I’m familiar with Dots and Loops, so this about matches my expectations. Fantastic arrangements and mixing, each instrument sounding superb. Songwriting is a good mix of slow build, Krautrock vibe that draws you in gradually, and straightforward hooks. But the way each song progresses is still compelling and engaging. Some songs, like Cybele’s Reverie, hit hard emotionally. Others fall a bit flat. This is the kind of music where I hope to eventually have a more profound emotional impact—it’s just not something I listen to often, but I do want to return to it. 3.5/5
A depiction of heartbreaking loneliness. I’m not usually one for simplistic instrumentation, but the quality songwriting, acoustic guitar arrangements, and Nick’s soft singing style bring me to a deep state of melancholy that I didn’t know I need to feel until I’m already there. 4.5/5
Partial to this album for 2 reasons: 1) nostalgia, 2) the late 70s vinyl that my wife snagged at an estate sale sounds utterly amazing. It’s a fun, loud, extra sharp cheddar cheesy listen. Albeit dated, I love the songs and I can’t imagine this album not existing. 4/5
Peace Frog slaps. The rest is certainly fine. As a very infrequent Doors listener I think I’d rather return to LA Woman more than this one. 3/5
For as much (arguably deserved) flak that Coldplay gets for their recent material, people need to listen to their older albums before completely writing them off. There are some great songs on here; beautifully arranged and performed, and so much more emotionally compelling than the output from their contemporaries (i.e. The Fray, Snow Patrol). 3.5/5
Truly enigmatic. Not sure what to make of it upon first listen, but I’m convinced this is a nut I have to crack. Next time I’m in the mood for a hazy, druggy 70s album, I will likely return to this as it’s a really fun time. 3.5/5
My first impression of REM. Clearly ahead of its time. It’s got a great sound but the songs all sort of run together, especially through the middle. We’ll see how the other albums measure up; it’ll at least be interesting to see how this band progresses with time. 3/5
Seriously impressive album. Psychedelic trance-inducing. Not much more to say. 4/5
Pretty decent, there are some songs that are downright menacing and there are excellent beats all throughout.
70s albums seriously have the best mixing and mastering. Love the dynamic guitar work and punchy rhythm section. 4/5
Rapid fire bangers. So much energy. I could only imagine seeing a live set like this
Imagine a slowcore cover of Light My Fire
I consider myself a reggae guy. But this didn’t do much for me
An absolute abomination and the beginning of truly disgusting punk music.
Some solid tunes. Including moments that were silly and bombastic and full of 70s flair that elicited some eye rolls, but I’d still revisit it.
This is truly a great album. Really creative rhyming schemes with a super adept delivery and flow to actually make them work. And then insanely catchy hooks to drive it all home. An interesting, humorous, and at times unfortunately poorly dated lyrical snapshot of that time, as edgy as the lyrics may be. Not to mention insane Dr Dre production.
What even is “New Wave”? Is this New Wave? If so, where are all the dated 80s synths? Whether my preconceptions of New Wave are accurate or not, I shouldn’t ask and simply be glad I was served this excellent portion of no-nonsense attitude. Loved the instrumentation and vocal delivery. Will definitely revisit this one.
I’d be content to never hear Free Bird again. That or some dipshit yelling it out at a show.
Damn, never heard of this group before but glad to know this exists. An atypical, abrasive, experimental piece of work for its time. A bit inspiring
Did this have to be the Britney album on the list?
Good old school East Coast hip hop. Had a good time reading up about them and the Native Tongues collective.
I’ve under appreciated instrumental sampling for far too long. It’s impressive how a collage of samples can create something so unique and otherworldly. Listening to “Midnight in a Perfect World” during a late drive home from a show was definitely the right vibe. I see myself getting deep into this record for a while
Earnest, heart-wrenching lyrics, set to a folksy backdrop that doesn’t quite hit me in the feels like I think it should. I’ll give it another try at a different time and place.
