194
Albums Rated
3.36
Average Rating
18%
Complete
895 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
1970
Favorite Decade
Punk
Favorite Genre
UK
Top Origin
Wordsmith
Rater Style ?
15
5-Star Albums
1
1-Star Albums
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Germfree Adolescents
X-Ray Spex
|
5 | 3.05 | +1.95 |
|
Machine Gun Etiquette
The Damned
|
5 | 3.16 | +1.84 |
|
Pink Flag
Wire
|
5 | 3.21 | +1.79 |
|
Get Behind Me Satan
The White Stripes
|
5 | 3.39 | +1.61 |
|
Blunderbuss
Jack White
|
5 | 3.39 | +1.61 |
|
Tres Hombres
ZZ Top
|
5 | 3.41 | +1.59 |
|
Aqualung
Jethro Tull
|
5 | 3.44 | +1.56 |
|
Never Mind The Bollocks, Here’s The Sex Pistols
Sex Pistols
|
5 | 3.45 | +1.55 |
|
Lust For Life
Iggy Pop
|
5 | 3.6 | +1.4 |
|
The Velvet Underground & Nico
The Velvet Underground
|
5 | 3.62 | +1.38 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Exile In Guyville
Liz Phair
|
1 | 3.02 | -2.02 |
|
Me Against The World
2Pac
|
2 | 3.25 | -1.25 |
|
The Blueprint
JAY Z
|
2 | 3.2 | -1.2 |
|
Kind Of Blue
Miles Davis
|
3 | 4.05 | -1.05 |
|
Done By The Forces Of Nature
Jungle Brothers
|
2 | 3.04 | -1.04 |
|
Suzanne Vega
Suzanne Vega
|
2 | 3.02 | -1.02 |
|
A Seat at the Table
Solange
|
2 | 3 | -1 |
5-Star Albums (15)
View Album Wall
Popular Reviews
Harry Nilsson · 1 likes
3/5
There are some good songs, but overall I found this album a bit boring for me. Without You is so famous that even I knew it, but I didn’t realize it became well-known because of his cover. That’s quite a contribution
Portishead · 1 likes
5/5
Dummy has long been a favorite of mine, and honestly, “Glory Box” alone is enough to make it a five-star album. The album is built on low, sinking beats, looping, uneasy guitar lines, and Beth Gibbons’ fragile, intimate voice. Her vocals blend with the smoky, slightly distorted guitar in a way that feels both vulnerable and controlled.
1-Star Albums (1)
All Ratings
Dexys Midnight Runners
3/5
Great music, but not exactly my cup of tea.
AC/DC
4/5
This album has stayed with me for years.
3/5
I love PJ Harvey, but I prefer Dry over this album.
Green Day
4/5
Basket Case, When I Come Around....Always bring back memories.
The Cure
4/5
At first, I only saw Pornography as a gothic rock classic and wasn’t interested. But “A Strange Day” really got to me — its floating feel felt strangely nostalgic and reminded me of The Killers, even though The Cure came first. I also felt that Robert Smith and Brandon Flowers’ high notes sometimes sound a little similar.
R.E.M.
4/5
Green felt more experimental than I expected. Orange Crush has that raw drive that feels almost grunge before grunge. World Leader Pretend reminded me of Come As You Are with its looping riff and that mix of dark vocals over brighter backing.
Elliott Smith
3/5
I knew the name but hadn’t really listened much. Now I’ve realized I really like “L.A.”.
Siouxsie And The Banshees
4/5
Why didn’t I listen to The Scream sooner? Glad I found out I love McKay’s guitar—so sharp and clear, every chord note distinct, perfectly balanced with the vocals.
Violent Femmes
3/5
Acoustic but punky, bright but uneasy. Why didn’t I know this band? Blister in the sun got me hooked—time to check their albums.
Leonard Cohen
3/5
Knew the name but had never listened before. Classic, authentic folk songs—definitely not my usual taste, but a reminder that I should keep my ears open beyond my comfort zone.
Tori Amos
3/5
Strange how the voice feels familiar, like it reminds me of someone, even though I’ve never heard her before—there’s a kind of nostalgia in it.
Aimee Mann
3/5
I only knew "Save Me," and I love her voice and guitar sound, though I found it a bit boring.
A Tribe Called Quest
3/5
Not exactly my taste, though I can understand its appeal.
Ramones
3/5
Most of the songs are under two minutes, and the whole album is less than half an hour. It doesn’t stop on each track—it just rushes by like a whirlwind, fast and exciting. Simple and pure punk.
The Stranglers
3/5
I like the album, but it’s hard to imagine myself being blown away by this in 1977. I do like ‘Ugly,’ though.
Electric Light Orchestra
3/5
ELO’s Out of the Blue is a pop-oriented symphonic rock album. It generally lacks the raw rock energy I prefer, though they were probably a band that helped shape their era.
Wire
5/5
UK punk energy! Also prefigures 80s–90s American punk? Love "Ex Lion Tamer"—intro guitar riff rough, jagged, and simple. Just realized, Wire sound reminds me of early White Stripes—rough, garage-y, and somewhat sparse.
The Beta Band
3/5
Similar to Radiohead’s electronic era, but without the gloom or heaviness—lighter instead. Some tracks had basslines I really liked.
John Mayall & The Bluesbreakers
3/5
Simply put, Clapton’s guitar shines, especially the bluesy “crying” in the All Your Love interlude. I enjoy the sound itself, but I wonder whether ignoring the cultural context and Clapton’s later statements is appropriate.
Santana
4/5
I always had the image of Santana as mainly Latin rock, but Hope You’re Feeling Better is straight-up hard rock. The guitar tone on this track is just raw and powerful — pure hard rock. I like it.
Grandmaster Flash & The Furious Five
3/5
I’ve hardly listened to hip hop, so I can’t really judge how good the songs are. But I liked the bass in “She’s Fresh.” The bass really drives the rhythm, and the track is punchy.
Kid Rock
2/5
Overall, the album felt like a teen movie soundtrack to me. I didn’t really feel like listening to most of the tracks again, but I could listen to “Cowboy” more than once, even though it’s a bit long. I can see why this album sold well, but for a “must-hear before you die” list, I feel there are many others that deserve a spot first.
Nirvana
4/5
I think this album is often judged with bias because it’s too famous, but I really like Kurt Cobain’s guitar tone. At first listen, his guitar might sound like it’s played roughly, but when I pay closer attention, it feels to me that the guitar and the vocals as well as the other parts are almost obsessively balanced. Some tracks grow on me the more I listen, like Breed. Maybe, since I’m not a native English speaker, I might not grasp the lyrics directly, so my interpretation could be different. Anyway I envy anyone who got to see them perform live.
有名過ぎてバイアスのかかった評価がされがちだと思うけど、私はカートコバーンのギターの音作りは素晴らしいと思う。パッと聞くとどの曲も適当に弾いているかのようだが、よく聴くとボーカルや各パートとのバランスが神経質に工夫されている気がして、聴けば聴くほど気になっていく曲が多い。Breedとか。私は非英語ネイティブなので歌詞の意味をダイレクトに理解できないから解釈が異なるかもしれない。演奏を目の前で観たことがある人たちが羨ましい。
Björk
3/5
Both her music and her voice are utterly unique — she has essentially created her own genre, “Björk.” People I know tend to be split between loving her and not at all. Out of her albums, I personally prefer Post because it reflects a slightly darker side of Björk in a meaningful way. I’d give Debut 3/5 and Post 4/5.
The Jesus And Mary Chain
3/5
Since I had the impression that shoegaze was difficult to get into, Darklands was my first real listen, and it turned out to be much more to my taste than I expected. The famous “April Skies” stood out, but I also like “Nine Million Rainy Days.” Then I listened to Psychocandy, and it was a real shock—truly noisy. I prefer Psychocandy and can understand why Darklands might not leave as strong an impression. It’s interesting how it is so noisy yet still strangely nostalgic. I’d give Darklands 3/5 and Psychocandy 5/5.
