148
Albums Rated
3.05
Average Rating
14%
Complete
941 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
1990
Favorite Decade
Soul
Favorite Genre
US
Top Origin
Wordsmith
Rater Style ?
11
5-Star Albums
10
1-Star Albums
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Vauxhall And I
Morrissey
|
5 | 2.96 | +2.04 |
|
Hybrid Theory
Linkin Park
|
5 | 3.39 | +1.61 |
|
Van Halen
Van Halen
|
5 | 3.63 | +1.37 |
|
The Joshua Tree
U2
|
5 | 3.66 | +1.34 |
|
21
Adele
|
5 | 3.69 | +1.31 |
|
Born In The U.S.A.
Bruce Springsteen
|
5 | 3.7 | +1.3 |
|
Appetite For Destruction
Guns N' Roses
|
5 | 3.73 | +1.27 |
|
Mama Said Knock You Out
LL Cool J
|
4 | 2.91 | +1.09 |
|
I Never Loved a Man the Way I Love You
Aretha Franklin
|
5 | 3.94 | +1.06 |
|
O.G. Original Gangster
Ice T
|
4 | 2.97 | +1.03 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Kid A
Radiohead
|
1 | 3.71 | -2.71 |
|
Millions Now Living Will Never Die
Tortoise
|
1 | 2.88 | -1.88 |
|
My Life In The Bush Of Ghosts
Brian Eno
|
1 | 2.79 | -1.79 |
|
Basket of Light
Pentangle
|
1 | 2.76 | -1.76 |
|
Alien Lanes
Guided By Voices
|
1 | 2.75 | -1.75 |
|
Phaedra
Tangerine Dream
|
1 | 2.73 | -1.73 |
|
Slipknot
Slipknot
|
1 | 2.68 | -1.68 |
|
Getz/Gilberto
Stan Getz
|
2 | 3.65 | -1.65 |
|
Yoshimi Battles The Pink Robots
The Flaming Lips
|
2 | 3.57 | -1.57 |
|
Blackstar
David Bowie
|
2 | 3.48 | -1.48 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Aretha Franklin | 2 | 5 |
5-Star Albums (11)
View Album Wall
Popular Reviews
Morrissey · 1 likes
5/5
I had very little exposure to the Smiths and found them moody and whiny, so this album by their lead singer totally shattered my expectations. It's actually very listenable and solid throughout. Surprises like this make me glad for this service!
Keith Jarrett · 1 likes
2/5
I’m continually amazed at how this list keeps revealing corners of music I’ve never explored. Solo, improvisational piano—especially in a cavernous concert hall—is entirely new territory for me. With jazz, I’ve always wondered: how do they know when a piece is finished? In a band, each instrument tosses out ideas that others catch, expand, and return. Here, it’s one man alone, following the pathways of his own imagination.
Keith Jarrett moves, within the same track, between passages that are cool and meditative and others that are tense and unsettled. What fascinates me most is that even his devoted audience seems to share my uncertainty—hesitant bursts of applause break out before full ovations, as if no one is entirely sure when a section ends.
I can’t say I was swept away; for me, this was more of an endurance test than a revelation. But I can appreciate the artistry, the risk, and the sheer audacity of letting a performance unfold without a net.
The Flaming Lips · 1 likes
2/5
Awful
The Residents · 1 likes
1/5
Thirty-four minutes of this was more than I could handle. There’s a fine line between an open mind and one where your brain just falls out, and this album definitely crosses it. With its distorted vocals and childlike-yet-creepy melodies, this is easily one of the most off-putting and stupid listening experiences I’ve ever had. Proceed with extreme caution.
1-Star Albums (10)
All Ratings
Nirvana
5/5
This was my introduction to grunge. Memories of head thrashing to frequent plays of Smells Like Teen Spirit on MTV. Moody, offbeat lyrics set to solid guitar riffs and the pounding rhythm of drums and bass. Kurt Cobain captured the mood of my generation, angry at society.
Kendrick Lamar
4/5
First time I've listened to Kendrick Lamar. Once I got through the profanity, I got that he was telling a story, laying some strong lyrics over a smooth and funky beat. This album points to the deterioration of race relations that were occurring at the time and also called to mind Public Enemy with its history lessons. It was also a chronicle of Kendrick Lamar's personal journey, overcoming his surroundings and the new temptations accompanying his success and rise to fame.
The Cure
2/5
OK, I get it. He's hyper-depressed and all in his head. The album cover tells the story, as concerned friends look through the haze at him as he fades from existence. Very heavy and challenging. Very different from their pop tunes like Friday I'm in Love or Like Heaven. I guess 'The Cure' was to put all of this melancholy in a record, freeing him to pursue joy on the other side. Thematically (not musically), it reminds me of The Wall, except that that tells a story, whereas this is just a funereal slog, start to finish.
Green Day
4/5
Maybe the launch of pop-punk? Guitars and Billy Joe's vocals suggest punk, but bass makes it fun and very listenable. Familiar tunes that received heavy airplay, but they don't grow old. Each track short and formulaic, as though intended as a single.
R.E.M.
3/5
Memories of my freshman year of college. Didn't understand the lyrics or appeal then, and 38 years later, the lyrics are mostly as nonsensical now. It's like what I remember college radio being like then, random words and sounds, though the music is more listenable than that was. Too ironic, too cool for me, but some memorable, singalong tunes.
DJ Shadow
3/5
A bizarre soundscape that starts you off wondering what you're listening to and how much longer till it's over, but it pulls you in and leaves you wondering where it went when it's over.
Radiohead
1/5
Not for me. Discordant cacophony, mumbled lyrics and no sense of purpose. Experiments with synthesizers, but it's hard to know if they achieved their result because the hypothesis is unguessable.
Stan Getz
2/5
Like a smoky Brazilian lounge, with a cool cat in a fedora on the sax.