Surprised by this one. I expected the rock and roll swagger but not the more interesting layered instrumentation. Then I saw Bowie was over production and it all made sense.
Good bunch of jams. The highlight is definitely the expressive and exciting flugelhorn playing. I think this is the first jazz album to pop up in the list, which reminds me that I do in fact like jazz and should listen to more.
Why do I suddenly feel inclined to wear frosted tips, a puka necklace, and pose aggressively above a fish eye lens?
This was an outstanding listen. Like what even is Guinevere?? Captivating stuff. These songs are all catchy as hell while a lot of interesting stuff is going on instrumentally. One of those records I want to look for and score from a used section.
Only heard the title track before. The rest of the album sounded exactly as I expected it to. What I did not expect was the extent to which I would enjoy it.
Some good interesting bits on here. Though it dragged on a bit
I honestly think that if anyone were to listen to only one metal album and no other, it should be this one. Seriously how does it get better than this.
Insanely tight riffing that ranges between brutal, majestic, morose, and downright filthy; actually audible bass that growls through the mix; and James’ vicious vocal delivery. Meanwhile we hear some of the most demented guitar solos to be put to tape in the entire genre.
The Odyssean songs themselves are incredible, full of twists and turns that never tire. The lyrical subjects are as malcontent as their delivery is impudent.
Perfectly encapsulates the ridiculousness of metal.
No fucking notes. 10/10
Not what I was expecting based on previous VU listening. Instead of another experimental rock outing, we were treated with something more beautiful. Really enjoyed this one.
There is so goddamn much happening in this album. I’ve barely begun to digest all the layers, and this is like my 4th time listening to it. Which means it will be a gift that keeps on giving. Can’t wait to listen again.
Love the more lofi production and scrappy approach to recording and songwriting. There’s some good nuggets in here. But it’s just so fleeting. I can see the charm in the rapid fire succession of songs but emotionally it left me wanting. Blink and you miss it. I do still regret not catching them at Kilby though.
Don’t know if I love this as much as the funky Prince-inspired material off Dirty Computer, but the concept, stylistic variety, and overall performance here was a commendable cinematic experience.
A visionary record for 2010.
Truly a one-of-a-kind listening experience. Many have tried to imitate, but I don’t think any in pop music can quite come close to the level of intricacy in melodies, chord progressions, and instrumental arrangements that Brian Wilson achieved here. RIP
There’s no denying the influence of this album. Also incredibly well produced for its time and genre. But aside from the 2 or 3 hits, I find myself getting bored listening to this. It’s incredibly one-note even by punk standards.
These guys sure could play. And it’s a shame they chose to play the most generic rock music of the 70s.
Sorry dad, but I don’t think Rod Stewart is my guy
I do love me my slow and moody tunes
This is so badass. Neil Young is 2 for 2 so far on this list. Never heard this one before and it might become a favorite.
Lovely, dreamy album. Topped only by A Deeper Understanding that came after.
Phil Spector’s worst crime was establishing on this very album the most unforgivable Christmas music trends—including but not limited to a swingin beat, cheery ringalings, and an overabundance of bells. Notwithstanding his wall of sound innovation, we as a human race are now subject to suffering through these tropes in any retail space for all eternity. Satan himself smiles as we waste away in corporate holiday hell, where we weep, wail, and gnash our teeth, and our bones are ground to powder under the trampling hooves of perpetual “Sleigh Ride”. God help us.
Phil Spector’s second worst crime was murder.
Beautifully arranged and recorded, these songs are moving and dynamic. Michael Kiwanuka’s voice is absolutely stunning. Everything from the tight drums, psychedelic guitars, and gorgeous string passages delivers a sublime, soulful listen. Glad to have been introduced to this one.
What the fuck even is this
There truly is no other album like this one. Everything is just so thoughtfully and beautifully constructed; the synth tones, guitar melodies and counterpoints, and plodding bass all layer together to form a deep, inky mist. A murky snare pokes through the miasma constantly and steadily. The spirit apparition that is Robert Smith’s voice entice the listener to step into this foggy world where everything is gloriously dark and effulgently tragic.