JAY Z
2/5
This isn’t really my taste at all, but the one thing that really caught my attention was the basslines—they’re genuinely awesome. I wish I could extract just the bass.
Garbage
3/5
Rather than a band, it comes across almost like Shirley Manson’s solo project, with the other members staying in the background, focusing on sound design and contributing to the album’s distinctive ’90s atmosphere.
For all its calculated coolness, it lacks the raw spontaneity and universal hooks that come from chance or impulse. I get drawn in while listening, but afterward many of the songs curiously fail to leave a lasting impression — maybe that’s why.
Waylon Jennings
3/5
I can’t really tell if it’s a good album or not, since country isn’t my taste and I can’t properly engage with it. I liked the guitar on the opening track, but the slide guitar sound on the second track—the stereotypical “country twang”—isn’t for me
Lauryn Hill
3/5
When this album came out, I was living in Japan, and even there it was everywhere. A friend of mine actually became a Lauryn Hill fan because of it. I do like her voice, and for some reason To Zion, which was played a lot in Japan at the time, is a track I quite liked. The guitar that comes in during the interlude of Ex-Factor is also surprisingly cool. Listening to this album made me realize that I’m not really into hip-hop, but I do quite like soul.
Simon & Garfunkel
3/5
I have no real connection to England, yet I can sing Scarborough Fair only because my mother often played this album when I was a kid. For me it’s a mix of nostalgia and boredom. Paul Simon’s guitar sounds great, so I’d feel differently if I heard these songs live. I kind of like A Simple Desultory Philippic.
Iggy Pop
5/5
I love this album! In the spring of 2025, Iggy Pop came to Japan and I got to see Lust for Life live! A 77-year-old living punk! It felt like witnessing a legendary creature. Absolutely amazing!
Big Star
3/5
It’s classic rock, though many songs felt a bit draggy to me, making the whole album feel longer than it is. The one track I really enjoyed was Till the End of the Day—ironically a Kinks cover. The riff arrangement is great, which makes me think I might actually like Big Star’s guitarist.
The KLF
3/5
It’s not really my kind of music, but it feels like something that could only exist in a very specific moment in time. Even for someone like me, who wasn’t there to hear it in real time, the album strongly conveys the sense of its era—and that in itself is quite interesting.
The Smashing Pumpkins
5/5
Wow!!! I can’t believe this album came up just before seeing Smashing Pumpkins live in Osaka on September 21, 2025! Siamese Dream has been one of those albums I’ve kept coming back to over the years. Heavy, metallic riffs crash against melodies that stick in my head forever. I especially love “Quiet” and “Mayonaise.” Timeless.
Al Green
3/5
I had always known Al Green’s name, but I had barely listened to his music until now. Even though I don’t have any real knowledge of soul, I could simply enjoy this album. I also realized that I love soulful bass lines while listening to this album. My favorite track is It Ain’t No Fun to Me.
The White Stripes
5/5
I’ve been listening to The White Stripes for about 25 years, and they’re still my favorite band. On Get Behind Me Satan, I love the raw garage rock energy in songs like Blue Orchid and Instinct Blues—that buzzing Jack White guitar sound always gets me. But at the same time, tracks like Forever For Her (Is Over For Me) really blow me away. Even when the electric guitar disappears and the piano takes center stage, Jack’s unique rock spirit still shines through.
The Temptations
3/5
I don’t know much about soul, but this was so unmistakably Motown that even I could tell. I don’t dislike it, but it feels like the kind of music that loses some of its appeal when heard as a recording rather than live. The title track, “Cloud Nine,” is genuinely exciting though.
The Smiths
3/5
I’ve never really seen anyone praise The Smiths without reservation. I’ve also tried many times to really get into them, but usually gave up along the way. This time I finally listened more carefully, and Johnny Marr’s guitar and Andy Rourke’s bass completely grabbed my attention. Even the gloomy atmosphere isn’t bad at all. And songs like I Know It’s Over and Never Had No One Ever get more addictive the more I listen.
Harry Nilsson
3/5
There are some good songs, but overall I found this album a bit boring for me. Without You is so famous that even I knew it, but I didn’t realize it became well-known because of his cover. That’s quite a contribution
Stan Getz
3/5
I don’t usually listen to bossa nova or jazz and don’t know much about them, but I was drawn in by Stan Getz’s saxophone—the lightness coming from his distinct breathy tone. Honestly, the vocals didn’t grab me, so I found myself wanting to just follow the sax all the way through. For the sax alone, it’s 5 out of 5.
Miles Davis
3/5
Kind of Blue really feels like the king of jazz, the album everyone thinks of. But to me, it still feels too sophisticated for me, and I end up listening with a kind of tension. I just hope one day I can enjoy it more effortlessly. By chance, I listened to a Stan Getz album the day before, and honestly, just comparing the saxophone sound, I might actually prefer Getz over Davis.
Lloyd Cole And The Commotions
3/5
I had no idea this band even existed, but I kind of like the very British vibe. I especially liked Forest Fire, and a lot of the guitar lines stuck with me. Honestly, if this album is on the 1001 list, there must be plenty of others that could have made it instead.
The Beach Boys
3/5
I’d known Pet Sounds was hailed as one of the greatest rock albums of all time, but I had never actually listened to it until now. I gave it three tries, hoping to understand what makes it so great, but it just isn’t my taste. Once again, I realized I’m drawn to guitar-driven rock, and since guitars are almost absent here, maybe that’s why it didn’t click with me.
Jethro Tull
5/5
I had never even heard of the band’s name before! I read on Wikipedia that they’re known for bringing the flute into rock, and indeed, the interplay of flute and electric guitar on Cross-Eyed Mary, Up To Me, and My God is really cool. Experimental sounds can sometimes feel overcomplicated or hard to grasp, but this album also has a straightforward kind of coolness that I really enjoy. Some tracks even gave me a Led Zeppelin-like vibe, which I loved. I wish I could have seen them live!
Suzanne Vega
2/5
The whole album had a similar tone, a bit too sweet for me, and I’m just not the audience for it. Maybe the lyrics are good, but I didn’t feel like digging into them.
Baaba Maal
3/5
Baaba Maal is a completely new artist to me. I can’t say I disliked this album, but it’s not really my taste. Still, I imagine it would be fun to hear live.
Paul McCartney and Wings
3/5
I had never really listened to Wings before. According to Wikipedia, Band on the Run is regarded as the most commercially successful album Paul released after the Beatles. I can’t help but wonder what impression I would have had if I hadn’t known it was made by “Paul of the Beatles.” It certainly feels like a very well-crafted album, and I even caught a slight resemblance to the atmosphere of Japanese pop songs from the same era, which I found interesting. “Mamunia” in particular struck me as having a touch of Beatles-like sound. Even so, the album as a whole didn’t resonate with me on a very deep level.
Led Zeppelin
5/5
I’m always struck by how balanced Jimmy Page’s guitar playing feels.
Sometimes his guitar stays close to Robert Plant’s voice, gently supporting it; other times, it bursts forward with raw energy and takes the spotlight. But no matter what role he plays, the sense of balance in the whole song is always there. His guitar never feels out of place — it always fits into the bigger picture. In the Lemon Song, I really feel that his playing becomes a kind of conversation with Plant’s vocals.
And underneath it all, I’m completely drawn in by John Paul Jones’s bass lines — groovy, fluid, and full of life.
The way they all interact makes the whole track feel spontaneous yet so carefully built.
