1001 Albums Summary

Stone cold classic. Marked the re-birth of rock. Perfection.

Enjoyed every song. Just know they have better records coming, and a lot of sections are a little too Sgt. Pepper rip-offy.

A joy to listen to. Funky and fun with razor sharp production.

So fun, so much energy. A building block for the genre that’s still enjoyable and fresh.

Probably a 4 on a general scale; but I’m rating on the Bowie scale. This was a nice surprise, as I only gave it a few spins back when it came out. An excellent late-career entry worthy of his legacy.

Sounds like 5 shitty, totally unrelated songs being played over each other. And oh yeah, it’s almost 2 hours of this nonsense. Don’t do drugs kids. A torturous cacophony of misplayed notes and unharmonious “experimentation” disguised as high art. I don’t trust anyone that says they genuinely enjoy this.

No surprise that the singles were great. Little surprise that the rest was mostly forgettable, if pleasant, filler.

Wish I could do 3.5. But screw it, I’m in a generous mood so I’ll round up. The highs are gorgeous. Some memorable, emotional folk. “The Calvary Cross” is one of my favorite folk-rock songs ever. Just a couple skip over tracks, and knowing this isn’t my favorite Thompson album drops it a tiny bit.

A bizarre inclusion. Good record. But kinda a boring, meandering, and uninteresting entry in a great Blur catalog. 2.5/light 3 is my real score. Nothing to dislike; but they have some awesome records, so there’s really no reason to waste time with this one.

Funk/disco isn’t really my scene, but this is a fun record. Some really good, danceable tunes, loved a lot of the guitar work.

An absolute classic. From the songwriting, to the pacing, to the production, and most importantly, my favorite vocal performance on record, this album is perfect. Jeff’s voice absolutely soars. A key cog in the discussion of 1994 being the best music year, Grace is in my 90s top 10 and likely one of my overall top 20 albums.

A fun listen from an artist I wasn’t familiar with. Seems pretty cutting edge, pre-Avalanches sample based dance. Surprised and impressed with how engaging the tracks were.

A good record, but hard for me to distinguish or remember any specific tracks other than “Good Times.”

A no doubt 5 starer. The beacon or 90s narrative hip-hop. In a brisk 39 minutes Nas takes us through every nook and cranny of his environment. Every second is maximum engagement. Potentially matched by some early Wu Tang projects, but it will never be outdone. Just more fuel for 1994’s “best music year ever” fire.

I’m sure they’re great musicians, but this is brutal. Boring, cheesy, elevator music. Nothing to connect to emotionally, and with vey dated production. Sounds like what’s quietly playing in the background as you walk around an 80s mall.

A lovely little record from Simon that I wasn’t familiar with. It’s quirky, honest, and very re-listenable. Some experimentation that adds valuable flourishes without taking away from the songwriting. If this was the debut from Joe Shithead from Brooklyn, it’d be 4 stars. But need to grade compared to the rest of this list and his catalogue. An exciting discovery nonetheless.

An all time favorite and as easy a 5 as there will be on this list. The textures and production are still unmatched. It’s an album that you don’t really hear, but feel. Birthed a whole new world of sounds that no one’s been able to replicate. In my top 20 all time and my top 10 for the 90s.

A blast. This is how I was my rock and roll. Loud, lewd, and loose. Banger after banger. All killer no filler. All hail Iggy!

I appreciate the musicianship and impact, but my western brain just doesn’t connect emotionally to this. It’s pleasant, kinda shoothing really. Just not my journey.

Such a great record. Great, Stonesy guitar licks. Perfect 90s slacker attitude and delivery. Self-effacing, honest, funny, and sometimes shockingly vulgar lyrics. It all comes together in a terrific indie rock package.

They’re talented, but this just isn’t my preferred rap style. That jazzy, super aware stuff comes across as so corny. J5 are for someone, just not so much for me.

“Superstitious” is outstanding, but other than that, there just isn’t much here for me to engage with. I know Stevie is exceptionally talented and important, but this just didn’t connect with me. No relisten.

Hard to separate the music from the mega-mega star. I’ve always been kinda agnostic about T-Swizzle, not worth the effort to be a hater, but always found pop music I enjoyed more. But I have to say this is full of bangers, and totally enjoyable front to back. Catchy and fun, I found my head bobbing almost every track. Dinged it a star for the lyrics and rhyming schemes getting a little predictable and cheesy by the end of the record.

I just don’t get it. Seen a lot of people give this 5 and have seen it on best of lists as long as I can remember. But after the first song it’s just some idiot squealing randomly on a flute while his friend practices seemingly unrelated guitar scales at the same time. Absolutely nothing here after track one for me to engage with at all. Not my thing.

Spectacular. Not a single quibble on songwriting, performances, or production. Just gorgeous stuff. Still the gold standard for dream pop. Sorry Beach House.

Pretty stereotypical 70s singer-songwriter stuff; soft vocals, bongos for percussion, heavy lyrics, lush acoustic instrumentation. Having said that, it’s a very good version of those tropes.

A stunning record. Haunting and beautiful, JD’s growth just from their debut the year prior to this is still shocking. It’s spooky, atmospheric, and ultimately a devastating look into the doomed psyche of Ian Curtis. In my all time top 20 and 80s top 10.

These building blocks of rock and roll albums are always a lot of fun. Fats rules.

A terrific record. I typically don’t love the “step up in production quality” records from artists that thrive with a raw sound. But PJ’s songwriting and performances are of such high quality the crisp production lifts rather than stifles. Just killer art rock.

Maybe the peak of the first wave of solo-Wu releases. Deeply lyrical, amazing flow, great featured verses from the rest of the clan, incredible thematic consistency, all combine for a stunning classic.

I hadn’t done a full listen in years, as when I’m in the mood for the National, I usually go with Alligator or Boxer (both 5 stars in my opinion), and I really enjoyed it more than expected. The reputation I gave it as quality, but a little sleepy, was unmerited. The songs and lyrics are honest and gorgeous. I must be more patient as I get older because I had no problem with the pacing either. Brought back some wonderful memories from this era also - it’s what this project is all about.

I’d rank this #3 in his Ditch Trilogy, but it’s still getting a 5. This is my favorite era of one of my all time favorite artists. Raw and vulnerable, Neil is on the edge of losing it. Absolutely vital.