Burning Spear
2/5
First time listening to a reggae album. Easy, lilting music belies harsh message about slavery, oppression and a longing for Africa. Sparse, repetitive lyrics made most songs like chants.
The Cars
4/5
Familiar music of my youth. Album full of singles with catchy rhythms, guitar, keyboards and Ric Ocasek's distinctive vocals.
The Band
2/5
Teenage Fanclub
4/5
How did I miss this?! It came out my final semester of college, and it sounds like something I would have loved to listen to in a college bar. But, with how tight the drums are, they were too good to have played in the places I would have gone. I really liked this!
Al Green
3/5
Smooth, melodic, easy to listen to. Surprised to hear beach music sounds in some tracks.
Tortoise
1/5
This was a big waste of my time. No connection, no purpose.
Marianne Faithfull
2/5
Once I get past the raspy voice, I understand the depth of emotion in the lyrics. The Ballad of Lucy Jordan is good, and the profane rage of the betrayed lover in the final track gives an energy that breaks from the introspection that precedes.
Christina Aguilera
3/5
Too long by half, but some good songs toward the end of the second disk that showcase her musical talent and not just power and stretching of vowels. The first disk starts out with an almost gospel sound and moves through stories of love, heartbreak and even overcoming abuse. Through it all, Christina briefly lays out the lyrics then showboats and growls over backup singers repeating the chorus. Side B opens weirdly, with some throwback, raunchy burlesque stuff. Put the final three songs with some from Side A, and that could have been a good album on its own.
The Doors
3/5
Less energy, more bluesy than earlier Doors albums. Only one song, Roadhouse Blues, that I recognized. OK, I guess.
Guns N' Roses
5/5
An album I once owned. Still solid. Great debut and maybe still their best. Slash's guitar phenomenal and Axl's vocals still fresh and distinctive.
Judas Priest
3/5
Lots of rebellion and frustration with convention. The music isn't really my thing, but I can see how it would energize disaffected youth.
Blondie
3/5
Some pop, some disco, some filler to round out an album with timeless hits like One Way or Another and Heart of Glass. This was the first time I'd ever seen the lyrics for Heart of Glass, which I've never understood. Cryptic lyrics in some other songs.
Morrissey
5/5
I had very little exposure to the Smiths and found them moody and whiny, so this album by their lead singer totally shattered my expectations. It's actually very listenable and solid throughout. Surprises like this make me glad for this service!
Gil Scott-Heron
3/5
I had to go to YouTube to hear this, and I'm glad I did. He was earnest and commanding, even though his singing wasn't great. The spoken word stuff was on point.
Nirvana
3/5
Not an easy listen for the most part. Heart Shaped Box (that's about my...Courtney Love is rumored to have said) and All Apologies are familiar, but the rest feels like a noisy rebuke of Nevermind and the accompanying fame that tortured Kurt Cobain. Rape Me, with its Smells Like Teen Spirit Hooks, underlines the point.
Dusty Springfield
4/5
I was expecting pop nostalgia, but this was more. I heard influences of girl groups as well as a soulfulness of an Adele precursor--without the vocal range, of course, but packing some power--and she put her own twist on lighter tunes. Very heartfelt.
George Harrison
3/5
This was solid. Mysticism and a search for meaning translated through a slide guitar. Everybody knows My Sweet Lord, but What Is Life and the title track are also very good. I know it's a double album, but it got really long, especially with the last four tracks, which are just instrumental jam sessions.
Bruce Springsteen
5/5
Springsteen was a hit machine with this album, which addressed the struggles of the working man and social and economic decay.
Cream
4/5
Some familiar tunes, some not, but the unmistakable Clapton guitar makes this timeless.
Brian Eno
1/5
Even though I skipped quickly to the end of tracks that I felt were going nowhere, I regret that I will never get that time back.
Buena Vista Social Club
3/5
An easy listen, although I didn't understand the lyrics. Very soothing.
Orbital
3/5
I've never considered myself a fan of EDM, but this is pretty good. The layering of sounds and the placement and repetition of soundbites put some meat on those electronic bones.
The Band
4/5
This was a pleasant surprise, as I had listened to Music from Big Pink before and was only familiar with Up on Cripple Creek from this album, leading me to believe it would be a twangy slog. Instead, I found excellent storytelling and nice, varied sounds.
Meat Loaf
4/5
Isaac Hayes
2/5
Might have meant something to someone familiar with Blaxploitation, but not for me.
Elvis Costello
3/5
Sharp lyrics, distinctive voice. Good listen. Alison is the standout track, and it's interesting to learn that it's not a love song as much as a song of pity and regret for unrequited love.
The Smiths
3/5
Upbeat tunes with dark humor and morbid lyrics. Interesting.
The Youngbloods
2/5
Not my thing. Sunday morning jazz brunch material in spots, folksy but not memorable in others. This group had one hit, and it wasn't on this album.
Violent Femmes
4/5
Blister in the Sun has long been a favorite, but it's interesting how this album tells a story of teen desire, angst and fear of rejection that is so relatable, looking back.
Neil Young & Crazy Horse
3/5
Neil Young is not really my thing, but I appreciated the guitar and general instrumentation of Crazy Horse, and I respected Young's earnest and earthy lyrics. Cinnamon Girl is the only song I recognized, and it's really the only memorable track among the seven.
Liz Phair
4/5
I had often heard of but never heard Liz Phair. Her voice isn't perfect but it is a perfect fit for her lyrics, raw and powerful. I listened to this one three times, trying to get the feeling and meaning, and it was worthwhile.
Van Morrison
4/5
Smooth and easy to listen to, though the songs got long toward the end.
Dolly Parton
3/5
I feel almost unqualified to rate a legend, knowing what great things she had coming. I heard elements of mountain music, gospel and the steel guitar that makes it classic country, with the storytelling that makes it classic Dolly, but nothing stands out as much as the title track.
