Inside of you are two wolves. One wolf is a simple creature, who enjoys peaceful, easy-listening love songs. Even if they are cheesy, some music is just meant to feel warm and romantic, with nice musical passages, piano chords, and string arrangements. Not every album has to be incredibly complex - these are simply timelessly smooth songs that have earned their way into wedding playlists for the rest of humanity's days. 5/5. The other wolf absolutely despises this artificial, cheap, saccharine, plastic goddamn waste of half an hour. This is such an explosive assault on the free world that it could be charged with domestic terrorism-related offences in 47 states. I'm surprised this album isn't on the No-Fly list. If I was John Lennon, I would've a) ducked and b) sued the Carpenters directly into the cold, hard ground for destroying "Help!" and turning it into unlistenable, grey slop. This album is whiter than the Mormon Church. 1/5. So we'll compromise and go 3/5.

This appears to be a controversial album. I get it, I really do. It's a concept album about domestic violence and heroin addiction ending in suicide with kid crying sound effects and a singer who can't, notably, sing. I get it. HOWEVER, holy what an album. The music and instrumentation/production provides a haunting (the piano work on the opening track & Lady Day is phenomenal) backdrop to tragedy. The strings on the album are also really nice. I'm not incredibly familiar with Lou Reed - his writing (on at least this album) is quite Hemingway-esque, which may turn people off due to its simplicity and conciseness, but it makes the story much more personable and sharp. It's either a love-it or hate-it album. I loved it. It's not one that you can just throw on casually, or re-listen a bunch, but it's truly a great album.

This was actually dogwater. Holy. An astoundingly awful album. This being on a list of Top 1001 Albums You Should Listen To Before You Die is such a trolljob. I refuse to believe anyone actually enjoys this. An unbearable cacophony of noise. A caterwaul of random effects. Nothing is in time, hardly anything is in key. Every instrument and vocal is constantly in conflict with each other. This sucks. It's a goddamn pretentiousness, obnoxious, theatre-kid piece of crap coming from millennials who obviously were never told "no" as children. This is the direct product of gentle parenting. I actually hate this album. Life's too short for this garbage. This is disgusting. Every single musical decision made in this album's runtime is offensive. The fact that a producer/engineer listened to this constant overstimulation of random rhythms, keys, and vocals and OK'd it for public consumption was the day that humans as a species have gone too far.

Never have given the Grateful Dead a fair shake, and I enjoy lengthy jams (Allman Brothers, Neil Young) so I thought this album being my Day 1 generated on this 1001 album run was some type of fate. I don't think I will ever understand the Grateful Dead hype if this is what it sounds like. Long, uneventful slogs of songs with like maybe 5% of their runtime actually being interesting, with the occasional cool line, riff, improvisation. I'd be bored out of my mind if this is what the average Grateful Dead live concert sounded like - no wonder everyone was on acid. It's not offensively bad, or awful. It's just boring.

Solid album - own it as a record (for like $2). Improvement from their first album, and the big songs (Message in a Bottle, Walking on the Moon, Bring On the Night) are some of their best. Nothing exceptional, however, and the style of the album tracks kinda blend in with each other and I forget which one's which. A solid 3. Don't know if it's quite a 4? This is only my second album, so leaving room open for 4s and 5s.

One of the best straight-up classic rock albums. Behind Blue Eyes? Banger. Baba O'Riley? Banger. Won't Get Fooled Again? Banger. Love Ain't For Keeping? Banger. Bargain? Banger. The Who have better albums (namely Tommy and Quadrophenia), but like Who's Next is still very good, and their best non-concept one. Was going to go 4 because it's not their top album, but I maybe I should be less picky and more joyous. So we'll go a 5.

It's kinda hot. Big band swing and all that. Some of it blends in with each other and fades into background music, but that isn't necessarily bad. I do like me some jazz and this had some really nice passages. Very enjoyable album - not the best in the world, but a solid 4.

Very good rap album. Acclaimed for a reason. Let it be known that I was a Kendrick Lamar fan way before the Drake feud and allat, which gives me such a musical superiority complex that simply may never go away. I wouldn't call it a straight 5/5, but a solid 4. The theming throughout, interspersed with narratives and spoken-word passages, is captivating, and never sacrifices the actual music/content. It all flows well. It's not his greatest album, but a quite good one.

Solid country album. We enjoy some classic country. The common issue, however, through most of them is that all the songs kinda sound the same-y. I guess back then, country artists didn't like straying from the formula too much, and lots of the album tracks (including on this one) follow the same structure, the same major chords (in occasional differing order), and the same instrumentation. That being said, I still like country and it's a good album. Just nothing spectacular.

Good '80s albums. For a decade that seemingly wiped their hands of anything remotely resembling sane quality control, Tears for Fears was always solid. Songs From The Big Chair is their best, with big singles (Shout, Everybody Wants to Rule the World, Head Over Heels), and the album tracks are quite good, too. It's nothing life-changing or anything incredibly eye-opening, but for what it's worth, it's one of the better sounding albums of the time.