This album rules. I’ll always take their thrash stuff over this (Morbid Visions, Schizophrenia, Arise, and Chaos A.D. are all 5 stars to me). But their full embrace of Brazilian percussion and rhythms here is so powerful and just so damn interesting. Metal, more than other genres, seems to have the ability to adjust to geography in really special ways, and this is maybe the best example. Really influential too, seems like most of these riffs ended up on the first couple Slipknot records. More of this! 🇧🇷🤘🏽

This prog/psychedelic scene just isn’t for me. Clearly great musicians, but self-serious to the point of unintentionally sounding like a joke. 2 stars because when the band actually just rocks out, it can be pretty cool. But those parts are too few and far between.

Heard these tunes a million times, but damn, most are still pretty good.

Just 70s dentist waiting room soft rock dogshit. Everyone’s tastes are their own thing, but I just can’t imagine a world where this vanilla lame fest is “essential” to anything.

Tough to grade. The trip-hop type tracks are pretty enjoyable and engaging. The other artsy-fartsy high brow stuff is very much not enjoyable. A 3 is most fair, but it didn’t garner a relisten, which means a 2 on my scale.

No need to overthink this one. Every song is good, some excellent. This is vital new wave/power pop/punk.

This is when I really wish we could do halves. 3.5 with a bullet. This isn’t typical the kind of music that grabs me, just sounds clinical in a way, a little soulless. But as a life long shitty guitar player, I just so respect what Knoffler can do. The guy’s playing is unique and incredible. I’m not going to deny DS a good review. I enjoyed the record.

One of the small handful of records I use as the measuring stick for a 5. It’s perfection. All aspects of the band are at the peak of their powers here.

Cohen is a master songwriter, just wish the musical accompaniment on this one was a bit more varied.

Little overstuffed, but obviously some classic tracks and they really paved the way for other rock operas that I just musically enjoy more.

A prefect album by an all time favorite artist. Everything positive anyone has said about this is true. Exceptional.

A light 2. There are some catchy songs, but the cheesy mid-70s radio rock thing just doesn’t do it for me.

And early hip-hop classic that delivers on its reputation.

Sorta the un-hip cousin to “Exile in Guyville”, Jagged is rammed with hits, most of which hold up well. She still puts on a great live show too. 3.5

Fine I guess, but they got the wrong NERD album. No track on here is nearly as cool as anything on “In Search Of”

I prefer the Bruce era, but this is a genre classic that set Maiden on a path to glorious heights.

Pushing boundaries and blowing minds right to the end.

Super fun record. The inspiration I need to finally do a Roxy deep dive.

Way better than it has any right to be. Very cool to hear unique versions of the classics. And even better, the expanded arraignments really elevate the much weaker (shitty) Load and Reload material to new heights.

Knew the name but never listened. Absolutely love it. Kinda like a mix of Spiritualized and Strerolab but with more pop sense. On my second listen now and can’t wait to deep dive. What a fun discovery.

The hits are undeniable, but the rest is a lot of filler. It’s my lease favorite production style, and just hasn’t aged well sonically. Dude’s a pervert too. Pass.

A wild, noise-rock masterpiece.

BELIEVE THE HYPE

Been 20 plus years since my last full listen. Enjoyed more than I thought I would - “When the Levee Breaks” rules.

A chill electronic classic. Air make electronic music that’s engaging, catchy, pleasing, and so very French.

As easy as this gets. Every track is an unimpeachable stone cold classic. The biggest, most important building block of metal. I’ve heard these songs 1000s of times and spending the day with them yesterday was still a thrill.

Fun blend of east meets west. Soothing and enjoyable.

I tried. I really did.

A thrilling, fully engaging techno classic.

A brand new discovery. Really enjoyed this set; beautiful classic country with great storytelling. 3.5 now, but I feel like this will grow to a four with more time spent with the artists.

Gorgeous album. A classic for a reason, Joni’s voice is unique and her lyrics insightful and heartbreaking.

When I was 14 I thought these guys were cool. Now I’m 41 and think they pretty much suck. The singles are solid, “Under the Bridge” is still great. But the rest oscillates between totally forgettable and downright embarrassing. Anthony Kiedis may be the worst lyricist in rock history.

Teetering on 5. A tense, electronic album with perfect production and pacing. Having vocals on most tracks keep me engaged throughout and the singles brought back memories of a great era. Breathe with me!

Fun record, just tough to get a real vibe on YouTube with adds. Also a little disappointed that “Our House” is so far and away the best track here. I’ll revisit later.

Very much not the style of rap I typically gravitate to, but the beats, grooves, and lyrics are so creative and clever - just can deny this classic.

Not totally offensive bubble gum pop. But I’m offended that I had to listen to this and someone in a position of power thought this album was essential listening. Email my heart. Shame on you.

I really hated this, but I had Brittney Spears yesterday so I’ll give them a bonus star for being an actual band.

An all-time favorite. Violator is the DM zenith. Everything they’ve ever done well coalesces here. The production is pin perfect, sharp, and panned so wide you can hear and feel everything. A monumental record.

I really want to love Leonard Cohen, but it doesn’t click for me in a way that pulls me back for repeat listening. He was beyond gifted and I respect everything he’s done, just can’t get over the hump to a 4 though.

A revelation. YHF still seems more like an event than a rock album. Shifted my listening and indie rock broadly towards a more daring and outwardly artistic palate. These records that come out from long-running bands that sound nothing like their previous stuff rarely work. YHF managed to reset Wilco’s career and cement Tweedy as an all-time great. In my top 100 of all time easily.

Not a soul expert by any stretch, but I really enjoyed this. Multiple listens, great grooves and heartfelt vocal performances. 3.5

This prog stuff just isn’t for me. I really struggle with the noodling around and lack of structure on a lot of tracks here. But i recently had Brittany Spears, so bonus star for being a real band and good musicians.

Need some more listens because it definitely feels like a grower. Well written, well produced, if subtle indie rock.

His remarkable gift for melody is apparent in every track, but these mostly seem like nuggets more than fully developed songs; Paul finding his footing right after the Beatles. Still very good. 3.5.

What a great record. Such a unique and special project overall, I remember how befuddled everyone was when the debut came out. What is this? Who are they? Is this real? Well “they’re real, and they’re spectacular.”