Hüsker Dü
2/5
No thanks for the aural assault. Punk voices and twangy guitars with some weird attempt at melody. If these guys helped bridge punk and alternative, then it's a case of the legacy outpacing the reality.
Steely Dan
3/5
Generally, I like Steely Dan, but this one's kinda meh. Reelin' in the Years and Do It Again (and maybe Dirty Work) rightfully receive most of the airplay on classic rock stations, because the others just don't hit.
G. Love & Special Sauce
3/5
Unique sound. Bluesy hip hop, free-flowing funny lyrics or spoken words that seem to tumble out of G.Love's mouth. Funky bass. Hollow sound like sitting in on a jam session. Authentic day-in-the-life Philly references.
Stevie Wonder
4/5
Stevie is a musical genius! Smooth, funky, catchy, fun and easy to listen to, with relevant, timely (and timeless) lyrics.
Steve Earle
2/5
Not my thing, but I heard elements of classic country. Maybe even Hank Williams. I also had a sense of everyman hardships, a la Springsteen or John Mellencamp. Not a lot of range, though, musically or lyrically.
TV On The Radio
2/5
Don't see the appeal. Logorrhea for lyrics, subpar singing, mystery meat music. The few tunes I found catchy got sidetracked by at least one of these things.
Beck
3/5
Quirky but listenable. Strange fascination with death later in the album. Still, good structure to the songs.
Fun Lovin' Criminals
3/5
Unique. Interesting wordplay, reminding me of Beastie Boys and Disposable Heroes of Hiphoprisy, with brash delivery and biting commentary, also with NYC references of the day.
Ice T
4/5
I owned this album, so it was very familiar to me. I was into Public Enemy at the time, fresh out of college, and shared the anger of my generation at how screwed up the world had become, so I certainly understood the anger that permeated most of Ice-T’s tracks, even if I had little understanding of the gang violence and drug culture of South Central and Compton (NWA and Ice Cube were also hitting it big at the time). I shared Ice-T’s frustration with the powers-that-be and, like him, wanted nothing to do with the emerging Gulf War. The lyrics are profane, but the samples and tunes are solid.
Mudhoney
3/5
No denying that Seattle sound, somewhere between garage rock and grunge. Some songs sound Nirvana-esque, with mumbled and shouted lyrics over distorted guitars and feedback. Let It Slide and Good Enough are favorites, early in the album, but some of the others don't hit.
Van Halen
5/5
This is one of my favorite rock albums of all time, and I'm thankful for 1984—the album and the biggest year in my musical upbringing—which introduced me to Van Halen. I wasn't old enough, or musically mature enough, to appreciate the first Van Halen album, which was given to me but stowed away in my dresser for years. I surely missed out on the genius of Eddie Van Halen and wild-man antics of David Lee Roth, but I'm glad to make up for lost time every time I listen, and this is one I'll listen to over and over.
The Beta Band
2/5
Listening to this felt like an exercise in endurance; by the end, it seemed as though I had outlasted the band itself. The performances come across as listless and detached, even bored at times, and while some tracks try to build momentum, only “Liquid Bird” generates enough juice to lift the band out of the doldrums. The last two tracks—“Simple” and “Pure For”—slide into repetition, like they're totally out of gas. Disconnected and uninspiring.
Bob Dylan
3/5
Distinctive. Songs we all know. Voice and delivery the same throughout. Poetic lyrics.
AC/DC
4/5
Timeless, fun and solid. AC/DC seldom disappoints.
Bad Company
4/5
Heavy airplay on classic rock stations, but it's decent music. Memorable songs that aren't quite annoying enough to be called earworms. Short album, at only 34 minutes total, but it packs a punch.
PJ Harvey
3/5
That was weird. Heavy subject matter expressed through airy, distant vocals that are incongruous with the music. But then, I came to understand that it was intentional. The album is an artsy lament about the horrors of World War I in the trenches of Gallipoli and a cry against English pride and nationalism and the tendency to romanticize war in the aftermath of victory. It's not an easy listen.
Sonic Youth
2/5
This one tried to throw me off musically and lyrically. Either one, taken by itself, makes no sense, and though they complement each other, there's no synergy—they don't produce something better. Experimental for experimentation's sake. Noise.
David Bowie
2/5
After the bizarre first half of a very long title track to kick off the album, I didn't have high hopes. The theme changed over the course, but the cryptic lyrics puzzled me. Very much about mortality, which makes sense since Bowie was near the end of his life. The saxophone was nice, and there were many musical layers, but this was a difficult listen. The last track, "I Can't Give Everything Away," speaks to the mystery of the album. If Bowie had played in the NFL, it would have been interesting to dissect his brain for something akin to CTE, because I just don't get what made him tick.
Pentangle
1/5
Soundtrack to a Renaissance Faire? Why is this on the list?
Alice Cooper
2/5
This is a weird dude, but it's clear that that's his intention. I don't think he takes himself too seriously, and his songs are like a carnival sideshow or a silly kind of shock (necromancy, really?), although some of the music is decent. No More Mr. Nice Guy is a keeper. 2.5 stars seem about right.
Keith Jarrett
2/5
I’m continually amazed at how this list keeps revealing corners of music I’ve never explored. Solo, improvisational piano—especially in a cavernous concert hall—is entirely new territory for me. With jazz, I’ve always wondered: how do they know when a piece is finished? In a band, each instrument tosses out ideas that others catch, expand, and return. Here, it’s one man alone, following the pathways of his own imagination.
Keith Jarrett moves, within the same track, between passages that are cool and meditative and others that are tense and unsettled. What fascinates me most is that even his devoted audience seems to share my uncertainty—hesitant bursts of applause break out before full ovations, as if no one is entirely sure when a section ends.
I can’t say I was swept away; for me, this was more of an endurance test than a revelation. But I can appreciate the artistry, the risk, and the sheer audacity of letting a performance unfold without a net.
Sister Sledge
3/5
Upbeat, bouncy, classic disco.
