The album leans heavily into a pop-oriented sound, with certain tracks carrying a strong Elton John-like flair. The songwriting foundation is solid, but I found myself wishing for rawer production. It would have aligned more with my tastes and given the music more bite.
The drumming stood out as excellent throughout, though in the earlier tracks it sometimes felt a bit disconnected from the rest of the instrumentation. By the time This Is Hell arrived, however, the percussion felt much more cohesive. I especially enjoyed how the drums and bass complemented one another on that song.
Overall, I did enjoy this album, and it grew on me with subsequent listens. I understand why it earned its place on the list, but it ultimately doesn’t match my production preferences. While I probably won’t revisit the album, I can appreciate its strengths.
Electric Warrior by T. Rex is one of those classic album covers everyone recognizes. It’s often been described as glam “throwaway” music from the era. Yet the influence it had on artists like Andrew Wood (Mother Love Bone), The Smiths, and Nirvana is well documented. It’s fascinating how something once considered expendable ended up shaping so much of the music that followed.
To be fair, I’ve always known the big songs from this album, but I can’t remember ever sitting down and listening to it all the way through. It was never a record I had strong feelings about one way or another. After two full listens, I was surprised by how much it grew on me. I genuinely enjoyed it. While there’s definitely a glam sheen, musically it leans more toward what we’d now think of as indie rock, with subtle funk touches in the rhythm section.
I’m not sure it’ll enter my regular rotation anytime soon, but I definitely have a new appreciation for the album. Not just for its influence on artists I loved in my youth, but for the music itself.
I’ve tried several times over the years, but I just can’t get into this album. I don’t dislike the music, but it never holds my attention. No matter which track I start with, the album always begins on a promising note, but after a song or two my interest drifts and I realize I’ve stopped listening. As a result, making it through the whole album has always been a struggle.
Still great! A top 3 Bowie album for me.
4.5 - not much to say other than a great album, but not quite to the level of his best.
Takes me back to elementary school. I used to love hearing Madonna on the radio as a kid. If you’d caught me in 5th grade, this would’ve been a solid 4.
The first track was the stands out, probably because of its familiarity. The album starts off strong but quickly loses momentum, or maybe I just lost interest. After the title track, it felt like a bit of a snooze fest.
Familiar with the next few Gabriel albums, but only really knew the hits from this one. Listening through reinforced two things: I quickly lose interest in songs that lean too heavily into a musical-meets-opera style, and when Peter Gabriel is at his best, he’s truly exceptional.
Most of the songs on this album struck me as either excellent or entirely forgettable. I do wonder if it might be a “grower” with repeated listens, but for now, I’m not inclined to invest the time. There are too many other great albums competing for attention.
This album felt like a game-changer when it was released, and it still holds up today. I don’t revisit it often anymore, but its impact on music at the time was undeniable. For that alone, it deserves a solid 5.
This album is good, but not great. It never quite reaches the heights of their earlier records. The opener hooked me instantly with its repurposed surf-rock vibe, followed by a track that channels the intensity of ’90s alt classics, and then my personal favorite: the song that captures Frank and Kim interacting at their best here. Beyond that strong start, there are still enjoyable moments, especially in some of Frank’s guitar work scattered throughout, but overall the quality drops a notch for me.
A look at the song credits makes the reason clear: Kim has no writing credits here, and her reduced vocal presence compared to earlier albums is hard to miss. Whether that absence stemmed from the well-documented tensions on the previous tour or simply because Kim was busy writing and co-writing every track on the Breeders first album released the same year, this record is very much a Frank project.
Frank and Kim are both musical geniuses, but for me Kim > Frank. Kim’s contributions and presence are what could have elevated this album from good to great, but her impact is unfortunately missing.
Hailed as one of the big four thrash bands, this was the pivotal album catapulted the band to a world recognized act. Everything on this album speaks of speed and precision. The drums are super tight with speed, the bass in the same, complementing the guitar rifts. At times the 80s production is a bit too much for me along with some aspects of the 80’s metal singing style which I’ve often struggled with. The second I get caught up in that downside, the intense precision and speed of the instrumentation pulls me back in. 3.5
I really enjoyed the effective use of sampling and sound bites throughout the album. Especially the subtle electronic touches woven into songs rooted in more traditional reggae and Latin sounds.
Knowing the story behind the album’s creation adds even more depth. Recording rough takes while traveling through South and Latin America, then compiling and refining them upon returning to France, gives the project a sense of movement and discovery. Much of it was crafted on a laptop, with technical glitches at times pushing the music in unexpected directions. Without that context, the album can feel scattered, but understanding the creative journey, the cohesion and intent truly shine through.
Respect the man, but not my thing.
