by the name of L'eau rouge by The Young Gods. As much as I commend the french for being such bold and outgoing people, in the case of L'eau rouge it just really doesn't work for me. The lead singer sounds like a drunkard and is 3 times louder than the background instrumentation which really threw me off for the entire runtime of this album. This project feels like a metal album without any interesting riffs and just has a very intimidating sound that feels heavy for no rhyme or reason other than to match the deep-voiced vocalist at the front. If I could understand French I feel like I would have a greater appreciation for what is going on here, but man is this just not checking any boxes for myself and is feeling more like a burden to hear than an enjoyable experience. Definitely wouldn't recommend this, but that's just me and my opinion. I can understand why someone will think this influential and important, but I found it nothing short of annoying.

I don't know why but the 1001 albums to hear before I die challenge has been recommending me a bunch of Alt-Country, and it is a genre I have been wanting to get more into so I can't argue too much with being exposed to some great music. Lucinda Williams and her 1998 album Car Wheels on a Gravel Road are two things I have never heard of until now, but man did I really get a kick out of how soft this album was. It never feels forced or cheesy, even with the very authentic 90s Alt-Country sound, and comes off as a very nostalgic album for myself despite never hearing it before. This album feels like visiting my grandparents, whom live in a more rural borderline farm area, and watching the sunset go down over the rolling hills. It is a very comfy and simple at its' core to the point where I think just about anyone could pick this up and have a good time with it. Really glad I got around to this one as I really enjoyed what it had to offer myself.

Whether you hate Steely Dan or adore them, you can't deny that the vibes given off by Aja are undeniably some of the chillest and most relaxing you've probably ever heard. It starts off and you slowly sink into the music until you feel like you are rocking back and forth of a shiny sailboat under the basking sunlight. It continues to whip out song after song full of bangers in terms of the production and sounds Steely Dan mixes as well as some very solid songwriting that will surely give you plenty to chew on. It is super fun and can either be taken seriously or not at all and still have the same level of enjoyment all throughout. It is Aja and you should already know what you are getting into when you press play on this project. Was it really a surprise to anyone that I like this project? I am cheesy as fuck like that.

Oh Led Zepplin III, what an odd project you are. I have always had pretty mixed feelings about Led Zepplin II and III but I feel on this relisten I have actually gained much more appreciation for this album as a whole. It may not be as exciting or energetic as I or II, but damn it does this album slowly build up on you and really hit you with some killer compositions and song structures that have you on a whole other level. The writing really gets to shine here as I would say Led Zepplin III has some of the band's best written songs from what I can remember about their discography. I mean come on, just listen to Tangerine and tell me that song isn't gorgeous on every level you can think of. I know not a lot of people enjoy the final track Hats Off to (Roy) Harper, but y'know what I actually found that track to be quite fascinating even with it being the obvious black sheep of the album. Much like the rest of this album, it is a departure from what we knew Led Zepplin could do while also keeping a lot of the core elements of the band we all know and love. Led Zepplin III is a risk in nearly every way you could imagine, and I can see that still being shown in the overall reception of this album. The ratings are all over the place and my own rating will add to the sporadic nature of this album's reception. I implore you all to give this album another shot as I originally thought this was the weakest of the tetralogy but now may just happen to find this to be the best one of the 4. I will have to see how much I enjoy Led Zepplin IV, but what I can confidently say now is that I will surely be returning to this album much more than I did before as I now see this as quite the spectacle I never appreciated fully before.

Technique is when New Order as a band took a real turning point with their music, as they were about to leave the 80s behind and enter a new decade for the music they thoughtfully craft. Some may call this project cheesy while others may find a lot of charm in it. I am personally somewhere in the middle, and I'd like to talk about it here today. The production here isn't New Order's best by any means as that Synthpop they went on to help push feels very tried and true on Technique while also feeling reinvigorated at times. Song of my favorite tracks here have to be All The Way, Love Less, and Dream Attack as they all bring back that killer Pop and Club sound New Order meshes so well. I do feel all things considered this project is quite weak and doesn't pack nearly the same punch as some of their other material, but hey at least it is good? On a final note can we appreciate just how beautiful of an album cover this project has, one of my favorites for sure. Nuff said.