Bruce Springsteen
3/5
This is classic Springsteen — an album about loss, redemption, reconciliation, faith and the search for meaning. Without context, it can feel a heavy and uneven, with only a few standout tracks like the title song and My City of Ruins. But once you consider when it was released—in the shadow of 9/11—it takes on a whole new weight. It becomes cathartic, a reflection of the national mood and a testament to resilience. It may not be packed with hits, but it’s an important work, exactly what we needed at the time. I mourn the tragedy that inspired it, but I long for the sense of common humanity and rising above that we experienced then as a nation.
Thin Lizzy
4/5
LCD Soundsystem
2/5
The long intro of the opening track made me think this was going to be a straightforward EDM album, so it was surprising to hear those pulsing electronic sounds paired with an off-key, almost vulnerable voice. The repetition in later tracks—both musically and lyrically—feels excessive, but Someone Great and All My Friends point toward something deeper: a sense of loss and longing for times and people gone. Sound of Silver builds on that emotion—cowbell and all—while the closing track, New York, I Love You but You’re Bringing Me Down, starts as satire and ends as a moving search for belonging and meaning.
Gene Clark
3/5
Hard to pin this one down. "Life's Greatest Fool" seems country at the outset, and "True One" is almost like Kris Kristofferson, but the energy changes, and the lyrics are hard to follow. Rock guitar and piano. Vocals call to mind the Grateful Dead in places, Neil Young in others. "Some Misunderstanding" is a search for meaning by someone who seems heartbroken or world-weary. I especially like the line, "But I know if you sell your soul to brighten your role, you might be disappointed in the lights." Not likely to listen to this one again, though.
Lauryn Hill
4/5
Very smooth and easy to listen to. Surprised she never pursued a solo career. Soulful and literate, mixing sounds and rhythms effortlessly.
5/5
I was reminded of how I listened to this song on repeat in my dorm room my freshman year of college. Though I haven't listened too often since, I'm struck by how good it remains. Big sound, singable lyrics that have reawakened the earworms.
Miriam Makeba
4/5
Miriam Makeba's debut album was a delightful surprise! Her voice is so expressive, graceful and beautiful, even though I don't understand a non-English word. Warm and engaging, a pleasant listen.
Muddy Waters
4/5
This is what I think of when I think of the blues. Classic.
The Sugarcubes
3/5
This is college radio as I remember it. Some catchy rhythms, strange vocals and lyrics. It's clear, though, that each song is intentional, and this is a well- crafted album. Bjork is weird but actually quite talented.
Willie Nelson
3/5
Cover songs in Willie's unique style. Ok.
Napalm Death
1/5
Comical. Scum sounds like a thrash band hammering away at a chaotic jam session in a school gym while the illegitimate spawn of Cookie Monster and Animal from the Muppets screams muffled, high-speed lyrics through the locked door.
The Young Rascals
3/5
This is an easy-going album, most recognizable and memorable for its title track. Beyond that, it alternates between breezy, beach-leaning tunes and familiar mid-’60s pop and soul sounds.
Moby
2/5
So much repetition—sampled vocals spin in endless loops like mantras while the techno beats are more for the dance floor rather than for listening depth. Most tracks slip into monotony, and I confess that I had to stop halfway through several. If Things Were Perfect is a rare highlight, with steady bass and reflective lyrics (I don't like the cold, either). By the closing tracks, though, the album’s energy has largely evaporated.
Emerson, Lake & Palmer
2/5
I wasn’t sure what to make of this performance until I learned Emerson, Lake & Palmer were reworking Mussorgsky’s Pictures at an Exhibition, a composer I’m not familiar with. The crowd is clearly into it, and I can respect what it must have taken to pull off something this elaborate live. Still, the art-rock theatrics and experimental stretches were off-putting to me—it often felt too artsy and self-indulgent for my taste. Impressive concept, but not a show I’d have wanted to sit through.
Finley Quaye
3/5
Reggae mixed with other genres. Listenable on a drive.
Mj Cole
3/5
I found this easy to listen to while working. It was propulsive without being repulsive, so it kept me going through the workday.
Patti Smith
2/5
This is not an easy listen. She seems to be trying to sing poorly, widely varying her pitch in odd places, slurring words. When I could understand the lyrics, they didn't make sense. Much of the album is spoken word over background music, and it all seems like a dark, twisted poetry slam. I suppose that was her intent, to rebel against standards of music.
Youssou N'Dour
3/5
Immigrés feels like a street festival captured on record. The drums are the star of the show, and the bass and kick drum act like the anchor, pulling together all these disparate elements into a single, propulsive groove. Youssou N’Dour’s high-pitched vocals function as an instrument of their own, joining the rhythm rather than simply floating above it. The repetition is hypnotic, especially on the closing track, “Badou,” which felt less like a song and more like a chanting ritual building to a bigger finish. I couldn’t understand a word (except maybe catching “Senegal” in the opening track), but the rhythm was its own language.
Siouxsie And The Banshees
2/5
I saw Siouxsie and the Banshees at the first Lollapalooza, but back then the only track I really knew was Kiss Them for Me, thanks to MTV overplay. Listening to Juju now, Spellbound hits hard right out of the gate—sharp, urgent, and totally magnetic. After that, though, the album loses steam. The songs start to blur together, carried by the same floaty vocals and increasingly bizarre lyrics. Shrunken heads? Voodoo? The atmosphere is cool at first, but eventually the weirdness feels more like a gimmick than a groove. Juju starts strong but doesn’t stick the landing.
King Crimson
3/5
You can hear elements of Pink Floyd, Yes, David Bowie, and even flashes of Rush and Led Zeppelin throughout this album. Given its release date, it’s easy to imagine that King Crimson helped shape each of them in some way. The sound feels both familiar and foundational—like a blueprint that later giants built upon.