This appears to be a controversial album. I get it, I really do. It's a concept album about domestic violence and heroin addiction ending in suicide with kid crying sound effects and a singer who can't, notably, sing. I get it. HOWEVER, holy what an album. The music and instrumentation/production provides a haunting (the piano work on the opening track & Lady Day is phenomenal) backdrop to tragedy. The strings on the album are also really nice. I'm not incredibly familiar with Lou Reed - his writing (on at least this album) is quite Hemingway-esque, which may turn people off due to its simplicity and conciseness, but it makes the story much more personable and sharp. It's either a love-it or hate-it album. I loved it. It's not one that you can just throw on casually, or re-listen a bunch, but it's truly a great album.

Decent enough. Like I'm not a huge world music guy, and this album wasn't strong enough to turn me into one. But I can totally see how people dig it. Good vibes music, just kinda carries throughout in the background. If someone was playing this as a soundtrack to a chill, evening backyard summer party, I wouldn't complain. I just wouldn't put it on myself.

If you don't like AC/DC's sound, then you're not gonna like the album. Luckily, I do, so I do. Yes, their songs are all the same. Yadeyadeya. I understand. HOWEVER, I propose to you this: Hell's Bells? Banger. You Shook Me All Night Long? Banger. Back in Black? Banger. Let Me Put My Love into You? Banger. Shoot to Thrill? Banger. Rock n' Roll Ain't Noise Pollution? Banger. You get my point.

I don't get it. The whole post-punk, gothic thing. This album is a blend of like Joy Division and Talking Heads, but is mediocre representations of both. I can see how in the early '80s this may have been the soundtrack to high school gothics, but it doesn't do a lot for me. The production sounds bad. The music isn't very good. I know it's the "post-punk" sound, but to me, it doesn't sound too good. It isn't offensively bad, but I don't see a world where I come back to it. But like, it isn't awful. I can see how people could enjoy it. The whole style just isn't for me.

It's a 5/5 album. Don't know what else to say. Arguably a 6/5. One of the best albums of all-time. If not for Stairway to Heaven, it also has Going to California, and Black Dog, and Rock and Roll, and When the Levee Breaks, and Misty Mountain Hop, and Four Sticks, and Battle for Evermore.... That's the whole tracklist. Elite.

Fine enough album. Didn't do too much for me, but was still decent. There were different styles that kept it mildly interesting, but it wasn't like the fantastic 5/5 pinnacle of British folk that some people give to it. The first half is solid enough. The latter half just kinda peters out. I had high hopes based on this album's reputation, but I just don't see it. Maybe I'll revisit it later, maybe I didn't listen as attentively.

Fine enough swing album. I enjoyed it, but nothing exceptional. Fun for its runtime. Kept the tempo up throughout, and the performance was fun.

Inside of you are two wolves. One wolf is a simple creature, who enjoys peaceful, easy-listening love songs. Even if they are cheesy, some music is just meant to feel warm and romantic, with nice musical passages, piano chords, and string arrangements. Not every album has to be incredibly complex - these are simply timelessly smooth songs that have earned their way into wedding playlists for the rest of humanity's days. 5/5. The other wolf absolutely despises this artificial, cheap, saccharine, plastic goddamn waste of half an hour. This is such an explosive assault on the free world that it could be charged with domestic terrorism-related offences in 47 states. I'm surprised this album isn't on the No-Fly list. If I was John Lennon, I would've a) ducked and b) sued the Carpenters directly into the cold, hard ground for destroying "Help!" and turning it into unlistenable, grey slop. This album is whiter than the Mormon Church. 1/5. So we'll compromise and go 3/5.

Another 3/5 album. Not bad, not great either. Pretty good, pretty solid. Any album with "California Dreamin'" on it can't reasonably be scored any lower. A couple album tracks are nice, too. The Mamas and the Papas are better than your stereotypical '60s folkpop hippie band, so they've got that going for them.

Very good funk album. The opening ten minute song is awesome, and the rest of the song follows suit fairly well. It's acclaimed for a reason, but I just didn't feel it kicked into the highest gear or was positively outstanding. Maybe it's a genre thing. That being said, it was still very good.

I don't get the hype. Lots of other reviews saying this is a 5/5 album. It's kinda basic. Like, it's still decent. I can see it's influence, and it sounds like it belongs in the Cheap Trick power pop era despite being released at the beginning of the decade in 1972. It's just kinda an average classic rock album. The latter half of the record kinda peters off. That being said, the melodies are catchy, the production is good, and some of the ballads are nice.

I've never given Stevie Wonder a fair shake other than Songs in the Key of Life (which is very, very good). This album was still quite good, but highlights both his strengths and weaknesses. Strengths being his funk and R&B grooves, and weaknesses being the schmaltzy gushy balladry. The ballads aren't inherently bad, they're just too sweet and saccharine. But the funk on this album makes up for it. I mean, look, it has Superstition on it. That's all you really need.