2Pac
2/5
I only knew 2Pac as someone who died in a gang conflict I never really understood, and I’d never listened to his music before. Without thinking about all that, this album wasn’t as bad as I expected. It’s actually better than a lot of slow hip-hop for me. But still, it’s not really my thing overall, and I don’t think I’d listen to it again.
Jimmy Smith
3/5
This is clearly a great record, and I can see why it’s highly regarded. But since I’m not really into jazz, it just doesn’t move me much, even though I can appreciate its quality.
Boston
4/5
I only really knew More Than a Feeling before listening to this album, and everything else was new to me. The sound feels heavy — classic in a good way, but maybe a bit over-the-top too. Still, I really like it. I feel like if I’d been born in that era, I totally would’ve been into this kind of music.
Suicide
3/5
This is a really strange album. In a fascinating way, it has a certain pop sensibility, yet an unsettling atmosphere runs through it. It feels a bit like looking at an abstract modern painting that I don’t fully understand. The first listen left a strong impression, but I’m not sure if I’d want to revisit it often. Still, I’m glad I got to know it exists.
Manic Street Preachers
3/5
I can see why people value this album, though it didn’t move me much personally. There’s a certain nostalgic feel to it, yet somehow it also sounds a bit cheap. I can appreciate the intelligence behind their music, but being intellectual doesn’t necessarily make it moving. Compared to other albums released around 1996, this one just doesn’t leave much of an impact on me.
Hookworms
3/5
This album reminds me a lot of the electronic rock from the ’90s. It’s hard to believe it was released in 2018. Maybe that nostalgic sound is part of why it was well received. Personally, I didn’t find it very original, but I can see why some people might be into this kind of sound. "Opener," which runs for more than eight minutes, has a noisy texture that I actually found quite suitable for background listening while working.
Jeff Buckley
5/5
I had only known Hallelujah before, but listening to the whole album, I was amazed at the level of completion for a debut. It’s tragic that this is his only album. Buckley conveys emotion in a completely open and unguarded way. As a songwriter, singer, and guitarist, his skill is undeniable, and I can easily see why this album received such high praise.
Some of the guitar tones, especially on Dream Brother, are so similar to Radiohead that I could almost imagine the track on OK Computer. Both Buckley and Radiohead share a kind of delicate tension in their sound. However, the biggest difference is in the emotional openness: Buckley’s vulnerability feels direct and unfiltered, while Radiohead often adds a layer of irony or abstraction.
Koffi Olomide
3/5
According to Wikipedia, he is one of Africa’s most prominent musicians, but I had never heard of him before. After listening to the album, it sounded exactly like what many people would imagine as “African music.” If he was the one who helped shape or popularize that image, that’s quite an achievement. Personally, though, it’s not really my taste.
Liz Phair
1/5
I honestly don’t understand what people see in this album. I’m not someone who cares much about vocal skill, but I just can’t stand her voice or the way she sings. I tried to listen to the whole album, but I couldn’t get past three songs. For the first time ever, I’m giving an album a 1 out of 10.
Talking Heads
3/5
I’d long been aware of the band’s distinctive name, but I had never actually listened to their music — not even the famous Psycho Killer. After listening this album for the first time, I can see why it’s considered influential — they were already looking beyond punk when punk itself was still exploding. Still, I’ve always been more drawn to the raw, straightforward kind of rock, so this didn’t resonate with me much. Maybe it’s that eternal contrast between raw emotion and intellectual distance — and I’ve always leaned toward the former.
Iron Maiden
4/5
To be honest, Paul Di’Anno’s voice isn’t really my taste, but I can’t help being drawn to Dave Murray’s fluid guitar lines and Steve Harris’s bass work. Prowler is of course great, but in Remember Tomorrow the interplay between the two guitars and the bass line is something I could follow endlessly.
What fascinates me about Iron Maiden is that, despite being labeled as heavy metal, their sound isn’t just about power or volume. It’s built on a delicate, precise three-voice structure — two guitars weaving harmonized melodies over a restless, melodic bass. That sense of construction and accuracy gives their music a unique kind of intensity.
Elbow
3/5
I don’t think it’s a bad album, but maybe because I listened to it when I was feeling down, it made me even more depressed. It reminds me a bit of Coldplay — not so much of that typical Manchester sound. I like Weather to Fly, though.
Led Zeppelin
4/5
I’m not from the generation that first heard this album, and I don’t share the British or American background behind it. So I listen to Led Zeppelin IV with no preconceptions.
To be honest, some of it feels a bit overthought, as if the band was trying to put too much meaning or mythology into the music. Compared to Led Zeppelin II, it’s less raw and spontaneous, and without knowing the cultural context of the time, it can feel quite obscure.
Even so, When the Levee Breaks really hit me. It’s bluesy, yet it has a distinctly British weight and sense of space, and I especially love the guitar sound—I’d give it 10 out of 10.
The Rolling Stones
4/5
This was the first time I really listened to Let It Bleed. Gimme Shelter” is as powerful as everyone says. The song that stayed with me most, though, was Monkey Man. There’s something about its rhythm and drive — I can’t explain it well, but it just feels cool.
I don’t really know much about blues, but the rawness and rough edges in these songs hit me hard.
X-Ray Spex
5/5
I can’t believe I’d never heard of this band until now! I love Poly Styrene’s voice — that sharp, punky high tone feels so direct and powerful. It’s amazing that they created this kind of sound while still in their late teens and early twenties. The saxophone gives the music a unique looseness that makes it even more interesting.
The War On Drugs
4/5
While I can hear influences from 2000s bands like Radiohead, The Killers, and Tycho, this album has a floating atmosphere defined by strong reverb, slide guitar, and a subtle bluesy touch. Many tracks share a similar mood, and the longer song lengths can make it feel a bit drawn-out at times. I can see why they have an indie vibe — their music leans toward a more artistic and introspective side rather than anthemic songwriting.
Johnny Cash
3/5
Once, on a small domestic flight in the United States, I was the only East Asian passenger among older white Americans. As the plane began its descent, the pilot started giving an enthusiastic commentary about local landmarks and recent news, adding jokes that everyone else — except me, of course — clearly understood. When he finished, the cabin erupted in applause. I felt an indescribable loneliness — a sense of being completely outside of something invisible. That feeling stayed with me all through this album.
LCD Soundsystem
3/5
I feel this album captures aging, regret, and lost dreams with honesty. Although the themes themselves don’t feel particularly new, maybe the album’s impact lies more in how LCD Soundsystem express those feelings through their precise, layered sound rather than in what they’re saying. My taste in electronic music isn’t consistent — I like Radiohead’s later electronic work, enjoy Underworld, but usually avoid overly clubby or upbeat electronic tracks. Still, I found myself enjoying this album and at the very least, it makes me want to check out their earlier albums.
The Pharcyde
3/5
This album sounds light, fun, and effortlessly groovy — definitely different from the gangsta rap style. The music feels bright and easygoing, as if the group is watching the world with a smile. Even though I don’t usually listen to hip-hop, I really enjoyed this one. I especially liked “Oh Shit” — it repeats simple phrases, yet somehow sounds really cool.
Sly & The Family Stone
4/5
I’d known the name for a long time, but this was my first time actually listening to the album. I didn’t expect it to be this good — this is real funk. It’s mostly cool and tight, but sometimes you can feel an inner fire coming through the distorted guitar. I’ve always loved string sounds, so the mix of Sly’s funky vocals, the Hendrix-like guitar tone, and the groovy bass lines really hit me.
Solomon Burke
3/5
Solomon Burke’s smoky voice perfectly captures the spirit of “rock ’n soul,” but the album as a whole feels a bit repetitive. After four or five songs, I started to lose interest a little.
Robert Wyatt
3/5
It really feels like pure experimental music. It’s not bad, but it reminds me of a film soundtrack that doesn’t stick in your memory — definitely not my kind of thing.