Echo And The Bunnymen
3/5
Porcupine is my first encounter with Echo & the Bunnymen. My first impression was that it's similar to The Cure, but that Ian McCulloch's voice isn't as captivating as Robert Smith's. There was a dusky tension more than an airiness, carried along by the bassline, even as the lyrics and McCulloch's delivery varied. Since my version included alternate tracks, I was able to determine that the atmosphere was an intentional thread for the album. Alternative to alternative isn't necessarily pop, but those later tracks marked a big shift in energy.
Scissor Sisters
3/5
This album is over the top and bursting with energy, blending an eclectic mix of sounds with lyrics that must have felt genuinely avant-garde in the early 2000s. Most people will point to the “Comfortably Numb” cover—while I appreciate the creativity, I love the original too much to enjoy this version fully. What really caught me off guard, though, was “Return to Oz,” which feels like it could have fit right into The Dark Side of the Moon with its haunting tone and layered production.
I enjoyed the opening track and found several others catchy, though some songs seem designed more for shock value (“Tits on the Radio,” “Filthy/Gorgeous”). Maybe I’m just too straight to completely get it, but it's equal parts bold and campy. Worth a listen.
Cyndi Lauper
3/5
Quirky, sometimes silly, but unmistakably original, Cyndi Lauper presents herself—visually and vocally—like a living cartoon, yet her gift for melody is impossible to dismiss. The synth-pop sound and neon look were tailor-made for the dawn of MTV, and her elastic voice, complete with yelps and Brooklyn/Joisey inflections, gives everything from bubblegum pop to tender ballads a distinctive edge. She’s so charismatic, in fact, that she transforms an outright ode to masturbation into a sly, radio-friendly hit.
Queen
4/5
Sheer Heart Attack plays like a high-energy, guitar-driven rock opera. “Brighton Rock” explodes out of the gate, “Killer Queen” is rightfully legendary, and the album barely pauses for breath in between. There are no real throwaways here—Queen is firing on all cylinders. Honestly, it could have ended perfectly with “Dear Friends,” which feels like a natural curtain-closer. It even would’ve echoed the album cover: the band sprawled out, sweaty, exhausted and triumphant after the performance of a lifetime.
Soft Machine
2/5
Who was the audience for this album? I can appreciate improvisation and eclecticism, but this was throwing instruments at a wall and seeing what would stick. Hopeful elements, but they were snippets that never went anywhere.
The Chemical Brothers
2/5
This may be great for fans of its scene, but it’s definitely not my cup of tea. The whole album evokes a dim, strobe-lit European dance floor packed with zoned-out bodies moving in slow, hypnotic waves. It’s all atmosphere and repetition, but nothing that sticks with me or feels memorable.
Arcade Fire
4/5
This was a fascinating listen that I will certainly be returning to. The song structures are solid and create a huge sound that seems best suited for a large arena. The songs are infectious, and it's easy to get lost in the rhythm—I often found my head involuntarily bobbing and foot tapping. Musically and lyrically, the album channel the grandiose scope of U2 and the critical commentary of Springsteen. Strong 4, for sure.
AC/DC
3/5
While it lacks the massive commercial footprint of Back in Black, Highway to Hell remains peak AC/DC—a masterclass in high-voltage economy. From the instantly recognizable opening riff of the title track to the swampy, blues-drenched finale of 'Night Prowler'—where the lead guitar bleeds out with the soul of a tenor saxophone—the album is a relentless, lusty romp. Between those pillars, the structure is admittedly formulaic, leaning on predictable verse-bridge-chorus transitions and key shifts. Yet, this rigid framework is exactly what allows Bon Scott’s vocals to shine; his whiskey-soaked snarl acts as a third lead instrument, dancing dangerously amidst the swirling Young brothers' guitars and the band’s commanding, metronomic backbeat.
Lloyd Cole And The Commotions
2/5
Perfect Skin is an entertaining and promising opener, but the half-sung/half-spoken/always verbose lyrics come across as pretentious and grow tiresome within a few songs. The band's work is solid and very much of its era, but Lloyd Cole seems to be cramming in beat-poetry-style stream of consciousness words and oh-so-literate name dropping and (kind of) trying to make them fit the well-crafted tunes.
The Stooges
2/5
Now I know that there was truly messy, chaotic music at the dawn of the ’70s. Fun House is guttural and unfiltered, full of shrieks, screams, muttered incantations, and riffs that loop until they feel hypnotic. I can hear shades of the Doors, though Iggy Pop is less a singer than a force of nature—rawer, looser, and far less concerned with control than Morrison ever was. The songs aren’t really structured as much as unleashed.
I can imagine this being performed in some grimy, sweaty club where the air is thick and the walls feel like they might collapse. “Down on the Street” starts out with a tight, driving groove, but Iggy’s first scream blows the doors off and lets the chaos spill out. From there, the album grows wilder and more unhinged, and by the time it reaches “L.A. Blues,” it’s dissolved into pure noise—less a song than a primal scream session.
Aretha Franklin
5/5
This hits different. Nobody compares to the Queen of Soul.
The Temptations
4/5
Loved the funk, and Papa Was a Rolling Stone is classic. They truly did go in All Directions on the other tracks, from doo wop to social commentary.
Guided By Voices
1/5
After 132 albums, I am loath to assign a 1 or 5 to anything, but this one plumbs the depths. I don't know what voices were guiding them, but their own nonsensical snippets are better without voices. The songs still aren't short enough.
Bruce Springsteen
3/5
This album keeps it real, channeling raw emotion and the grind of daily life. Springsteen paints the working man’s fight to hang on—pushing through disappointment, reaching for small moments of joy. It feels like the characters are waking up to the seriousness of adulthood but choosing to persevere, even when the world feels stacked against them. The music is stripped down but powerful, perfectly matching Springsteen’s gritty voice.