I love anything Gram related and this is no different. The Rosetta Stone of country rock, there isn’t a missed note on here. Sneaky Pete’s pedal steel through distortion effects sounds like a rocket ship. Gram’s voice is perfect. This record fits the bill of “essential listening”

An easy five. Richly textured and beautifully executed. It’s a rare giant hit record that was artistically daring and stands the test of time. Every song is wonderful and weird in their own way. REM became mega-stars in the most REM way imaginable.

A fun discovery. Exciting, compelling post-punk. Not sure how essential it is, but a good listen nonetheless.

A jazz record I didn’t hate! Some song structure, and mercifully 32 minutes. Not unenjoyable to put on while working a nine to five desk job.

His voice is great, the album is produced and performed very well, but the songs overall aren’t strong enough for a lot of repeat listens.

A fun record with a few great party jams on there. James Broooooown!

4.5. A near perfect record with some absolute bangers. Document is the perfect bridge album between their indie and major label sounds, showing the band wouldn’t lose any artistic integrity. Would be a 5 for 99% of bands, but I need to consider the rest of their excellent catalog in my score.

Some interesting stuff, but mostly boring 70s drug psych mumbo jumbo. 💤💤

Really enjoyed this. All the heart and soul of Blue but with a lot of experimental sonic elements and effects tastefully sprinkled in. Cool stuff.

3.5. I love Earle, but enjoy his rougher later career stuff over the commercial country. The Mountain, Copperhead Road, Transcendental Blues, all 4 or 5s. This feels overproduced, but his songwriting is great. “Someday” is an all-time classic. Great artist, glad he’s represented on the list, this just isn’t my go-to album.

Beautiful record. Such a haunting voice. Soothing melodies, mysterious lyrics. Elite folk music.

Solid funk-disco. Gotta say I’m a bit disappointed though considering its reputation as an all timer. Fine, but not inspired to come back for more.

No

Started with a bang, but faded quickly. The revisionist history that the Doors were just okay seems to be deserved. 2.5

Super fun listen. Hits hold up and the tracks I didn’t know impressed me. It will stay in the rotation.

I don’t know shit about bossa nova. I do know that I enjoyed listening to this.

Vital proto-punk. The Dolls paved the way for the punk explosion that followed this record. Still fun too.

All my other 5s so far were albums I knew I loved and would be getting a 5 the second they popped up. This is different because I really don’t have much experience with classic soul. But by the end of my third listen all I could think was - this truly cannot be improved upon. That’s a 5 in my book. Great stuff.

Great post-punk, spooky new wave. Every song was interesting and catchy. Great album.

Enjoyable psych rock. You can hear a lot of these riffs and melodies in Velvet Underground’s stuff a couple years later. Not a ton of repeat value, but I respect the influence.

3.5. No skips, good repeatability level. Paul certainly has a unique gift for melodies and hooks.

Very cool indie rock mixed with a unique western/cowboy esthetic. Little surprised to see it here considering how stacked this era was, but I really enjoyed it and it brought me right back.

Gun to my head, this is my favorite metal album of all time. The pure thrash that dominated metal at the time is replaced by rhythmic grooves. The simpler riffs made Pantera sound heavier and more punishing than the shredders. Dime’s guitar tone is pulverizing, punchy, crisp, and defined heaviness despite mostly being in standard tuning. His full embrace of the whammy pedal gives us his most mind-bending solos. At the peak of the grunge-era (which I love), Vulgar Display seemed to hold the torch for all extreme music; the follow-up, Far Beyond Driven, being even heavier, AND somehow debuting at #1. It’s the best punch to the face you can hear.

My favorite rap album of all time. In my top 10 of all time. In my 90s top 5, and probably a top 5 debut. The best rap posse ever putting their stake in the ground. RZA’s grimy, smoky production is immediately recognizable and still influencing almost all hip hop I like today. 36 Chambers is a vision.

A great live recording of a young JB. You can feel the energy and excitement vividly. I just wish it was longer.

Pleasant enough new wave, but not particularly memorable. Not a fan of this production style either.

A great mix of dark, gloomy new wave with exciting industrial scrape. A unique take on a well-represented genre and era on the list. Awesome record.

Crazy high highs that set the stage for the Stones incredible run of albums that soon follows. Under my thumb…

A couple songs are cool, a couple songs are forgettable, a few songs are annoying, and a few songs are total garbage. Their album prior to this, Absolution, is mostly good and would have been better on the list.

Generously rounding up because Frank has a nice voice. Jesus this was a slog. All the songs sound exactly the same. All slow to mid tempo sob fest. More like ol Snooze Eyes, amirite?

I don’t like Christmas music. But this is probably as good as it gets.

Really a tough call. Wish I could go 3.5. Side A is incredible, side B is pretty boring. I appreciate the yin/yang thing, Low is my favorite Bowie record. But there just wasn’t much in the back half that grabbed my interest. Knopfler is a magician on the guitar with a mesmerizing tone and touch. Rounding up on the score to pay my respects to his musicianship.

Raw, urgent, and hectic, this is Costello at his finest. The production, performances, and songwriting are all drum tight and sharp. No wasted notes, nothing that isn’t vital to the experience. Power-pop perfection with nervy edges. Love it!

An alt-country classic that really laid the groundwork for the sub-genre to take flight over the next decade. Gritty and tender at the same time, Car Wheels is just great.

To paraphrase another users’ Bitch’s Brew review: It’s really true what they say about experimental jazz…. It totally sucks. Rounding up a star just so the jazz edge lords don’t threaten my family again next time I post my stats on the Reddit group. No other genre’s fan base questions other people’s intelligence when they don’t like their albums. The jazz police (who would be horrible actual police because they’d stop to gawk and fawn over any batch of people making tuneless noises) can zip it.

Not sure how often I’ll come back to it; but I always enjoy these “foundations of rock n roll” artists. Solomon absolutely holds up and I liked every song.

Wow, what a fun surprise. Never dove in on Stills’ solo material, but man, this is great. A double album worthy of its run-time. Terrific blend of alt-country, rock, blues, bluegrass, folk, etc. But all just seamless; really feels like one concise thing.

39 minutes, and every one a punishment. This was brutal. A joke that’s not funny. You know the person that tells everyone how smart they are, but are actually just a total dick? This is the musical version of that.

An amazing debut by an immeasurably influential band. Still sounds fresh.