Dagmar Krause
2/5
I only listened to 3 tracks, but I just couldn’t get into it. Maybe it’s not for me.
If this is one of the “1001 Songs You Must Hear Before You Die,” then there must be thousands of other albums that deserve a spot too.
Deep Purple
3/5
I only really know Smoke on the Water and Highway Star. Both are so famous that it’s hard to judge them objectively, but the other tracks — while cool — somehow feel dated to me. The album is only about 30 minutes long, yet it feels longer for some reason. I don’t get that same old-fashioned feeling from Zeppelin from the same era, nor do their albums feel long. Maybe if I’d been around back then, I would’ve been really into this.
Black Sabbath
5/5
The origin and the ultimate form of dark metal — timeless and unequaled. I love every track on this album. Ozzy’s distinctive high-pitched voice perfectly blends with Tony’s skillful guitar work and the tight rhythm section. When listen closely, every part sounds incredibly precise and thoughtfully arranged. I can only imagine what a shock it must have been for people hearing this in 1970. I wish I could have seen them live, just once.
The Cardigans
3/5
I’d heard Lovefool countless times before, but this was my first time listening to the whole album. I like the guitar sound quite a bit, but to be honest, the sweet vocals were a bit too much for my taste over the course of the whole album.
David Bowie
3/5
I don’t think it’s a bad work, but personally I found it a bit drawn-out and occasionally sleep-inducing. The album might resonate strongly with longtime Bowie listeners — it seems to be full of references and echoes of his earlier work, and its impact is amplified if you’re familiar with the context of his career. For someone unfamiliar with Bowie like me, I feel there are other albums that might be more essential to hear first.
Charles Mingus
3/5
It’s a powerful and cinematic album — classical and dramatic, like an old Bond soundtrack. For me, it felt a bit too heavy. I wish I could focus more on Mingus’s bass and enjoy it that way.
The Dictators
3/5
I can see why this album is considered an important early punk record, but it doesn’t really sound like punk to me. The guitar riffs are heavy, and the guitar playing is almost too good for punk — songs like I Got You Babe don’t really sound punk at all. Yet the attitude is pure punk: sarcastic and completely unapologetic. Punk isn’t just a sound; it’s an attitude.
Jungle Brothers
2/5
Even though hip-hop usually doesn’t click with me, I still enjoyed this album to some extent — but in the end, it didn’t leave a strong impression on me.
Norah Jones
3/5
I imagine her voice would be absolutely captivating if I heard it live. But when listening to the recording, it sometimes feels like pleasant background music you’d hear in a cozy café — beautiful, yet a bit too safe.
The Beach Boys
3/5
I don’t know The Beach Boys’ music very well, but Surf’s Up seems full of well-crafted songs. Still, for some reason, it doesn’t really leave a strong impression on me. I do like Student Demonstration Time, though it feels quite different from the image I had of the band. Maybe this is the kind of album that only longtime fans can truly appreciate.
Bauhaus
3/5
Mask really threw me off. It’s strange, unpredictable, and kind of hard to hold onto — Of Lilies and Remains is fascinatingly weird, but I’m not sure it’s something I’d come back to often. Still, I don’t dislike the Passion of Lovers.
Slade
3/5
This voice — it’s impossible to mistake. I’ve listened to Cum On Feel the Noize so many times, and his vocals are so distinctive that whenever a similar chord progression appears in another Slade song, it immediately calls Cum On Feel the Noize to mind. The whole album has this infectious, rough-edged energy, and even when the songs differ, they all carry that unmistakable “Slade” stamp.
The Rolling Stones
3/5
I can see why this is legendary, but I’m still not fully converted. The loose, basement-like sound and the mix of blues, gospel, and country are fascinating. Yet most of the songs blur for me; it’s more of a vibe than a collection of standout moments. I respect the album’s place in history and its influence on bands I love, but emotionally, it doesn’t quite click with me. Still, it’s impossible not to fall for Shine a Light.
Jamiroquai
3/5
It’s Funk, but almost too polished — as if all the rough edges have been smoothed away. I found myself missing a bit of grit and rawness. And maybe this is just my problem, but “Virtual Insanity” was such a famous song that I can’t see Jamiroquai as anything else.
The Sugarcubes
3/5
Björk’s voice is so distinctive and iconic that no matter what the band plays, it instantly becomes her sound. I can’t help wondering what would’ve happened if she had continued in this Icelandic punk direction — it’s such a unique starting point for her career.
Adele
3/5
Her smoky voice is really fascinating. I genuinely think so. But, strangely enough, I didn’t feel very drawn to this album. Maybe it’s just a matter of taste. If I had an amazing voice like hers, I think I’d want to explore very different kinds of music.
Astrud Gilberto
3/5
I’m not familiar with bossa nova at all, so most of the songs sound kind of similar to me.
Brian Eno
3/5
I’d always associated Brian Eno with instrumental and ambient music, so I’m glad I finally listened to this album. By This River and Spider and I really stood out to me. I listened to the album three times on Apple Music, and interestingly, the next song that always came up afterward was by Radiohead. It made me realize just how huge Eno’s influence must be — probably beyond what I can even imagine.
The Who
4/5
I always had this image of The Who as a more punk-leaning, guitar-driven band, so Baba O’Riley really surprised me, it’s not at all what I expected. Bargain is much closer to the sound I had in mind. And to be honest, my image of The Who still mostly comes from their My Generation era, so that rough, explosive sound is the one that sticks in my mind.
Louis Prima
3/5
Even though I’m not very familiar with classic jazz, the groove, the humor, the live-band chemistry — none of it ever seems to fade. I wish I could have seen they perform this live.
(I couldn’t stream this album in my country, so I had to listen on YouTube.)
Buck Owens
3/5
I usually find country music all sounds the same to me, and this album is especially like that — it’s hard to tell the songs apart. That might sound harsh, but I want to remember the sharp, crisp sound of the guitar. I like “Trouble and Me.”
The Coral
3/5
I can hear that The Coral are very skilled musicians, their performances are sharp and self-assured. But despite that, the album didn’t stay with me; nothing felt settled or resonated emotionally. The ideas and technique often seem to take precedence over the song’s overall cohesion.
DJ Shadow
3/5
According to Wikipedia, he has been described as “Jimi Hendrix with a sampler instead of a guitar.” I suppose that means he was revolutionary within hip-hop. Since I’m not very familiar with hip-hop to begin with, I don’t think I fully grasp the shock it caused at the time. That said, it’s clearly very different from the kind of hip-hop I usually struggle with. Tracks like Napalm Brain/Scatter Brain were surprisingly easy for me to listen to, without the resistance I often feel with the genre. Still, I can’t shake the feeling that my own musical experience isn’t quite enough to understand this sound properly.
Willie Nelson
3/5
I hardly ever listen to country music, but this album was easy on my ears. The crisp, clean guitar tone grew on me. But somehow, no matter how many times I listened, it still didn’t hit me as much as I hoped it would. I almost feel a bit disappointed in myself for that.
The Jam
4/5
I’d always been curious about The Jam because so many musicians I like cite them as a major influence, but I’d rarely listened to them properly until now. All Mod Cons finally showed me why they matter. Paul Weller’s clean, tight, sharp guitar sound is seriously cool. I can really hear how his playing blends energy with clarity in a way that shaped many later UK guitar bands. I still feel like I’ve only scratched the surface with The Jam, but this album helped me understand their reputation a little better.
Ravi Shankar
2/5
I learned that Ravi Shankar was not only George Harrison’s sitar teacher but also Norah Jones’s father, which already places him in a fascinating corner of music history. Unfortunately, his music doesn’t particularly resonate with me, but it’s clear that he’s an extraordinarily important figure in shaping how Indian classical music was introduced to the world.