Iron Maiden
3/5
Not a metalhead, but I liked the energy of this one. Listening as a Christian, it's funny to me that the title track brought so much pearl-clutching. It's not promoting Satanism—it's a nightmare about darkness that someone's trying to escape. Bruce Dickinson's voice is what I think of with heavy metal, and the high-speed guitar harmonies give the album a structure that's very listenable and not just noise. The storytelling throughout the album is impressive, from social and historical critiques to the last track, Hallowed Be Thy Name, about a prisoner facing the gallows. Not my favorite genre, but better than I thought.
Linkin Park
5/5
My son introduced me to Linkin Park, and now I see what the hype was all about. I loved this!
Common
4/5
Stan Getz
3/5
This was smooth and easy to listen, perfect complement to my workday. The bossa nova rhythm is very catchy.
Led Zeppelin
4/5
After the propulsive blast of “Immigrant Song,” Led Zeppelin III reveals a very different band from their first two albums. The blues influence is still strong—right through the unusual closing track—but it’s joined by a newfound embrace of acoustic, folk, and country sounds. Page and Bonham each shine on their respective showcases, while banjo, mandolin and steel guitar broaden the group’s range. The result is an album that expands Zeppelin’s scope beyond hard rock and paves the way for the masterpiece of Led Zeppelin IV.
TLC
4/5
CrazySexyCool established TLC as the preeminent female R&B group of the ’90s—and arguably one of the greatest of all time. “Creep” and “Waterfalls” retain their power and relevance three decades later, while nearly every track gives space for each member’s distinct personality to emerge. Alongside Salt-N-Pepa and En Vogue, TLC helped bring female R&B fully into the mainstream, reshaping expectations of what women in popular music could sing about and how they could say it, seamlessly blending social awareness with sensuality.
Beatles
3/5
Classic Beatles sound, maybe not the most hit-laden.
Rufus Wainwright
2/5
Bizarre. It got a little tiring listening to the pouty whining. I saw that each song had an explicit warning, but heard relatively little profanity. Were the labels affixed because of openly gay longing and lust? Anyway, not my favorite.
The White Stripes
4/5
The White Stripes had me from the opening notes of “Seven Nation Army,” but hearing the full album only deepened the impression. Its minimalist approach delivers outsized power, and the band’s raw, garage-rock take on the blues reveals more texture and intent with each listen.
Randy Newman
3/5
Jorge Ben Jor
3/5
África Brasil was my first exposure to Brazilian music, but it felt familiar. I heard echoes of the funk from my early childhood memories of the ’70s, backed by a steady rhythm. The call-and-response vocals evoked the image of a storyteller leading a participatory crowd, somewhere between sing-along and ritual. Not well-versed in Portuguese, I read the translations and saw themes of history, practical wisdom and soccer, all carried by rhythmic and hypnotic grooves.
James Taylor
4/5
Listening to Sweet Baby James feels like comfort food—familiar, grounding, restorative. James Taylor’s gift as a songwriter and artist lies in how effortlessly his soothing voice and delivery create a sense of home, even without my favorite, “Carolina in My Mind,” included on this 2019 remaster. “Fire and Rain” remains timeless, and while I’ve long appreciated his collaborations with Carole King, it’s just as rewarding to hear his lighthearted take on the blues here, which breaks up the album’s introspection and longing in a fun way.
The Flaming Lips
2/5
Awful
Tangerine Dream
1/5
Metallica
4/5
I’ve never considered myself a metalhead, but Master of Puppets was an eye-opener. The relentless guitar work pulls you in immediately, and the high-speed, thrashing drums demand full attention—you can’t listen to this album casually. I knew the title track from Stranger Things, but everything else was new to me, and it quickly became clear that each song functions as its own epic. Instead of pop’s verse-chorus-verse comfort, the tracks constantly shift in speed, volume and intensity. The aggression is undeniable, but it’s matched by purpose: songs about addiction, militarism, blind devotion and mental illness, all delivered with clear structure and intent rather than noise for its own sake.
David Bowie
3/5
Heroes is noisy and uneven, rarely reaching a resolution, especially in its first half. The title track is a fleeting moment of joy—two anxious lovers seeking meaning in an oppressive world, aware it won’t last. Then the album shifts into instrumentals that feel like a disjointed world tour, from the horror-film dread of “Sense of Doubt” to the delicate, Zen-like stillness of “Moss Garden,” before spelling out its destination with “The Secret Life of Arabia.” Scattered and uneasy, the album lacks cohesion and seems to have a tension and dislocation at its core.
Slipknot
1/5
This feels less like music than an endurance test: propulsive riffs and relentless percussion buried beneath vocals that sound psychotic and nihilistic. I can understand why some listeners find it cathartic, but for me it’s exhausting—an hour of profanity and rage with nothing to hold onto emotionally. The band is tight and intense, but the lyrics and delivery make it unlistenable.
Various Artists
4/5
Classic early 60s girl group sounds, singing familiar Christmas favorites. Unmistakable who's singing what when you know the artist(s). This is warm, comfortable and nostalgic.
Nick Drake
3/5
Melancholy, somber. Matches the gray sky on this day after Christmas, and yet it's a welcome release. "Parasite" captures the mood of the album, which takes you down a notch, maybe just the thing after holiday hustle and bustle. Would I feel the same in the summer? Don't know, but it fits the moment.
Rufus Wainwright
3/5
Want One showcases Rufus Wainwright as operatic yet introspective. There's a running theme of low-key melancholy and theatrics, with modern flourishes.
Neil Young
3/5
On the Beach is equal parts bluesy and folksy, carried by a deliberately low-energy atmosphere that can feel almost drowsy at times. Wistful harmonica lines drift over sedated acoustic guitar and banjo, reinforcing the album’s weary mood. Neil Young’s vocals are restrained and deliberate, delivered with a calm that feels less like comfort and more like quiet resignation.