While their most sedated album, it’s no less amazing. Mar’s playing is intoxicating and mesmerizing. Morrissey is a his whimsical best, self-deprecating, melancholy, and funny. “That Joke Isn’t Funny Anymore” is as good as it gets. Andy Rooke’s bass playing is the unsung hero here, popping and grooving while Mar and Moz work their magic.

A brutal listen. Pseudo-intellectual 60s psych nonsense.

Legendary. One of those unmitigated classics that lives up to its billing. Every song is special. It’s not my favorite Bruce album, but it’d still be impossible to improve upon. “Jungletown” alone would make this a 5. It’s a soaring rock achievement.

Great melodies and harmonizing. Enjoyable from front to back.

Awesome early rock and roll. Great takes on some classics and I really love the grainy production. Proto-garage rock. Fun to connect the dots and hear the direct line from this to the Stooges or the Hives.

Smoooooooooth operator

A pleasant, easy listen. “Girl From Ipanema” is an obvious classic, but the rest is just as breezy. Nice work music, and I can handle jazzy stuff with vocals. Love the Brazilian influence.

A nice electronic journey. Wish it was a bit more uptempo, but it was enjoyable nonetheless.

Hate to give any Beatles release less than a 4 considering their influence. I’m not making a point or weird statement about anything or trying to have an original “take” on the most popular band of all time. Just listening to this record on its own, there are a handful of tracks that weren’t memorable.

I hated this so much. Music without soul. Soundtrack to many hotel lobbies and dentist waiting rooms. I’ll give it a 2 though because it’s so offensively boring that at least the push back to this sanitized suck-fest helped give birth to punk and all kinds of other music I love. Thank you Steely Dan for sucking. Rock is now better for it. I’m going to listen to Fugazi the rest of the day to make sure I can still feel something.

Outstanding. My first five-star album coming in completely cold. What a discovery! Beautiful use of space and restraint. Love the smattering of electronics, and delicate touches of experimental songwriting. Gorgeous vocal performance. Wonderful, crystal clear production that doesn’t sound tacky like some contemporaries. Just thrilling high art.

4.5. I adore this record and the garage rock revolution it kicked off. Context is everything, and this was the kick in the ass the rock world need at just the right time. Jack’s playing is raw and world beating. Justice for Meg too.

“Lay down your soul to the gods rock and roll… BLACK METAAAAL!” We metalheads would call this thrash or speed metal now, but Venom really did birth the black metal subgenre here. They created the esthetics, satanic themes, and sonic realm that other bands would run with. A damn good listen in a vacuum, but monumental when its influence is accounted for.

A great record. Pieces of Bowie, the best parts of disco, and right on the edge early 2000s indie. Brought back some great memories of a really magical time.

Remarkably unremarkable Latin fusion. Not offensive, but no reason to listen twice and I’ll forget this ever existed in 3…. 2….

Peak Brit pop. I know all these bands hate that term, but it is what it is. Every song is smart, witty, totally engaging, and catchy. Great stuff by a great band.

A remarkable album from possibly the best music year, 1977. While the Talking Heads, Blondie, Ramones, etc, may have left bigger legacies of the CBGB bands, Marquee Moon might be the best actual album from the scene. Mesmerizing guitar work, unique vocals, ingenious songwriting. Works on every level and is an absolute classic.

A fun, pleasant Brit-pop album. Enjoyed it all, but it never quite punches through to sound like much more than an impression of other, better bands.

A great record. Each member shines on different tracks. Really a vital cog in the early country-rock movement. CSNY didn’t burn for long, but while the 4 of them were together they burned bright. “Helpless” will always be one of my favorite Neil songs too.

First listen in maybe 15 years and it really holds up. Not quite as sweeping and glorious as Funeral, but it’s dark, layered, and ethereal. Some nice atmospheric touches and Darkness-era Springsteen influences. A game follow up to “the” record.

Awesome awesome awesome. Just killer power pop. Fun, catchy, and upbeat.

A nice record that I enjoyed every minute of. But prefer Willie’s actual country stuff over his interpretations (good as they are) of standards.

A surprising inclusion but a fun record nonetheless. Sorta a blend of Passion Pit, Cut Copy, and MGMT. Sounds like peak 2004, not 2018.

So great! My fourth grade teacher found this cassette in my desk, looked at the lyrics, and called my parents to rat me out. That day I was reborn as a punk. This record changed my life and I’ve never looked back.

Really good early punk from my favorite music year. New York Dolls and Television influenced, high quality songs. Taking it down a half point just as a nod to all the other excellent 1977 punk that’s a bit more memorable or catchy. 3.5.

An enjoyable, artsy pop record. Crystal clear production, I like the vocal stylings. Many of the songs were excellent, but another handful just kinda come and go. 3.5

This is a tough one. I appreciate the experimentation. I appreciate the boundaries being pushed, and it’s nice to break up the typical list-listens with something so extreme. The line from this to a lot of music I love, Ministry, early NIN, Skinny Puppy, Rammstein, etc, is obvious and direct. But on its own this is still a tough listen that I did not give repeat spins to. For way too many minutes it’s just the sound of power tools. 2.5

Hard to add anything of value to the conversation on this one. A stone cold classic, every second absolutely rules. It’s layered, immersive, punishing, and just awesome in every way.

Some bangers. Great sound, good flow and beats. Overstays its welcome with 16 tracks, but worth the listen ultimately. I like any rapper where you know immediately who it is, and B-Real fits the bill with his unique delivery.

2.5 - not an unpleasant listen by any means. The singles are still great, and overall he gives a much better vocal performance than I expected. But the bulk of the record just doesn’t really connect with me and sounds a little like a pale imitation of great Prince stuff of the era.

4.5 - really, really close to a 5, but I’m grading on the DM scale, and I want to preserve Violator as their peak. “Never Let Me Down Again”, “Strangelove”, “Behind the Wheel”, “To Have and To Hold” - these songs are as good as it gets. Eerie, gothy, but still great pop music. DM are a one of one, and this is a great record with just a couple songs that are “just fine” that keep it from 5 status.

Quality soul music. Every track is solid and enjoyable.

Top notch trip-hop. Sexy, spooky, and engaging for every minute of its runtime. A genre staple.

4.5 - so so close to a 5. Van at his peak. There’s just little too much jazz flute on “Beside You” than I can handle. Other than than, it’s pure bliss.