Snoop Dogg
3/5
I usually don’t listen to hip-hop at all, but Doggystyle felt different from what I imagined hip-hop would be. I don’t dislike this uniquely laid-back, dope vibe. From 2:44 to 3:05 in “Lodi Dodi,” I can clearly hear the melody of Kyu Sakamoto’s Ue o Muite Arukō (Sukiyaki)—both songs share a sense of sadness in their lyrics, which I find interesting. This really shows Snoop Dogg’s wide musical range, though it’s a bit disappointing that the credits don’t mention it.
Dusty Springfield
3/5
Dusty in Memphis is widely considered a classic, and Dusty Springfield’s smoky, airy voice really is lovely. Still, the album didn’t resonate with me as much as I expected. Maybe I just don’t quite have the ears to appreciate what makes this record so beloved.
Public Image Ltd.
3/5
Metal Box is hard to sum up. The album opens with Albatross, a track that runs for more than eight minutes — the rumbling bass, the dissonant guitar and the vocals that sound more like a curse than singing all feel deliberately confrontational in a way that some listeners might love.
The stretch from Graveyard into The Suit honestly left me thinking, What am I even listening to? It’s hard to judge.
I think I kind of like No Birds, but at this point I’m not even sure I trust my own judgment anymore.
Joni Mitchell
3/5
I can absolutely understand why Joni Mitchell’s songwriting and her remarkable voice are so highly praised, but unfortunately it just isn’t to my personal taste, even though I really wanted to like it.
Simply Red
3/5
I'm surprised by how different Simply Red’s music is from some of the Manchester musicians I’m partially familiar with. It gave me a glimpse into the diversity of the city’s music scene. I knew “Money’s Too Tight (to Mention)” already, but I didn’t realize it was a cover until now.
Dion
3/5
This album seems to be very famous, but I hadn’t even heard of Dion before listening to it. As the record went on, the songs started to feel a bit too similar for me, and I found myself losing interest — it just wasn’t really my taste. That said, Runaway Man was one track I liked.
Bill Evans Trio
4/5
This is a great opportunity for me to finally sit down and really listen to Bill Evans. Even for me, who’s never really listened to jazz, the album felt surprisingly inviting — Jade Visions especially stood out to me. It felt less like listening to music and more like overhearing someone’s quiet thoughts — an expression beyond words.
The Temptations
4/5
All Directions really grabbed me with its rhythm section. The bass across the album is incredibly cool — deep, steady, and full of character. And the guitar really stood out too: the funky muted cutting in “Run Charlie Run” and the lightly wah-tinged rhythm guitar in “Papa Was a Rollin’ Stone” give the songs such a distinctive groove.
Sly & The Family Stone
4/5
I think I might actually like this album more than Stand!, though I’m not entirely sure why. “Africa Talks to You” especially stood out to me — the bass is amazing, the guitar has a great crunchy tone, and in the last minutes there are these really deep, thumping bass notes that I loved. I still can’t quite explain the reason, but this album just hits me differently.
Minor Threat
4/5
This is everything I love about hardcore punk — raw, fast, uncompromising, and unapologetically real.
The Pogues
3/5
Good folk-punk! The mix of traditional folk elements with punk attitude feels lovely and fun, and it all goes down surprisingly easy.
Pavement
4/5
It feels like Nirvana gone a bit Weezer, with that laid-back slacker vibe but also a subtle, metal-tinged emotional “cry” in the melodies. Its nostalgic yet unsettling mix really stuck with me. “In the Mouth a Desert” is the standout track for me.
Merle Haggard
2/5
A classic country record, exactly what I imagine. I understand why it has so many fans, but it’s not really my taste. Still, the clean guitar tone is genuinely pleasant to hear.
Ryan Adams
3/5
I listened to a few tracks, and honestly it didn’t leave much of an impression on me. It’s not bad at all, pleasant enough, but easy to tune out. This is only my first impression, though, and maybe it reveals more with a deeper listen.
The Stone Roses
4/5
I love John Squire’s guitar tone and Mani’s bassline — especially on “Waterfall.” Ian brought that atmosphere, Reni held it all together with tight drums. The whole band was magic. I was looking forward to their comeback. Now all we have is the music. RIP.
The Damned
5/5
This is just awesome, I love The Damned! Liar especially blew me away: that groovy bass, the totally punk vocals, the spiky guitar, and the tight drum all come together perfectly. And I’m so glad I got to see them live in 2024. They’re forever cool.
Björk
2/5
Björk is unmistakably herself — no one sounds like her. But her music is hit-or-miss for me, and Medúlla is mostly the miss. It honestly stressed me out, so I escaped into yesterday’s generated “The Damned.”
The Offspring
4/5
It’s not about trends or analysis, it’s just pure nostalgia. Smash takes me back. I even share the same degree Dexter earned later in life, so I feel weirdly connected to it.
Bruce Springsteen
3/5
Even though I don’t know much ’80s music, this album somehow feels familiar. I only really knew Born in the U.S.A., yet the other tracks have a strange kind of nostalgia to them, as if I’d heard them somewhere before. And I really do like his guitar tone.
Steely Dan
3/5
Even on a quick listen it’s full of moments that jump out. Night by Night has a great guitar solo, and tracks like Parker’s Band just put me in a genuinely good mood. There’s a relaxed, playful feel running through the whole record that makes it enjoyable even when I’m not listening very deeply.
Sex Pistols
5/5
It makes me want to shout “I wanna see some historrrrrya!” Just hearing the scratchy guitar in the intro to “Holidays in the Sun” gets me excited. Even though this album came out before I was born, it doesn’t feel dated at all.
T. Rex
4/5
I only really knew “Get It On,” but listening to Electric Warrior made me realize — way too late — how much the rest of the album is completely my thing. “Mambo Sun” has a slightly bluesy feel that I love, and “Cosmic Dancer” gives me a heavier, more grounded Beatles vibe. I’m glad I finally gave it a proper listen.
Roxy Music
3/5
For me, for better or worse, the album lacks a clear sense of cohesion, which makes it challenging to listen to. Still, there are moments that pull me in — Chance Meeting, for example, is unsettling but oddly compelling, leaving me curious despite the unease.
Songhoy Blues
4/5
I don’t understand the song titles, but I love the sound of Music in Exile. The vocals feel deeply rooted in West African tradition, and the bluesy, crunchy guitars give it a raw, modern edge. “Soubour” is my favorite track.
Miles Davis
3/5
I know Birth of the Cool is considered a classic masterpiece, but it didn’t really click with me. I’ve tried listening to Miles Davis before and had the same reaction, which makes me feel like I might not quite have the ear for this kind of masterpiece. Personally, I find myself more drawn to the sound of Stan Getz.
Solange
2/5
Even without considering that I don’t usually listen to R&B, this album didn’t really appeal to me, and I didn’t find any tracks that left a lasting impression. Sorry!
Can
3/5
While listening to this album, I suddenly heard Japanese and realized for the first time that Can’s vocalist was Japanese. The music isn’t really my taste, but I deeply respect how he continued creating outside his country of birth and left a lasting mark on music history.
Brian Eno
3/5
It feels less like music for airports and more like something to play when I want to fall asleep. The track order (1/1, 2/1, 1/2, 2/2) just feels weird to me — it probably indicates some kind of classification, but since the pieces are so long, I couldn’t really tell which tracks were meant to be related.
Elvis Costello
4/5
It might be the first time I’ve properly listened to Elvis Costello. I really love the clean guitar tone throughout the album.
Gorillaz
4/5
Revisiting this album made me feel nostalgic. Hearing it now, Re-Hash sounds so Blur-like that it wouldn’t feel out of place on one of their albums. I really like the loose, laid-back vibe and slow grooves of tracks like 5/4 and Tomorrow Comes Today.
Public Enemy
3/5
To me, a lot of the songs blur together, with very similar beats. I feel like rap probably needs the lyrics to really land, and without understanding them, it doesn’t fully click.