Okay it is finally time for me to return to Sonic Youth to talk about my infamous hatred of Goo and how I will never understand why people go so crazy for it. Sonic Youth as a band is one that really perplexes me because they are so well renowned and yet so fucking snobby at the same time. Most of the songs here are either just fine or are barely good at that and I will stand on that point firmly. This is a pretty plain and generic Alt Rock album that doesn't offer anything to it of note other than some kick ass vocals from Kim Gordon and occasionally good guitar parts, but everything else feels so lacking for some reason. I don't know how this album managed to grow even further off me in the 3 years since I last heard this in full but that is truly impressive. I don't think I'll ever understand what people see in this album but I will gladly not sugarcoat my opinion just because others seem to rave about this project.

Rage Against The Machine seems to be quite a spectacular meeting ground of 3 genres, Punk, Hip Hop, and Metal. While it teeters the line of being Nu-Metal, I feel Rage has enough personality, meaning, and sense of pure unapologetic anger that feels authentic and genuine over 30 years later. This project is very perplexing because it by no means should have had any Pop appeal and yet this album has acclaimed the rare feat of having a song with over 1 billion streams. This project was a cultural shift in a decade where it seems like just about every essential album of nearly every genre was coming out, and yet this project still stands out as one of the most iconic pieces of its' time. Personally I have never been crazy about this project, even with me owning it in my own personal collection, but I can still appreciate just how much it is going for while still being this group's debut album. It is nothing short of courageous and bold as Zach and the rest of his band put on one hell of a show in sounding the alarms of society in warning everyone of the current state of the world in such a way where it is extremely relevant in the grand year of 2025. This album is freedom of speech and quite creative and impactful usage of wording at its' finest. Even if the music may not hit for yourself, the meaning behind every note of this project can still leave quite a mark.

A very beautiful album and somber album that sadly ends on its lowest

The Velvet Underground is yet another band where I would like to completely flesh out their discography and dig into all their work, but for now we have to start with the infamous banana album. This album is very unapologetically 60s and that is ok but does come with its own set of problems that I will talk about later. I have always been very polarized with how this album sounds, it is so grainy it feels like you are chewing on a granola bar just listening to this project. On the other hand though the song writing, experimentation, and chemistry between The Velvet Underground and well known racist/borderline nazi Nico. Even for as rough around the edges this release sounds I still think that charm when this album was originally being made still carries over all 57 years later. After listening to this project at least 5 times before I can finally confidently say that something has clicked for me, maybe it is the fun factor of this project that is hidden in plain sight or maybe I am in more of a 60s kick. What I can say is that even though Lou Reed cannot sing if his life depended on it, he can still make a damn good song that impresses you with how sharp it is without any sort of killer vocals. Yeah I get why people call this a classic, but I will never understand the hype around it being one of the best albums ever made. After this project I am stepping into unknown territory as I have never made it farther than this in their discography ever, and I can only hope it lives up to or surpasses this project.

I am once again back on my Joni Mitchell grind, this time I am covering her "return to form" with 1974's Court and Spark. I can definitely tell a difference in sound between this and For the Roses that continue to cement that project being just great, while Court and Spark has hints of something much more spectacular and consistent throughout its' entire 36 minute tracklist. Maybe it is how well everything flows together here or all the new instrumentation Joni is throwing into her songs, regardless this album pops and once again blows my mind with how high of quality she is able to continuously pump out since her debut album. There is surprisingly a good bit of variety with the tracks here, but for the most part if you like Joni doing her own thing solo then there is plenty here for just that. Down to You has these subtle yet much needed orchestra compositions that weave in and out of the track's 5 minutes and 36 second runtime that make it feel like a whole experience in itself. Whether it is the strings, brass, woodwind, or even the simple piano parts, this track feels so cinematic and yet so touching and personal with each note. Twisted on the other hand takes a very different approach while using a trumpet to make for a very fun and lighthearted track that very much strays away from anything Joni has done before. It is punchy, funny, and at times very unserious with itself while still feeling very lyrically dense and captivating with just how Joni works herself into the music. Overall Court and Spark is a blast of fresh air in a discography full of refreshing and top notch Singer-Songwriter music. Joni really doesn't miss and it seems her streak doesn't quite end here which is super exciting.