The flow, the storytelling, the hooks. Peak 90s hip-hop from maybe the best to ever pick up a mic. The skits get a little annoying, but that’s really “of the time” and forgivable given the context. Biggie for life.

God this sucked. Bonus star for not being jazz.

One of my favorite albums ever. Maybe the best rock debut ever. It’s the culmination of The Velvet Underground’s effortless cool, the Euro-exploration and experimental eeriness of Bowie and Iggy’s Berlin output, and the punk explosion. Not may albums are as influential, and only a select few compete on a quality, and purity of artist vision.

Lyrics could be a little cheesy, but you know what, we could use some peace and love type good vibes. A classic 70s singer-songwriter album, every song is good to great.

Killer early 90s hip hop. Every song slaps. Great beats, incredible flow. A total winner.

Gets repetitive - every song is kinda just a slightly different version of “tutti fruity”. But these foundations of rock and roll albums are so fun and so important. It’s from 1957 for christs sake, the “album” as we know it wasn’t even a thing.

Endlessly influential and still unveiling new mysteries after each listen all these years later. So much incredible music stemmed from Bowie’s Berlin years. Low was Bowie’s biggest risk, and now his greatest triumph. Top 10 album of the 70s with ease.

A pleasant bowl of pleasantness.

Pleasant enough but totally forgettable.

2.5. The singles still work, but a lot of the rest is just filler or aged poorly. They seem like nice guys and I’m happy for their success, but this is very 1999.

Immediately recognized track one. The rest was fine, but ultimately boring instrumental rock.

Glorious. The melodies, harmonies, musicianship, storytelling, all peak. The Band sound so professional and competent, but don’t lose any heart and soul. There’s just a warmth to their sound that’s hard to define and impossible to ignore. Just lovely.

Little disappointed. I thought I’d love this, but I kept waiting for something to happen, then it ended.

Make the jazz noises stop. I was going to give a bonus star for some enjoyable Afro beat influenced passes, then it went on for another hour.

I’m on vacation so can’t get into. Great record.

Fine jazz noises I guess. Better than others on here, but never rises above background music.

Quality country rock

Awesome early rock. Timeless, catchy, classic.

Spooky, gothy, and dark post-punk. Such a cool vibe and extremely influential.

No

Little repetitive, but a lovely voice and some lovely songs.

The perfect 90s indie rock album. Hooky, catchy, and addictive, but rough and raw with jangly edges. So great.

Exceptional new wave/synth. Danceable and fun while maintaining some darkness and mystery. Elite melodies and vibes. Great band.

A core building block of what we take for granted now as the “indie rock” sound. Progressive, catchy, and fun as hell.

Yeah, yeah, I know Win’s a creep. But this is a remarkable achievement. I was 20 when this came out and it hit the indie world like an atom bomb. One of the best rock debuts; determined by them immediately having a fully developed sound. Track one, album one, and it was apparent it could be no one else. Fresh, exciting, layered, beautiful - Funeral is THE indie rock album of the 00s.

Fun enough mix of pop and early hip hop. Enjoyed it, but never threatened a second listen.

Fantastic album. Crunchy blues rock, zippy jazz influenced tracks, heartbreaking singer-songwriter piano ballads. All with Waits’ insane, booming voice and street-wise sense of humor.

It’s not that it’s offensively bad, it that there are so many universally beloved albums not on the list, and this somehow is. It’s mid (at best) white boy folk rap? I’ve been into music the entire time this album existed and never once heard someone say this was a band they liked. It’s a one hit wonder stealing the spot of something important.

The Smiths’ most experimental and strangest (sorry) record. But every twist on the formula works. The harpsichord, some synths, different song structures, some simpler guitar work, etc., doesn’t take away from the incredible melodies and songwriting. Moz is still mopey and funny. A band for the ages, and a worthy send off to their run of excellence.

A ground-breaking, super influential classic that is still a great listen. Years ahead of their time with electronics and synths, Kraftwerk still garner hooks and emotions out of the stark and artificial soundscapes. Vital listening.

The scientific definition of three stars. 4 great, world-beating singles, a good Prince cover, then a bunch of filler. An enjoyable trip down memory lane, but didn’t inspire any re-listens.

A top 10 most important album of all time. This fundamentally changed how people think and sparked gangster rap. Before this most people had no idea that maybe a third of the US population had a justifiably terrible relationship with police. The president was terrified of these guys. This record was a wake-up call that changed the world. Having said all that, the second half is just okay, and it’s not really a five-star listen today. All the respect in the world though.

Loved it. The most enjoyable and fun of the first gen rock and rollers so far. Beyond influential, and every track is a banger.

Great title track, the rest is decent but unremarkable.

An all-time favorite live album. The vibes are immaculate. So much energy and passion. Cooke’s voice is smoky and incredible. A joy to listen.

When I started this project I said I wouldn’t let the skits cloud my rap album ratings. They were just part of the deal in the 90s and you gotta move on. But they absolutely kill the flow of what has every right to be a 5-star album. The Score is amazing. Incredible variety, consistent quality, remarkable vision and uniqueness. Just a bummer it felt like half of it isn’t music.

High quality early hip hop. Every song is fun, but the lyrics are just so cheesy on a lot of them that it’s hard to get to a 4. Good album though.

Excellent Celtic inspired rock/pop/folk. Hard to define, but easy to enjoy. Beautifully recorded, good storytelling and song selection. A great find.