When this album first came out, I really enjoyed it. A post-punk/dance-punk record with a playful, energetic vibe. The following year, they went on a co-headlining tour with Death Cab for Cutie. A band I’d been following since 1999/2000, after stumbling into one of their record store shows without even knowing who they were at the time. They were incredible live: a few self-described nerds making powerful music with heartfelt lyrics.
When the tour came through, Death Cab was supposed to headline (the bands were rotating who closed out each show), but for some reason they switched things up at the last minute. Death Cab’s set was shorter, but solid. Though seeing them that night felt a little bittersweet. No longer the unknown underdogs I’d first discovered during that recod store experience. By then, The O.C. had catapulted them into mainstream attention, and I Will Follow You Into the Dark had become a teenage anthem.
Franz Ferdinand took the stage in cowboy hats. Maybe as a nod to Texas, or maybe just part of the tour’s shtick, I’m not sure. Unfortunately, the sound was off, and their semi-choreographed dance moves felt awkward, as did their half-hearted attempt at Western attire. The whole performance was distracting, and it just didn’t land for me. I ended up walking out before the show was over, disappointed. After that night, I wrote them off, assuming they were a band that could only really shine in the studio, and feeling a bit bitter that they got the longer set since they were closing.
Since then, I’ve met plenty of people who had much better experiences at their shows, but I never felt the urge to revisit their music. That’s why I’m glad this album made the list. It reminded me of what first drew me to them: that infectious, fun energy. With the bad live concert experience faded with time, the record itself shines through again. It’s a great album, and one I’ll definitely be spinning a few more times in the coming weeks
Not only a defining album for the band, but a cornerstone of the gene. Raw, powerful production and cliff killing it on the base. An absolute classic that still holds up today. Honestly, nothing more needs to be said.
I’ve always struggled to listen to the band Yes. This listen was no exception. Their technical ability is undeniable, they’re clearly talented individuals. Unfortunately a lot of progressive rock is lost on me.
An album I’ve never spent any time with, but enjoyed more than expected. The fusion of genres was interesting, but at times the horns seemed a bit out of place. Overall an enjoyable listen, but not anything I’ll revisit.
I don’t revisit this often, but when it first came out it was incredible. The playing here is outstanding. It still holds up today, even if U2 has lost some credibility over the years.
I really enjoyed this album years ago, but like much of The Who’s catalog, it just doesn’t connect with me these days. I can still appreciate what I liked about it back then, but it doesn’t hold up for me now. It’s a great band and a great album—one that I’ve simply grown out of.
The Downward Spiral is a strong album. Its main shortcoming is that it doesn’t quite capture the same raw, chaotic aggression of Pretty Hate Machine, but it still delivers an experience I can appreciate and enjoy.
Not my favorite Smiths album, but still a solid album.
An album I remember my parents and their friends playing in my youth. Not an every week listen, but some songs that are nostalgic and still hold up.
On some days, this could be my favorite Radiohead album.
It’s a bit vanilla, but sometimes that’s the desired flavor.
A classic that never misses. It’s one of those albums I don’t put on often enough, but if it were the only record at a vacation home for a week, I’d be perfectly fine with it. From her voice to the backing musicians, it perfectly captures what was great about that era of music. (4.5 all day long)
I was blown away by this album when I first heard it in 7th grade, about a year after it dropped. Epic was the first song I remember hearing that blended hip-hop and rock elements from a band that wasn’t actually a hip-hop group. Ever since, this record gets a few spins from me each year.
Every time I revisit it, the opening track makes me question whether the album still holds up. There’s something distinctly “80s” about From Out of Nowhere that I don’t really hear elsewhere on the record. But once that song ends and Epic kicks in, I’m fully engaged and enjoying the ride.
The range of sounds on Zombie Eaters in particular is fantastic. If I have any criticism, it’s that the production sometimes leans a little too hard into that classic 80s drum sound, and at times the songs feel like they don’t belong on the same album. Then again, that variety is also part of what makes this record so interesting—the shifts in tone and style turn it into a journey rather than just a collection of similar sounding tracks.
Strangeways, Here We Come is an album I really enjoy, even if it’s probably my least favorite in The Smiths’ catalog. The opening track, with its dramatic drum rolls and almost theatrical flair, makes for a strong start. And while I rank it below their other records, that says more about the strength of their discography—because even my “least favorite” Smiths album still towers above many of my favorites from other bands.
This has always been their best album, and I loved it much more in my youth than I do now. These days, it feels surprisingly dated—more so than many of its contemporaries. Still, it’s a great record that carries a lot of nostalgia for me. Three stars for its quality and the memories, though I doubt I’ll put it on again unless someone else does.