Derek & The Dominos
3/5
I respect Eric Clapton’s guitar skills immensely, but this album doesn’t fully resonate with me, and I’m not sure why. “Layla” itself feels less like just a song title and more like a piece of rock mythology at this point, even turning up later in bands like Oasis.
Morrissey
4/5
I experience Viva Hate differently from many UK listeners. I don’t carry the same historical or political context, so I tend to focus more on the sound and emotional atmosphere. Heard this way, it’s an album I really love. The music feels fragile, intimate, and quietly powerful. “I Don’t Mind If You Forget Me” is my favourite — the jangly guitar sound is beautiful, and the lyrics feel comforting in the way they accept loneliness rather than deny it.
Massive Attack
3/5
I’m more familiar with Blue Lines, which I’ve listened to quite a lot. Coming to Protection while I was tired, I found it so smooth and subdued that it actually made me a bit sleepy.
Various Artists
3/5
Lonely Christmas
Sarah Vaughan
3/5
I love how warm the upright bass sounds, and how that warmth blends with Sarah Vaughan’s deep, rich vocals.
Depeche Mode
3/5
This album feels extremely 1980s. Even though I didn’t hear it in real time, it still gave me a strange sense of nostalgia. That said, I found the second half starting to drag a bit.
The Smashing Pumpkins
4/5
Mellon Collie and the Infinite Sadness really shows the breadth of Billy Corgan’s songwriting, while also making his roots in metal unmistakably clear. Disc 2, in particular, leans into a darker, grungier mood. The album hasn’t lost its power over time, though that might partly be nostalgia for me as a kid in the 90s. And Billy Corgan’s guitar work is seriously underrated.
New Order
3/5
Low-Life didn’t leave as strong an impression on me as Power, Corruption & Lies, which I still prefer. Bernard Sumner’s vocals aren’t really my thing, but they feel like part of New Order’s character.
R.E.M.
4/5
This is for the people who feel that life moves forward automatically. The songs do not give clear answers. Instead, they show the feeling of living inside a flow that cannot be stopped. There is both resistance and quiet acceptance toward this automatic river. I did not understand this album when I was much younger, but feels different to me now.
Red Snapper
3/5
Listening to this album, I'm wondering if this was the kind of sound played in UK clubs at the time. Hearing it on my phone while riding the train in Japan, it felt more like a film soundtrack than a set of distinct songs, and individual tracks didn’t really stick with me. Of course, all music is influenced by context, but this kind of sound feels especially dependent on its environment, which made it hard for me to fully engage with it.
The Strokes
4/5
When this album first came out, I somehow assumed The Strokes were a British band. At the time, I was deep into The White Stripes, and The Strokes felt a bit too light and breezy for my taste, so I didn’t really give them a proper listen. I came back to this album later, though, and realized just how much it influenced UK rock in the late 2000s and beyond. Personally, I really like “Juicebox” from First Impressions of Earth.
Fleetwood Mac
3/5
Rumours is the most popular albums in the 1001 Albums You Must Hear Before You Die list, so I had high expectations for Tusk. Unfortunately, it never really clicked with me. I can tell it’s probably a good and important album, but to my ears it still feels very much like an oldies record. That might be because I don’t really grasp the social and cultural context of the time in the US and Europe when it was made.
Coldplay
3/5
Looking back, it’s great that Parachutes was their debut album. Still, they just doesn’t quite click with me. What surprises me most is that my reaction hasn’t really changed at all over the past 25 years.
The Gun Club
4/5
Fire of Love was my first encounter with The Gun Club, yet the riff from Preaching the Blues felt strangely familiar, and it stayed in my head long after listening.
Reading about the band afterward added another layer: learning that Romi Mori, a Japanese woman, once played bass in the band, and that she had photographed a cover for The Smiths, caught my attention. I was also struck by how closely Jeffrey Lee Pierce was connected to Japan — his ashes were scattered in Kyoto, where I happen to live now.
It’s nothing more than coincidence, really, but it gave me an unexpected sense of closeness. It reminded me that music isn’t shaped by sound alone, but also by the stories and contexts we bring to it.
Parliament
3/5
I can imagine loving this album in the right setting — in a club, watching someone like John Travolta dance without hesitation, completely inside the groove. In that moment, this music would probably feel joyful and irresistible. Listening to it alone, though, I find myself more of an observer than a participant. I understand why Mothership Connection is so highly praised, even if I don’t fully connect with it on a personal level.
The Isley Brothers
3/5
I happened to listen to a run of funk albums in a row, and by the time I got to 3+3, I was feeling a bit burned out. Funk might just not be my type.
The title 3+3 also made me think of Radiohead’s “2 + 2 = 5,” even though there’s no real connection.
Paul Simon
4/5
I’d always thought of Paul Simon mainly as one half of Simon & Garfunkel, so this was my first time really listening to his solo work. I found myself unexpectedly drawn to “Peace Like a River” and “Paranoia Blues” — especially the bluesy slide guitar, which made me appreciate him as a guitarist more than I had before.
Blood, Sweat & Tears
3/5
I didn’t even know the band’s name before this. I’m not sure I’d call them a rock band, but the solid bass and the punchy brass section sound great. Some tracks even hint at a slightly progressive feel. The album can feel a bit scattered as a whole, but it was definitely an interesting listen. I’m glad I discovered them.
Nick Drake
4/5
Nick Drake’s guitar has a very distinctive sound — it’s hard to describe, but it somehow brings out a sense of nostalgia mixed with a quiet sadness. Bryter Layter feels warm, yet slightly unsettled at the same time. “Hazey Jane” in particular really stood out to me.
Bob Dylan
3/5
Bob Dylan and I don’t really have any direct connection. But listening to “Masters of War” made me think of Sheryl Crow’s “Redemption Day.” Realizing how many artists I already know have been influenced by him makes me feel strangely aware that I’ve been affected by Dylan too — indirectly, at least. It’s a curious feeling.
And no matter what or how he sings, it still sounds unmistakably like Bob Dylan.
The National
4/5
High Violet feels strangely familiar, even though it was my first time listening to it. The songs remind me of various artists I used to listen to in the 1990s and 2000s, giving the album a quiet sense of nostalgia.
Strangely, The National often sound closer to UK indie to my ears — something in the mood and atmosphere recalls bands like The Smiths or even early Coldplay.
“Anyone’s Ghost” and “Little Faith” stood out in particular, capturing that balance between emotional weight and restraint that I tend to associate more with British indie.
Fleetwood Mac
4/5
Rumours is clearly a hugely popular album, even though this was my first time listening to it. “Go Your Own Way” feels strangely familiar to me, almost like something I must have heard growing up, and tracks such as “Songbird” and especially “The Chain” make it easy to understand why this album couldn’t have been ignored at the time.
What stood out to me most, though, was the bass — especially on “The Chain,” where it draws me in in a way I can’t quite explain. It really feels like a band where every member is equally strong and deeply professional, which gives the album an undeniable sense of sincerity.
Cocteau Twins
4/5
Elizabeth Fraser’s voice and the floating guitar textures really linger in my ears. The strong sense of atmosphere is captivating, though it also makes many of the songs blur together and sound quite similar.
I can clearly understand why Elizabeth Fraser is so highly regarded as a singer, even though I can’t fully explain it. Her voice just feels completely one of a kind.
Simple Minds
3/5
This album may be historically important, but listening to it on its own, without that context, I find it hard to evaluate it objectively. I’ve never been particularly drawn to synth-led new wave, and that bias probably plays a big role here.
What’s interesting is that I do enjoy electronic-driven music in other forms — something like The Prodigy works for me — so it’s not the use of synths itself. I’m not entirely sure why, but some kind of atmosphere or sense of its era clearly affects my taste.