I actually didn't mind this. Which I thought I would've, given the other reviews, the idea of "grime", and, most of all, British people. It isn't stand-out or anything, but it's a solid enough album. The performance was good and production was well-done. I don't like annoying or purposefully-obnoxious backing vocals/effects, which some tracks on here have at the start, but once the real song kicks in, it wasn't too bad. I can see myself coming back to it later.

The title track remains an certified swamp rock banger. One of their best songs. After that, things kinda peter off into generic C.C.R territory, which makes sense for album tracks, but still. Nothing bad, just nothing too outstanding. Bad Moon Rising is on here, which is nice if you're a fan of it, but I am not, so it isn't. Bordering on 4 stars just cause Green River and the album tracks aren't bad, but they also mostly aren't anything to write home about, so we'll settle on a 3.

One of the best albums of the '90s. Great production, great sound, great instrumentation. Billy Corgan's voice may turn off some, but his style works great with what he's trying to do here, and if you don't get it, then you just don't get it. Disarm and Mayonnaise are two of the best songs of the decade, and the rest of the tracks are all quite strong. Siamese Dream works great as an album, but the songs are also great if listened to individually, as well.

Just kinda an average album. Nothing too special. It's fine enough. The second half of the album is better, and has some nice melody lines and progressions. Variety of different styles. They're clearly competent musicians, the album just never kicks into another gear, and just kinda stays at the same "yeah this is ok" level throughout.

One of the stronger metal albums out there, ESPECIALLY for the early '80s. Iron Maiden is more melodic, more memorable, more grand, more operatic, and better sounding than most of their peers, which makes for a great album. Not perfect - but still an enjoyable listen. The lyrics are juvenile, but such is most metal music, I feel. It's profoundly life-changing poetry when you discover them in like the first year of high school, then you listen to it again a couple years later and go "this is kinda dumb, I'm too mature for this", then you listen to it again a couple years later and go "this is kinda dumb, I'm not too mature for this". Still, the words and some themes remain clunky and "kinda dumb", and the music and sound retreads most of the same ground over the course of the album. The Children of the Damned intro sounds like The River by Bruce Springsteen, for what it's worth.

It's a vibe. Tom Waits haters gonna hate. Jazz club haters gonna hate. General feeling of enjoyment haters gonna hate. It's honestly bordering on 5 stars. The jazz musicianship backing is incredible, the live audience adds a whole lot fun, and Waits interludes/comedy bits are awesome. Actually in writing this I have now changed it from 4 to 5 stars. It's not an album you can throw on on a Sunday morning before you go to a family brunch. It's a dark, sarcastic, smoke-filled booze-y album that pairs perfectly with a stormy Saturday night's TV Dinner after a terrible week.

This was actually dogwater. Holy. An astoundingly awful album. This being on a list of Top 1001 Albums You Should Listen To Before You Die is such a trolljob. I refuse to believe anyone actually enjoys this. An unbearable cacophony of noise. A caterwaul of random effects. Nothing is in time, hardly anything is in key. Every instrument and vocal is constantly in conflict with each other. This sucks. It's a goddamn pretentiousness, obnoxious, theatre-kid piece of crap coming from millennials who obviously were never told "no" as children. This is the direct product of gentle parenting. I actually hate this album. Life's too short for this garbage. This is disgusting. Every single musical decision made in this album's runtime is offensive. The fact that a producer/engineer listened to this constant overstimulation of random rhythms, keys, and vocals and OK'd it for public consumption was the day that humans as a species have gone too far.

Fine enough album. I don't mind '80s synth pop, which is entirely what this album is. It's nothing revolutionary or ground-breaking, and meshes with what most pop bands were doing around the time. Still, it's a decent enough listen if you don't mind that '80s sound. But there are better '80s bands. And worse ones, too.

Has Respect on it, which makes it at least 3 stars minimum. Elsewhere, the other tracks are nice and pleasant enough - no real other highlights, though. Each song isn't bad or offensive, they just kinda flow in and out without much staying power. But it's nice enough, and for the time period, you can see how it was a major album.

This is a compassionate 2/5. I get how people like it. It's an essential '90s album, and pioneered industrial rock and industrial metal as genres. It's completely valid. I just, personally, don't like it. I'm not a huge fan of albums that cause migraines. It's constantly loud, thrashing, with few moments of reprieve over the hour. The lyrics come off as hackneyed and juvenile. I recognize that this album and Trent Reznor/Nine Inch Nails are massive influences. I just won't listen to the album ever again. Painful, long, and eventually gets on your nerves.

Unfortunately, a banger. I find Morrissey as insufferable as the next person. But this is quite a good album. It's in the signature Morrissey style of delivery and lyrics, with surprisingly nice instrumental backing. Every song has a keen and humourous line or two. "First of the Gang to Die", "I Have Forgiven Jesus", and "How Could Anybody Possibly Know How I Feel" are stand-outs. This album does not reach the highs of any of the Smiths albums, but for what it's worth, this is pretty solid.