I didn't expect to be listening to King Crimson today, but the 1001 albums to hear before I die project had other ideas in mind for me. Other than In The Court and Red, I am pretty unfamiliar with what else King Crimson has done, so I am walking into this project completely blind yet hopeful it will impress me. While this album may not as flashy or as well structured as Red or In The Court, Lark's Tongues in Aspic is yet another very detailed and thought out Progressive project from King Crimson that will really having you leaning forward in your seat for a proper analysis. I am starting to feel that maybe Prog Rock is not really as up my alley as I'd originally thought because I found Larks' to be quite plain and not nearly as compelling as a whole 46 minute adventure. Yes it has moments on the title tracks Part 1 and Part 2, but a lot of the middle work really felt like quite a step down. I appreciate all the thought put into the instrumentation and design of this project, but it really didn't do a whole lot for myself other than give me something to think about for 46 minutes. Really bummed I didn't like this more, but oh well I guess it wasn't meant to be.

Contemporary Folk has not sounded this good in so long, and that is why I am so excited to be covering this stunningly beautiful album from Rejoicing in the Hands by Devendra Banhart for the 1001 albums to hear before I die challenge. Much like what @DREscapePlan stated this album is "A nice, serene, campfire-y record that's perfect for October and only October." It is warm and flickers with pieces of sharp songwriting but for the most part settles down as being quite enjoyable. Devendra's vocals are so sweet and mix beautifully with his soft strumming all throughout the project. While Devendra may get a bit lost in the music here from time to time, I still feel he has such a nice grasp on the feelings he provides all throughout this project. It is a straightforward and stripped down album that will surely hit if you are a sucker for any Folk music as a whole. Not a standout project by any means, but just a really good time through and through.

Once again I may be committing some kind of sacrilege by saying this, but this is my first time hearing The Rise and Fall of Ziggy Stardust and the Spiders from Mars in full. After listening to this album in full I totally understand why this album is so revered, it is an incredible concept album that really pulls no punches and delivers banger track after banger track throughout the entire 38 minute runtime. The instrumentation on this project is truly so special and well organized to the point that I would not change a single thing here, it is all placed so beautifully and has such touching effects on myself when listening through. This projects can jump from very slow and thoughtful tracks like Starman to more hard rocking kickers like Suffragette City in an instant and yet make the transition feel so smooth and deserved. There is so much I can say here but I feel that everything has most likely been picked apart in the 53 years since this album's release, so I will cut myself short and just say to listen to the project if you haven't already. This is one of those albums where it shouldn't even be a question as to why it is a classic, it simply is.

Am I not seeing what everyone else is with White Blood Cells??? I get The White Stripes are supposed to be the "last rockstars" for some with their stellar reputation for revitializing that Garage Rock sound people wanted for the 2000s, but this project just feels like just another piece in the puddle that is Garage Rock, not a defining masterpiece. Yes there are some truly great songs here like Feel In Love With a Girl and We're Going to Be Friends, but for the most part I felt very underwhelmed with what Jack and Meg White were cooking up on this album. A lot of the tracks here felt a bit aimless and had no idea how to fit itself together into the album and were just barely scratching a "good" itch in my eyes. I can appreciate The White Stripes for all that they did, but I expected so much more from White Blood Cells that really has me wondering if this band still stands up 20 years later...

Boy did I forget how much I like this project at times. Believe it or not I actually like Amnesiac a good bit, I think it still suffers from the biggest problem Kid A also has. That problem being this album wants you to feel things at the cost of the tracks coming together a bit clunky. I won't lie I get why people don't like Pulk / Pull Revolving Doors but it is far from Radiohead's worst song. Also call this Kid A B-sides all you want but we all know that this was supposed to be a double album so that means they are in fact not B-sides but a whole other experience. I find this album to be a really good driving album, everything feels so vast like watching a mountain slowly fade into the distance when driving on the highway. There was a point in time where I thought this album was better than Kid A but now I know that opinion is just wrong. It's a solid listen but is nothing compared to it's much more appreciated and loved twin.