Adele
5/5
Even though we're all very familiar with Adele's powerful voice and hit-making, sing-along inspiring work, every track on 21 hits differently. The star and sustaining power of the album is Adele's voice, and whether it's the stomping rhythm of Rolling in the Deep or the quiet, beautiful acceptance of Someone Like You, the emotion oozes from every pore as her voice rises and falls. Adele pours herself into every verse, and you feel the stages of heartbreak over the course of the album. I loved her take on Lovesong, but the biggest surprise was One and Only, which ran chills through me and made this stoic guy want to exult!
All That You Can’t Leave Behind feels surprisingly pedestrian for a band of U2’s stature. While it seems clear they were aiming for a cleaner, more traditional sound, the result is largely safe and uninspired. Beyond “Beautiful Day,” which understandably received the bulk of the airplay, few tracks make a strong or lasting impression. The album plays it too cautiously, offering competence instead of ambition.
The Lemonheads
4/5
It’s a Shame About Ray feels instantly familiar to this Gen-Xer, even though I’d never really heard The Lemonheads before (aside from the “Mrs. Robinson” cover). The music is loose and jangly, packed with solid hooks and an easygoing momentum. Evan Dando’s delivery is noticeably detached—almost aloof—floating above the driving rhythms in a way that feels both cool and slightly removed. The whole album carries the vibe of a band playing a frat-party set that’s better than it has any right to be, with lyrics that swing between genuinely poignant and casually funny. It’s an enjoyable listen, and its charm lies in how effortlessly it wears its melancholy.
Beatles
4/5
I’ve always respected The Beatles for their impact on pop music—and popular culture more broadly—but they’ve never fully connected with me on a personal level. Rubber Soul changed that. For the first time, I hear the band maturing in real time, moving beyond the frenzy of their early hits into something more cohesive and emotionally grounded. There’s a thread running through this album—warm, connected, and deliberately crafted—that feels like more than bubblegum pop. The songs explore mature relationships and grown-up emotions with a clarity and subtlety I didn’t associate with their earlier work. It’s also the first Beatles album where I can distinctly hear the personalities and contributions of each member, rather than just “the band” as a phenomenon. Whether it’s the familiar tunes (and there are plenty) or the ones that were new to me, Rubber Soul is a consistently strong, enjoyable listen.
N.E.R.D
3/5
Fly or Die surprised me in a good way. Even with the odd hidden tracks, the album flows well and balances rap, pop and rock influences without fully committing to any one genre. Pharrell and Lenny Kravitz help anchor the album and give purpose to its experimentation.
Kraftwerk
4/5
I wasn't excited about an electronic album, but this felt foundational to much of the music of the 80s and beyond. Planet Rock obviously sampled from it, and it laid the groundwork for lots of Euro bands. The mostly spoken-word lyrics had me thinking of the Sprockets from SNL, so German!
The Mothers Of Invention
3/5
On Freak Out! Frank Zappa and The Mothers of Invention both pay tribute to and target 1960s pop. They're true to the sounds of the era, then twist them into distortion and satire, mocking pop conventions and calling out social hypocrisy. As it goes, the humor sharpens into biting commentary on media, government and the glorification of violence, and the final tracks are chaotic performance art that also highlight the emptiness of counterculture, psychedelic ritual. It feels like Weird Al’s spirit with punk attitude and an avant-garde edge—funny but abrasive. Interesting.
Miles Davis
3/5
This is exactly why I love this service. I’m not a jazz aficionado, so I figured I could put Birth of the Cool on while driving and get the gist—but I’m so glad I gave it a second, more focused listen. My usual impression of jazz is that it can feel too freeform: a conversation among instruments that drifts without a clear pattern, and you’re never quite sure when it’s going to land. This album still has that interplay, but the music is shaped by strong arrangements and steady rhythmic frameworks, which gave me something to hold onto (shorter tracks helped, too) and made the solos easier to appreciate. I had a college buddy who was really into Miles Davis, and I’m finally starting to understand why.
Jimmy Smith
3/5
Back at the Chicken Shack is an upbeat, fun, easy listen. It's the kind of warm, swinging music you could play over the stadium speakers during a rain delay and instantly pick up the mood. Even when the saxophone takes its moment in the sun, the organ is always there underneath, filling the space and biding its time until it resurfaces to reclaim its rightful place as the star. Jimmy Smith’s playing is dazzling and soulful, and the bass and drums keep everything moving subtly and steadily, making the whole album feel relaxed, confident and alive.
Soundgarden
4/5
This was a flashback for me, as I owned this album. Hearing Chris Cornell belting and wailing over uneven rhythms and guitar brought back old feelings of disaffectedness and disillusion post-college. I still found myself singing along to Black Hole Sun, Fell on Black Days and Spoonman, but I imagine I played those on repeat back then, because some tracks were just hard to appreciate, like 4th of July.
The Killers
4/5
I was surprised to learn The Killers are not a British band. I hear similarities to The Cure, but I enjoy this more. Mr. Brightside is obviously a singalong, but I feel the same about Jenny Was a Friend of Mine. Some of the less famous songs sound good, as well.
Os Mutantes
2/5
Os Mutantes is psychedelic, goofy and kind of all over the place. Totally different sounds and rhythms arise and dissolve within single tracks. Sounds that are both environmental and experimental morph into silly, childlike songs. I hear Sgt. Pepper-era Beatles influences, but it's hard to pin down or take too seriously.
Radiohead
3/5
Hail to the Thief is dark and deeply unsettled, with a creeping dread that rarely lets up. It's Radiohead summoning the energy of The Wall, but stripped down to the despair—no catharsis, no acceptance, just a steady pulse of anger and paranoia. The album lurches between abrasive rock and off-kilter electronics in a way that feels intentionally destabilizing, like it’s mirroring a world you can’t quite trust. It’s not an easy listen, but the craft is undeniable—and for my taste, it lands more than Kid A. Even the album cover is like a word cloud spelling out the overwhelm of the world.
Lightning Bolt
2/5
That was an experience. Two instruments get together to see how much noise they can generate in a Red Bull-fueled jam session. I’ll give them this: they stay locked in time and play off each other with real precision. But once was enough—this is the first and last time I’m enduring it.