Decent swing, just not my jam

A solid Pulp rip off

Seattle’s Alice In Chains kicked the grunge scene into the national conversation with 1990’s Facelift. Certified gold before Nevermind’s release, Facelift ushered in a new age of radio-rock not fit for the glittering ‘80s. Facelift turned the world’s ears to Seattle. But 1992’s follow-up, Dirt, is the band’s masterpiece. On Dirt, AIC carved out their niche with dark melodies and the haunt-you-in-your-sleep harmonizing of Layne Staley and Jerry Cantrell. At its best, Dirt sounds like the Beach Boys or Fleetwood Mac covering Black Sabbath. This darkness was real. At 25, lead singer Staley was already a chronic rehab dropout. By 1992, guitarist/singer Cantrell was 5 years into depression and alcoholism following his mother’s death. Bassist Mike Starr was in a spiral of pill abuse. Dirt may be the druggiest drug record that ever drugged. Half the tracks have lyrics by Staley, so soaked with heroin they sound sticky. Songs like “Rain When I Die”, “Junk Head”, “Sickman'', and “God Smack” bring the listener to the shadowy corners of Staley’s addiction. The brooding Cantrell-written/Staley-sung singles “Down In a Hole”, “Rooster”, and “Would?” are the emotional uppercuts defining the record and became the band’s signature songs. “Down In a Hole” is a cry for help from a post-break up abyss. “Rooster” is an apocalyptic first-person Vietnam War narrative, told from the perspective of Cantrell’s father. “Would?” is a tribute to their friend Andy Wood, the Mother Love Bone singer who died of an overdose in 1990. These songs showed that Cantrell’s songwriting was every bit as essential and distinctive as Staley’s vocals. Dirt’s unique sound is the work of producer Dave Jerden using a mix of 3 different amps at once for one guitar. The blend gave a band’s worth of range to a single axe. Cantrell’s tone was thick and chunky while remaining impossibly clear. Over the following decades Dirt became a legendary album in production circles, introducing the term sludge to critical vocabulary. Even if you ignore that it’s stuffed with great tunes, Dirt is still a sonic unicorn. Staley’s health was never strong enough for them to tour extensively, so the band spent most of the two years they dominated rock radio sitting in Seattle. In 1994, they released the stunning acoustic EP, Jar of Flies, which generated hits and critical adoration, but no tour. 1995’s self-titled LP followed, notable mostly for Staley’s almost total absence and the lack of tour. In 1996 AIC played their first show in years, a goosebump-inducing Unplugged session heavy on Dirt cuts. Originally panned for the awkwardness of Layne’s struggles - “like hearing someone sing at their own funeral” - Unplugged soon became vital. Staley then disappeared into Seattle’s drug scene until his overdose death in 2001. Starr died of an overdose in 2011. More than the obvious cautionary tale, Dirt proved dichotomies can coexist on one record, one song, or even one chord. Its pummeling heaviness lives within its soaring melody; its harrowing subject matter is lifted by the production’s sparkling clarity. It’s a true classic whose legacy doesn’t just endure, but grows.

An incredible, haunting record. Songwriting, production, and performances all perfect.

I always want this album to be better. I love Willie and classic country, but it’s kinda just slightly different versions of the same song over and over. That being said, that one song is great.

Absolute classic. Excellent, raw production from Bowie. Classic track after classic track displaying Lou’s unique songwriting and character building. Showed the world there was life after Velvet Underground and set him on the path to be a legendary, controversial, and divisive solo artist. Essential.

A fun listen for sure. Little scattered and the production sounds dated here and there, but Nillson is a skilled songwriter, which shines though those quibbles.

Same as the other Police record I got. Great singles that have held up. The rest is disappointing filler.

Hard to separate from the Gumpifocation of this boomer music, but these are pretty much all bangers.

A great album. Was really refreshing to get something truly modern also. Top notch storytelling, great production and performances, cool historical callbacks and interludes. The real ones know who the best Knowles sister is.

More interesting than traditionally “good.” But, I appreciate what Lydon does here and the boundaries being pushed. Highly influential.

I like Joni a lot, but this album just wasn’t as engaging as her others on the list.

Awesome record. 4.5, but rounding don because I’m grading this on the Neil scale and he’s got a few 5s coming. Powderfinger, Pocahontas, Hey Hey My My, etc, all vital listening. Neil’s soft and heavy sides are displayed beautifully.

This sucked to listen to. I really don’t understand their new found popularity. Not worth getting to into it to dump on these guys, but I think the main issue is the rapper guy absolutely sucks at rapping. Production is dated, lyrics are cringe, you name it. But hey, there was an attempt to be heavy, so the floor for that is 2 stars.

A really tough one to grade. So much here is exceptional. Also, by the back end of disc 2 I’m just exhausted. This is the Corgan experience in a nutshell, incredible, urgent, unique, touching rock; but also can’t self-edit. There’s a 13-track 5-star album somewhere within these 28 tracks. Disc one would probably be a 5 on its own. Disc 2 a 3.75, with “1979” and “Thirty-Three” as perfect tracks. It’s an experience for sure, and I’m deciding to be impressed with Corgan’s ambition, rather than worn down by it. A true classic.

I’m a little tired of the CCR, but enjoyed this nonetheless. All bangers, great hooks and unique swamp-rock sound. Credence stood the test of time, particularly this record.

Quality glam rock. Every song is good. Clear Bowie rip-off, but that’s okay sometimes. Just enjoying a good record and not being a dweeb about it.

Serviceable, well-performed blues. Just not something I’m really interested in.

I couldn’t vibe with the super jammy, jazzy tracks, but the hits are great, and Carlos’ guitar playing across the entire record is exceptional. Killer bongos too.

I’m traveling and it’s be hard to add anything of value to the discourse around OK Computer anyway. Everything positive you read about this record is true. An absolute landmark release from possibly the best bad of my lifetime.

Exceptional power pop. Every song is single-worthy. Just snappy, brisk, and catchy punk influenced jams. A necessary building block in the early days creating the indie aesthetic.

Really expected to give this a 4. It’s a classic record, I knew a couple standouts to look forward to, etc. But overall it felt flat compared to other Zep records. I like the acoustic stuff and I think it’s vital to the Zep experience, but it feels a little vanilla and over-utilized here. Still great, and I’m grading on a curve for them, which may not be fair. But here we are.

A wild, challenging, diverse, weird, and confrontational album, that’s also equal parts tender, heartwarming, and beautiful. This is the full Waits experience in one legendary album. The carnival barking, the drunken spoke word, the gorgeous piano ballads, catchy rockers, and everything in between. You’re in on Waits, or totally out, and I respect both paths. But the weird needs to be celebrated in this beige world, and I’m completely in.

Decent psychedelic rock that’s not unpleasant, but I still found unremarkable. I’m sure these guys are legends in their niche, but it didn’t inspire any relistens.

Fantastic, fun, uplifting punk from Northern Ireland.

An absolute masterpiece. Jack and Meg at their creative and performing peaks. Garage rock that is polished enough to create enduring crossover anthems that 25 years later are just getting more popular, but rough enough even the edge lords can’t complain. Elephant is the complete rock package and a perfect snapshot of 2003.