Neil Young
4/5
Neil Young sounds exactly as I imagined — raw and bluesy, with a loose atmosphere that feels like Neil Young simply being Neil Young.
I really love his guitar sound here: it’s effortless and bluesy, and it feels carefully played rather than showy.
The Cure
4/5
Seventeen Seconds really clicked with me. The thin, scratchy guitar sound — light and slightly noisy in a good way — really defines the mood of the album. The dark, floating vocals, along with the groovy and memorable bass and the minimal drums, create a quietly absorbing atmosphere.
It feels very much like a sound of its time, but it still works for me — there’s something quietly addictive about it.
Sister Sledge
3/5
We Are Family draws me in with its groovy bass and crunchy guitar rhythms. What really impressed me was the guitar cutting — it’s subtle and never showy, but extremely skillful, and that understated precision is what keeps pulling me in.
Funk isn’t something I normally listen to, and before this I only knew the song “We Are Family,” but their style impressed me.
The Sensational Alex Harvey Band
3/5
I’d been aware of SAHB because the Japanese musician Rolly often talks about how much he loves them, but I’d never actually listened to their music before. This album does have some great glam rock moments — especially “The Faith Healer.”
The instrumental performances are really strong, but listening to the album as a whole left me feeling a bit worn out.
The Velvet Underground
5/5
I can’t believe I hadn’t really listened to this album before, even though I knew about VU, already owned Lou Reed’s albums, and loved the Stooges (I even saw Iggy Pop live), as well as Jack White. It feels like discovering the source after knowing the echoes for years. I absolutely love this album and VU.
Aerosmith
4/5
After listening to The Velvet Underground, jumping to Toys in the Attic was such a shock that it honestly made me laugh. The difference in scale, energy, and attitude is striking. But Walk This Way is, unsurprisingly, just pure fun.
I had actually seen Steven Tyler singing at Ozzy’s Back to the Beginning show 2025, and hearing this album really made me aware of how long his career has been.
Meat Loaf
3/5
Knowing how massively popular this album is, I couldn’t really grasp why it’s held in the same kind of legendary status as artists like Michael Jackson. I can tell it’s big, dramatic, and carefully crafted, but its appeal just didn’t quite reach me.
Amy Winehouse
4/5
The last time I saw her perform was at the V Festival in 2008, and in 2025 I stood in Camden and saw her statue. Knowing there will never be another chance to hear that voice live makes the album feel heavy in a way that goes beyond music.
Listening to this album now simply makes me feel sad — sad that such a voice is gone, and that all we have left are the recordings.
Jane's Addiction
4/5
Nothing’s Shocking really feels like alternative in the original sense. The sound changes a lot from track to track. “Summertime Rolls” feels dreamy and gentle, while “Mountain Song” is heavy and very hard rock. It almost sounds like different bands on the same album. There isn’t much unity, but that’s actually what I love about it.
I was also surprised to learn that Flea from RHCP plays trumpet on “Idiots Rule.” It makes the album feel even more distinctive.
N.E.R.D
3/5
I don’t usually listen to hip-hop at all, but I’ve always had a soft spot for N.E.R.D. Maybe it’s because their music was everywhere when I was younger. With mix-rock being popular at the time, songs like “Don’t Worry About It” and “Breakout” didn’t even feel like hip-hop to me — I just heard them as part of that mixed, rock-leaning sound.
When the album leans more toward danceable, straight-up hip-hop, it doesn’t really grab me. Still, “She Wants to Move” is pure nostalgia — it was played absolutely everywhere back then.
Tears For Fears
3/5
I used to think of Tears for Fears as a typical example of that very specific 80s pop sound, without really listening closely. But once I paid attention, I realized the music isn’t light at all. The rhythm section is solid, and at times the grooves even feel slightly funky, which I didn’t expect. That subtle depth is what makes the band more interesting than I had assumed.
Sabu
2/5
Palo Congo honestly didn’t connect with me. Listening to it during a cold Japanese winter, with light snow falling outside, the sound just didn’t sink in at all. It feels like an album that probably makes more sense in a completely different climate and setting.
Neil Young
4/5
At first, the album didn’t really click with me, but from “Vampire Blues” onward I was completely drawn in. There’s an effortless, stripped-back blues feel that sounds raw and real, and it reminded me of Jack White.
It’s not just the guitar, but also Neil Young’s high-pitched, slightly unfocused way of singing. He doesn’t sound powerful or refined in a conventional sense, but that fragile, almost careless tone feels honest.
The Fall
3/5
I really like the gritty, guitar-based sound of The Fall. That rough texture and stripped-down approach are very much my thing.
At the same time, I feel that truly understanding what makes this band special probably requires engaging closely with Mark E. Smith’s lyrics, and the British cultural context behind them — especially their working-class roots. Without being able to fully grasp those references, it’s hard for me to connect with the band on a deeper level.
Still, tracks like “Glam Racket,” “It’s a Curse,” and “Paranoia Man in Cheap Shit Room” stood out to me.
Jack White
5/5
I’ve been listening to Jack White for almost 25 years now, going all the way back to The White Stripes, and he never gets old to me. He’s always felt consistently cool, and I really love his commitment to a lo-fi, garage-rock spirit. I also love his guitar — raw, expressive, and full of character.
On Blunderbuss, that attitude is still very much alive. Tracks like Sixteen Saltines, I’m Shakin’, and Love is blindness stand out to me in particular — energetic, rough around the edges, and unmistakably Jack White.
Cyndi Lauper
4/5
She’s So Unusual reminded me just how special “Time After Time” is. It’s not only a defining song of 80s pop, but an all-time classic — the intro alone is enough to pull me in.
What stays with me most is the quiet resolve in the song, the feeling of leaving a place that once felt safe, but no longer fits. There’s a balance of warmth and firmness in that moment: trusting both the other person and myself, and choosing to step forward rather than hold on. That’s what makes the song feel timeless to me.
Culture Club
3/5
Colour by Numbers has an instantly recognizable 80s sound — even without any context, it’s easy to tell which era it belongs to. Despite being from a different time, country, and musical taste, I somehow already knew Karma Chameleon, which says a lot about how deeply that song has permeated popular culture.
Blondie
4/5
I only knew the name Blondie and thought I’d never really listened to them, but once Heart of Glass came on, I realized I already knew it.
What really struck me was Debbie Harry’s vocal style — blunt and cool on the surface, but clearly backed by real singing ability. The overall sound also leans more toward punk than I expected, which I really liked. “One Way or Another” especially stood out to me; it reminded me of Alison Mosshart’s Vivi persona in The Kills.
Big Star
3/5
Before this, I wasn’t familiar with Big Star at all. #1 Record feels like a genuinely good album, and it definitely sits within the range of music I usually enjoy. Still, despite that, most of the songs didn’t really stay with me — although “When My Baby’s Beside Me” stood out.
David Gray
3/5
This ablum isn’t bad, and it’s not something I dislike, but as a full album it didn’t really click with me and felt a bit monotonous overall. “Sail Away” stood out as a track I enjoyed more than the rest.
Coldcut
3/5
What’s That Noise? didn’t really resonate with me personally, but it’s clear how important Coldcut were. Their experimental use of sampling helped shape UK breakbeat culture, and it was surprising to learn that two tracks from this album were even used in Japanese TV comedy shows. The album stands as an early and influential example of sampling-based music.
The Prodigy
4/5
Coming back to The Fat of the Land after a long time, it still sounds undeniably powerful. Tracks like “Smack My Bitch Up,” “Breathe,” and “Firestarter” haven’t lost any of their impact. It’s electronic music with a punk attitude, and that raw energy is exactly why it still feels so cool.