Django Django
2/5
This is fine as background music but often repetitive and with no memorable hooks.
The Divine Comedy
3/5
This was a fun listen. Neil Hannon has some playful takes on sex and lust. Ultimately, it tells the tale of the emptiness of pursuing those as an end, and after he wraps it up with a mostly instrumental song that is like closing credits, he underscores the void with a totally different final track that moves from carnality and solipsism to mortality.
Alanis Morissette
4/5
Such raw emotions, so powerfully (or gently) and articulately delivered. The angst of alternative with the hit power of pop. A favorite then and just as strong now.
The Modern Lovers
2/5
Sounds like what I imagine would have constituted college music in the 70s. Starts off rocking with unbridled energy with Roadrunner, dreams fruitlessly of success with girls, and devolves into slurring desperation from doing too many shots on stage with I'm Straight (like his boozing makes him better boyfriend material than Hippie Johnny's pot). The lyrics are youthful and naive, but the talent is lacking.
David Bowie
3/5
On first listen and paying attention to lyrics, I just heard lots of repetition; on second listen, I heard great guitar in the long opening title track, nice funk in Golden Years (the only song I knew) and beautiful interplay with bass and piano in Word on a Wing. Bowie reportedly said this album was about the stations of the cross, a concept with which I'm not familiar. Decent music, though, and not as wildly experimental as some of his other stuff.
Neil Young
3/5
While I'm not really a Neil Young fan, this was actually pretty good. Kind of feels like the narrator for the album is a midwestern farmer. The sound of the first two tracks seems almost country, but the nasally, quavering sound and inflection of Young's voice make it clear that it's folk music with no Nashville association (let alone Alabama and his issues with them). Heart of Gold and Old Man are memorable.
The Residents
1/5
Thirty-four minutes of this was more than I could handle. There’s a fine line between an open mind and one where your brain just falls out, and this album definitely crosses it. With its distorted vocals and childlike-yet-creepy melodies, this is easily one of the most off-putting and stupid listening experiences I’ve ever had. Proceed with extreme caution.
Deep Purple
4/5
I cut my teeth on classic rock when I was in high school in the late 80s, so I was familiar with Smoke on the Water and its iconic opening guitar riff. What I loved about this album is that you can feel the energy and truly appreciate the talent of each musician through the extended solos.
My Bloody Valentine
2/5
This was my first exposure to My Bloody Valentine. After I was underwhelmed by the first listen, I followed the advice of AI to turn off volume normalization in my Spotify settings and to listen to the album in thirds. Distorted, fuzzy guitars droned over softly sung, mostly indecipherable lyrics in the first three songs. I imagined Smashing Pumpkins, but I can't picture Billy Corgan wailing over these.
The next set of three introduced an organ, stronger drums and random electronic sounds, but the vocals, though more pronounced, remained dreamlike, ethereal and equally unclear.
The final three start off kicking, with strong and menacing guitar and synth and powerful, hypnotic percussion on "in another way"—I thought of Nine Inch Nails at one point, but the spiraling synth, almost like bagpipes, washed that away. The power and hypnosis kicked up a notch for "nothing is," and you could feel the intensity grow like an oncoming locomotive as the instrumental barreled toward the end. The final track, "wonder 2," changed the mode of transportation from train to jet, a concert growing in intensity and loudness (except the voices) on the deck of an aircraft carrier.
Glad I gave it a second, more informed listen, but it further confirmed that this is not my thing. Respect the effort, though.
Prince
5/5
So many good memories. I could still feel the emotions of the movie and how I used to listen to this album on cassette over and over on my boombox. Prince's piece de resistance, for sure. He had such amazing range, vocally and instrumentally. He was cut from a different cloth.
Lambchop
2/5
Easy listening music with snark and humor (?) Listened twice, still didn't get it.
Solomon Burke
3/5
Heard a lot of Sam Cooke, some beach music, some gospel influences. Easy to listen to but not especially memorable.
Jefferson Airplane
4/5
Interesting to hear music moving from pop to psychedelic. The songs that made Jefferson Airplane—specifically, Grace Slick—famous are here, with Somebody to Love and White Rabbit. They don't hide the ball with the latter, an ode to magic mushrooms. Some of the deep cuts were interesting, as well as eclectic, ranging from pop to blues to outright experimentation.
Suicide
1/5
Why? Why is this on the list? Why did they make this monotonous, repetitive album, punctuated by blood-curdling screams and vocals that devolve into guttural, animalistic sounds and libidinal pleas?
"Johnny Teardrop" is disturbing, and I suppose it should be, telling a 10-minute-long tale of a down-and-out factory worker who snaps and kills his family in a murder-suicide. The other tracks meld breathy moans and spoken-word nonsense layered over mind-numbing synths.
The sad thing is, this is not the worst album I've listened to on this list, so to give it one star unintentionally elevates some of that other garbage. Yet, here we are. Why?
LL Cool J
4/5
Great memories of high school and college years, with one of the smoothest dudes ever rolling off the lyrics—with much less profanity than his contemporaries or anything since—over jamming beats! I prefer Radio and Bigger and Deffer, but the title track on this one is legendary and makes for perfect, high-intensity workout music.
Aretha Franklin
5/5
I've heard it said that Aretha doesn't sing her songs, she inhabits them. I would add that her songs inhabit you. As strong as her voice was, her piano playing shone through on multiple tracks.
The strength of the Muscle Shoals musicians is also undeniable. Respect is one of the best and most well-known songs of all time, and even the original artist, Otis Redding, said Aretha owns it. Beyond that, there's not a throwaway track on the entire album. Blues, gospel, soul—this one's got it all.
I listened to Lady Soul some time ago on this list, and the way it moved me—a rhythmless, middle-aged white guy—is just as strong here. She earned the Queen of Soul moniker, hands down, and she gets 5 stars plus here!