A tough one to grade. I really thought I’d go five here, but after a couple fresh listens it’s just a tad bloated. There’s a 5-star, 11 track album somewhere in here. Anyway, Adams showcases some truly stunning songwriting across the album. 5 or 6 tracks are enduring classics and beacons of the 2000s singer-songwriter boom. For a long time he was a favorite of mine that seemed to have a great career going, but sadly this was the peak.

Fun early garage rock/proto-punk. I’d never heard these guys before and it was a fuzzy, distorted good time.

A cool record I wouldn’t have checked out on my own. Loved the mid-tempo chill vibes and Mayfield’s vocals are great.

I appreciate the musicianship and vibes, but it’s just not for me. I could never find the groove.

Went in blind and enjoyed the whole album. Tasteful, well-produced 80s art-pop/rock. A nice discovery.

A really difficult one to grade. This would be a five star album for almost any other artist in the world. The experimentation, crazy effects, unique song structures, and wild swings of creativity show Radiohead pushing almost every boundary. Yet, you can’t help but notice all the best songs from this era still ended up on kid A.

Queen might be the best band and biggest band without a five star album. The hits are undeniable, particularly Bohemian Rhapsody, which still wows today. I found a lot of of the songs that I didn’t know to be surprisingly enjoyable, but others were legitimately annoying. 3.5.

I appreciate the quality of the musicianship, and I really appreciate that this record is only a half hour long. It’s pleasant enough and would be nice background music at a seaside Brazilian restaurant. But beyond that it’s just sleepy and pure background.

I absolutely hated every moment of this album. Unlike genres that I just know aren’t for me, this is so much more offensive because I do love rock ‘n’ roll and I do love pop music and I do love the 80s. This is just the most vapid, sanitized, vanilla on vanilla with vanilla frosting version of all of those things. Oh yeah, plus dog shit lyrics. Like Steely Dan, this is just music with no soul. It sounds like it’s AI that was prompted to provide some inoffensive background to a mall in the 80s. Well, I’m offended. This may be my least favorite album of all time. It’s like it was created in a lab to perfectly annoy me. I have to listen to Sepultura for the rest of the night just to confirm I’m still alive.

One of my all-time favorite records. While not perfect, I skip “fiesta” and “Sketches of Spain”, but the highs are so extremely high they cover all warts. Some of my favorite songs of all time are on this record. Title track, “fairytale of New York”, “Thousands are Sailing”, “South Australia”, “Streets of Sorrow/Birmingham Six”, “Irish Rover”, and “Lullaby of London” all establish this record as a legendary entry of the entire 80s, and solidifies The Pogues as a “forever” band. MacGowan is at his peak songwriting prowess here, showcasing his otherworldly storytelling and character building while encapsulating all the fears and joys of the immigrant experience. 🇮🇪🇮🇪🇮🇪 Pogues Forever!

An important record, because it sets up Bush for a legendary run through the 80s. But on its own, The Dreaming is a little too weird for a lot of repeat listens.

Inoffensive but unremarkable Dylan/Bestles ripoff.

An engaging mix of Britpop, Indie rock, an early alt country. I really enjoyed this record, gave it a few spins, and look forward to learning more about these guys. A nice discovery.

Killer guitar tone and riffs, paired with great drumming, and oh yeah, maybe the worst lyrics ever, song after song. The fuzz is killer though and list worthy.

Frank has a great voice, but boy this was a slog. Other than the first song, they all sound exactly the same, and are just not engaging in any way. All respect to these guys, but this sucks to listen to.

As automatic a 5 star entry as there is on this list. Hard to overstate just how huge and awesome this is. Massive hits, but still artistically outstanding. This album could just be the guitar solo from “Purple Rain” and I’d give it a five. Essential in every way.

3.5. This is a very difficult one for me to grade. This would be a four for basically any artist, but I’m grading on a Jack White scale. I gave a four to “white blood cells”, and this doesn’t quite reach those peaks. But, every track is awesome, and it was a great way to kick off Jack’s solo career. Worthy of his legacy and catalog, but not quite classic.

Unremarkable folk rock from the 60s. A couple decent tracks, but overall, not a memorable addition to the genre from an era with several.

Never really “got” Pink Floyd, and a few spins of this didn’t clarify much. It’s solid, well-performed, well-recorded 70s rock. Nothing more, nothing less.

God I dislike this band. So bland, so lacking a soul. Bonus star because that song about Boston was fine.

There’s a 4-star, ten track album within these 16 tracks for sure. A handfuls of songs here measure up nicely to the band’s best work. But overall it feels bloated and weighed down by forced narratives. The end of an era for the band for sure.

Great record. Progressive and experimental without being unapproachable. These Germans combine the industrial chops of Kraftwerk, but couch them in a softer kinder package. The punk rock flourishes are also great, and the line between this and Berlin era Bowie/Iggy is direct.

Great vibes and top-notch production, and paired with emotional, extremely honest songwriting. But by the end of the record, it just sounded a little “One-Note.”

Really a 3.5 but I’m rounding up because I love Tom Petty. This album is more important because it kicked off a legendary career than great in itself. But there’s still some monster hits on here. It started a great run for Petty, and his songwriting is undeniably phenomenal. A strange inclusion because Damn the Torpedoes and Wildflowers would be five stars, and Southern Accents and Full Moon Fever would be easy fours, but hey, some Petty is better than no Petty.

This is some high-quality R&B focus disco. The songs are great, production is good, and the vibes are positive.

Shocked by how much this rocked. As a child of the 90s, Manson was everywhere for a couple years, and every parent’s worst nightmare. The aesthetic, the anti-Christian themes, and general abrasive approach was like intense and super risky at the time. Having not heard this whole album for at least 20 years, I eye-rolled hard when I saw 17 tracks. But it rules. The songs more than hold up, they actively kick ass. On a list that only has one NIN and no Rammstein or Godflesh, this was the blast of industrial metal I needed to hold me over.

The hits hold up, particularly “limelight”which still rules. I’m not a big prog guy, but these guys are clearly better than the other nerds on this list. Between the noodling around are legit tracks. It’s not my scene, but this is a worthy entry.

The songs aren’t as strong as on his other recordings, but the raw talent and passion push through. Ray is great, and this is a good starting point.

3.5. I love classic country and I love Merle. These songs are all great, I just know there are better overall records of his out there.

These guys peaked at a weird time for Brit-pop. Post Oasis, pre-Coldplay, folksier than either. The tracks are smooth and listenable. Just not particularly stand out.