The Police
4/5
Sting being both the bassist and the vocalist feels central to The Police’s sound. The dry, lightweight guitar paired with instantly memorable bass lines feels distinctive, even within UK rock of that era. While the band is often described as “white reggae,” it never feels like a simple imitation. Rather, it almost sounds as if Sting created his own genre.
Aerosmith
4/5
It was my first time listening to this album. I had heard Toys in the Attic before, and I actually prefer Rocks. It feels rougher and more aggressive, with a raw, slightly garage-like edge that really stands out to me. “Back in the Saddle” sounds especially gritty and cool, and “Nobody’s Fault” takes it even further — Joe Perry’s solo is crushing, almost straight-up heavy metal. I had always associated Aerosmith with songs like “Walk This Way” or their later ballads, so I didn’t realize they once sounded this heavy.
Iron Maiden
4/5
The Number of the Beast feels like a turning point for Iron Maiden, not because it rejects the Paul Di’Anno era, but because it builds on it. With Bruce Dickinson’s voice, the band’s sound feels wider and more dramatic. What stands out is how carefully structured the songs are. The album carries a distinctly British sense of weight and atmosphere, balancing raw energy with a more epic, controlled approach.
Slayer
4/5
Reign in Blood was my first time properly listening to Slayer, and it immediately clicked. The album is driven by punk impulse, but executed with the precision of heavy metal. The songs are fast, direct, and brutally efficient, sounding chaotic on the surface yet never sloppy.
Portishead
5/5
Dummy has long been a favorite of mine, and honestly, “Glory Box” alone is enough to make it a five-star album. The album is built on low, sinking beats, looping, uneasy guitar lines, and Beth Gibbons’ fragile, intimate voice. Her vocals blend with the smoky, slightly distorted guitar in a way that feels both vulnerable and controlled.
Public Enemy
3/5
Fear of a Black Planet was my first proper listen to Public Enemy. I had known the name for years, but I don’t usually listen to hip-hop. To my surprise, it was more within my taste than I expected. That said, the album feels quite long to me, which may be one reason I’ve never fully connected with hip-hop, especially since I tend to prefer the brevity and speed of punk.
Fugees
3/5
The Score didn’t resonate with me as much as I expected. I like Lauryn Hill’s voice, and I’ve always enjoyed “Killing Me Softly with His Song,” but the album as a whole didn’t fully click with me. To be honest, hip-hop can feel a bit boring to me.
Dwight Yoakam
2/5
Buenas Noches from a Lonely Room wasn’t really for me, as many of the songs sounded similar to my ears. Interestingly, I learned that Dwight Yoakam appeared in Sling Blade, which actually made me more curious about the film than the album.
George Harrison
4/5
This was my first proper listen to George Harrison’s solo work. At first, I couldn’t clearly tell whether I was hearing The Beatles or Harrison himself, especially in songs like “What Is Life,” which feel very close to that familiar sound.
But other tracks move further away. Wah-Wah stands out for its thick production and strong wah guitar, and Art of Dying feels more intense and guitar-driven. Hear Me Lord and Out of the Blue has a bluesy, almost gospel-like atmosphere, and by that point the album feels more personal and less tied to The Beatles.
It’s a long album, but the more I listened, the more Harrison’s own identity started to come through.
ZZ Top
5/5
I had known ZZ Top for years, but when I revisited it, it clicked from the very first track.
La Grange, of course, is incredibly cool. The riff is simple, but it grooves so naturally that it doesn’t need anything extra. The sound is dry, direct, and effortlessly cool.
Even though the album came out long before I was born and in a completely different country, it still connects with me. I can’t fully explain why, but the riffs and the groove just feel right.
Buzzcocks
4/5
It feels like a very direct blueprint for punk. It’s fast, sharp, and stripped down, but the riffs and melodies are still clear. It doesn’t feel chaotic for the sake of it — it feels focused.
I Don’t Mind and Fiction Romance might be my favorites. They’re simple, but the hooks are strong and emotionally direct without being dramatic. Moving Away from the Pulsebeat is interesting too. It runs over seven minutes, which sounds unusual for punk, but it still feels completely punk.
Creedence Clearwater Revival
3/5
Bayou Country has a guitar sound that I really like — dry, simple, and riff-driven. At the same time, the vocals feel very intense and almost overwhelmingly American, which makes the overall atmosphere a bit heavy at times.
It feels very much like the 1960s, and its relatively short length keeps that intensity from becoming too overwhelming.
Beth Orton
3/5
I had never heard of Beth Orton before, but I really like her voice. It’s fragile and expressive without being overly sweet.
That said, the album feels a bit too consistent in tone, with many of the songs sharing a similar dark and restrained mood. I found myself wishing there were more tracks like Stolen Car or Couldn’t Cause Me Harm, where the guitar and rhythm stand out more clearly.
Her voice carries much of the atmosphere, but as a full album it feels a little too uniform for me.
The Allman Brothers Band
3/5
I appreciate the guitar playing and musicianship, but the overall sound feels very rooted in the Southern rock style—slow tempos, long jams, and organ-heavy grooves. Listening to it all the way through made me realize that I’m not as drawn to sustained, slow-burning intensity as I am to music with more forward momentum and clear structure. In that sense, even if the album isn’t fully to my taste, it helped clarify what I tend to respond to in music.
CHIC
3/5
I don’t dislike disco-funk at all, and I can clearly hear how tight and refined the groove is on this album. The rhythm section is precise, everything feels clean and controlled, and the bass lines are consistently impressive. I enjoy the groove, but I remain slightly outside of it emotionally.
“Good Times” is undeniably iconic, though I can’t help picturing John Travolta dancing whenever it plays, even if that association isn’t technically accurate. It carries such a strong late-70s cultural image that the music almost comes with built-in visuals.
Simon & Garfunkel
3/5
Bookends feels very nostalgic and carefully put together. I like the acoustic guitar sound, and there’s something warm and reflective about the whole album.
The short spoken pieces make it feel more like a connected work than just a collection of songs, which I find interesting. Still, listening to it on a streaming app feels different from how it was probably meant to be experienced.
“Mrs. Robinson” and “A Hazy Shade of Winter” stand out because they bring more energy and momentum.
Overall, I respect the album, even if I don’t fully connect with it from start to finish.
The Clash
4/5
I can hear why London Calling is considered such an important album. It feels both structured and experimental at the same time. The band stretches beyond punk into reggae, pop, and rockabilly, yet the songs are carefully arranged rather than chaotic.
The famous cover image suggests pure destruction and raw energy, but the music itself is more thoughtful and deliberate than that image implies. It’s not just rebellion — it feels like an attempt to expand what punk could be.
I like the title track and especially “The Guns of Brixton,” where the bass and tension create a different kind of atmosphere. At the same time, I sometimes feel that understanding the historical and political context might deepen the experience.
Jurassic 5
3/5
I listened to Power in Numbers by Jurassic 5, but I didn’t feel much. The production sounds polished, yet most of the tracks blend together for me. Nothing stood out strongly, either positively or negatively. It just didn’t leave an impression.
Erykah Badu
3/5
The vocals are highly skilled and the album is good, but I didn’t feel much engagement. The constant high-pitched singing, continuous vibrato, and slow R&B grooves felt distant to my listening preferences. I found myself almost dozing off at times.
Arcade Fire
3/5
“Neighborhood #3” stood out and I enjoyed it, but the album as a whole feels somewhat uneven. “Wake Up” in particular was everywhere at the time, which makes it feel especially familiar. Each track has its own character, and there isn’t a single sound that immediately defines Arcade Fire. It feels like a classic example of early-2000s alt-rock: memorable moments, but hard to pin down as a cohesive identity.
Neil Young & Crazy Horse
4/5
I’ve known and liked this album for a long time. The guitar work and raw energy are fantastic, and “Cinnamon Girl” is especially cool. Overall, the album feels like classic guitar rock—relaxed, enjoyable, and easy to listen to.