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

Great music, but not exactly my cup of tea.

This album has stayed with me for years.

I love PJ Harvey, but I prefer Dry over this album.

Basket Case, When I Come Around....Always bring back memories.

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.

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.

I knew the name but hadn’t really listened much. Now I’ve realized I really like “L.A.”.

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.

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.

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.

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.

I only knew "Save Me," and I love her voice and guitar sound, though I found it a bit boring.

Not exactly my taste, though I can understand its appeal.

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.

I like the album, but it’s hard to imagine myself being blown away by this in 1977. I do like ‘Ugly,’ though.

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.

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.

Similar to Radiohead’s electronic era, but without the gloom or heaviness—lighter instead. Some tracks had basslines I really liked.

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.

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.

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.

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.

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。

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.

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.

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.

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.

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

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.

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.

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!

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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!

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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’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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

I’m not familiar with bossa nova at all, so most of the songs sound kind of similar to me.

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.

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.

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.)

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.”

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.