A true classic, and one of the great debuts. A punk blast with reggae undertones that hint at the exploration to come. Every song rules, the political lyrics are tight and urgent. One of my favorite bands and an ass-kicking debut worthy of their legendary career.

Need to give credit any time an album is exactly what the artist intended. Beatless, wordless, all ambient whooshing with some piano meandering in the background - this was a major artistic statement and very influential on rock musicians going forward. This is the most extreme example, but this opened the door to pop/rock artists working with “textures” not just notes.

A strong 4. I love this older, more grainy era Marley. The songs are all fantastic and district, while displaying all the reggae trademarks. It’s the classic reggae sound with Marley’s exceptional songwriting added.

A strong 4. This hit the indie scene like a bomb back in the day. They came out of nowhere with such a unique and specific approach and sound. Debuts where the band’s sound is fully formed and you immediately know it couldn’t be anyone else are fascinating. Their minimalist approach, spooky/dreamy/sexy songwriting and production, along with genius use of empty space, evoked so much tension and drama. A true classic.

Very possibly the best heavy band of all-time. This is Sabbath at their coked our best. Monster riffs, slamming drums, Geezer’s brooding and creative bass, and my god, sweet Ozzy. 🤘🏽

Psychocandy sits at the cross-section of soothing dream-pop, abrasive noise rock, and artsy shoegaze; excelling at all. Such a varied record that shows beauty can come in very different forms song to song. I love their multiple interpretations of the Phil Spector beat (boom…boom-boom, BAP!) and how they look back just as much as forward. This is endlessly influential and essential listening.

2.5, but I’m in a generous mood. I just can’t believe this is jazz that I didn’t hate! Unlike some other Miles Davis records, I could actually find a groove here. And unlike other Miles Davis records, wasn’t just background dinner music. Kind of felt like the soundtrack to an exciting chase scene.

An unmitigated classic, this kicked off an impossibly great run for the band. The songs are epic, catchy, dorky, and gallop along toward eternity. Maybe my 3rd or 4th favorite Maiden album, this five is really for this whole early Dickinson period. Legends! 🤘🏽

At the exact intersection of art, indie rock, and overwhelming waves of noise, sits Sonic Youth’s masterpiece. While not my favorite SY album, it’s so easily their pièce de résistance. Everything they do well, they do well here, all in delicate balance. The art rock classic of the decade.

A fun, vulgar, and ultimately harmless blast of old-school hip-hop. Not everything has to be extremely serious to be good. These guys are funny and were groundbreaking at the time.

Kinda shocked by how good this is. In the last 40 years they’ve become synonymous with redneck, dumb hick culture, and having no original members. This fresh listen was a great reminder that there was a time when they were just a good rock band.

Far too long, far too pretentious, far too boring, far too few memorable actual songs. “Comfortably Numb” is great, there’s a couple other moments that pop up, but then immediately dissipate into mindless self-seriousness. I love almost all rock, but still just don’t “get” Pink Floyd.

A fun record for sure. A bit of a strange inclusion on the list, but it’s an interesting mix of trip hop, house, and sample-based pop. Not sure how often I’ll come back, but glad I heard it.

Emmylou has the voice of an angel and some of her best songs are found here. It can feel a little uneven upon relisten, but look, she’s great, the album’s great. Emmylou is the heart and soul of classic country.

A fun batch of disco pop. Some absolute bangers on here that you’d need to be soulless not to start tapping your foot to.

4.5, and really close to a 5. I just need to calm down a bit. An extraordinary proto-punk record from the kings. Long live Iggy!

Interesting to hear the bridge between R&B Bee Gees and disco Bee Gees. There’s a lot of great tracks here, but also a few I skipped over on the second lesson. I still much prefer their 60s stuff.

While not a classic in the traditional sense like most on this list, I really enjoyed this. Brought back fun memories of the early nineties playing ping-pong in my basement.

A great album. It’s messy, it’s full of hooks, and has that sound that could only be the pixies, but shaped the sound of indie for years to come. Love it.

Acceptable Brit pop, inoffensive, but not memorable.

Started out great. Killer post punk with Roxy Music sprinkles. Side A was an easy 4 stars. But the back half lost me, just meandering and annoying.

Girl’s got some pipes! The singles are still epic too. Gets a little one-one in between, still a worthy listen.

Great vibes and some cool experimental stuff from the ska legends. Just a little disappointed in the lack of classic tracks.

Still so good. Urgent and fresh, even all these years later. Kanye’s debut is one for the ages. The skits kill some momentum, but that really is just a sign of the times. Listening to “good Kanye” bums me out knowing how everything worked out, but it’s always nice to be reminded of the artist he was.

Always fun to get one of these early building blocks of rock and roll. Still a good listen, and Elvis’ voice will always be special.

Some of the storytelling feels forced and just a little tacky. But The Who are a great band, and this is an enjoyable peek into their live prowess.

This album falls squarely into the joke about this list; maybe a quarter of it is above average, acceptable, but not memorable British Indie rock. This is exactly that. 2.5.

This is a massively important record in the Bruce Cannon. Sure, it’s overproduced, there are 2-3 songs that could be cut, and it’s a little too reliant on the string section. But who really cares? Bruce basically sat out the 1990s and was heading towards the state fair circuit playing greatest hits for the rest of his life. But the Rising gave him and his career an incredible third act; a wave of adoration that he still rides to this day. The last 25 years of Bruce as a beloved mentor and icon of don’t happen without the Rising. It wasn’t luck, the album had to be fantastic to bring The Boss back. Most of the songs are cool. He handles 9/11 with tact and it never feels forced or cheesy. Sometimes the hero you need is the one that’s been there all along.

Seems strange to have to explain this. As legendary an American performer as we have. An incredible character and storyteller in his element playing where no one else would. A sad reminder how far country has fallen. Country stars used to be badasses, now they’re boot-licking MAGA losers that don’t actually play country. But we’ll always have Johnny.

I hadn’t listened to this in years, and wow, what a treat. Intricate, complex guitar work, clever drums, crazy vocals and harmonies. A really cool record that over-performed my memory of it.

Great album. Just that perfect mix of indie rock and power pop. Kinda like Pavement playing Cars tunes. So fun.

Lots of interesting stuff here, all anchored with great acoustic playing and a beautiful voice. Sorta a Tracey Chapman meets old school Van Morrison vibe. Glad I heard it.