It is an enigmatic and inimitable blend of dream pop, post punk, new wave, and goth. I think it’s the Cure’s greatest work and one of the greatest to come out of the 80s.
Unfortunately this did not impress me. I’ve heard much about Frankie Teardrop, how it’s one of the freakiest songs out there, but I’d never fully listened before. And it was ultimately underwhelming.
Maybe Maybe listening to Disintegration last night is coloring my opinion on this today, but either way the minimalism on this didn’t connect with me in any way. At the very least, I can respect the movement and art form.
One more banger album for the week. Having not listened to a ton of funk, and at least knew what funk sounded like. But I never heard anything that sounds like this. Insanely tight grooves and soulful vocals is what I came for. But I stayed for the absolutely wild, psychedelic instrumentation and production.
Theres so much to digest in these 48 minutes of drugged out rapture. I already look forward to listening again tomorrow.
A punk record of many colors. There’s so much variety and so many bangers crammed into this thing. It just runs a bit too long. But I’ll always enjoy listening to this absolute classic.
How do I put my thoughts into words here? On one hand, the braggadocious, sleazy, misogynistic attitude of five loaded 20-year-old dickheads out in LA is one that (thankfully) hasn’t aged well. On the other hand, that very attitude was a straight injection of metaphorical methamphetamine to the Sunset Strip music scene. While their glammed-up contemporaries alluded to excessive drugs and sex using cheeky innuendos, GnR didn’t mince words. They fully drew back the curtain on what all these plastic rock n roll figures in the late 80s were, themselves included—huge pieces of shit.
They had the music to back up the attitude. As opposed to the LA rock music of the day, which was polished, poppy, and pristine, Appetite for Destruction was raw, abrasive, and messy. The guitar duo consisting of Slash and Izzy Stradlin was a loose cannon, where established riffs were only a suggestion and the two add their own flourishes and variations, one acting as a foil to the other. The underlying rhythm section is driving and aggressive, bringing almost a punk energy to the gritty blues laid down by the guitars. It’s all to build up a rancid, rotting podium where Axl Rose, maybe the biggest affront to any new listener, shrieks his tales of tragic love and debauchery.
Considering the above, I subjectively hold this record in high regard as a musical accomplishment. I also cannot forget the first time I heard Welcome to the Jungle as a budding new guitarist. I had never heard anything sounding remotely like Slash’s playing, and instantly wanted the tone, the chops, the top hat, fucking everything (minus a crippling heroin and alcohol addiction).
Many today would understandably find this record annoying, excessive, and silly. But I just can’t help but get stoked when I hear it.
This was one of those Led Zeppelin albums that didn’t really stick with me as a kid. It’s certainly not as immediate as others in their catalogue, and I wasn’t so interested in the more folksy tendencies. I just wanted to hear some rock n roll, man.
I suppose that realizing that this album is actually high quality is part of growing up. Those folksy songs being showcased here are some of the best, including but not limited to Tangerine and That’s the Way. We’ve also still got some blues rock going on with Since I’ve Been Loving You, which is absolutely a top 5 Zep song.
I’d be remiss if I didn’t mention the true star of the show, John Paul Jones. He lays down some incredible bass lines, and his other organ and mandolin contributions actually make the record as incredible as it is.
Still not my favorite Zep album, but revisiting it continues to pay off with time.
Certified classic. This band really did pave the way for all 90s and 00s alternative bands to thrive. Super ahead of its time, Doolittle blesses us with a noisy, off-kilter serving of genius pop songs. Seriously, you can hear where those bands, from Nirvana to Modest Mouse and all the way to Grouplove, received their genetic makeup. Perfect indie.
This was a good listen. I wasn’t sure if I’d be over it by the end, but I actually wouldn’t have minded spinning it again if I had time. Just a bunch of fun non-serious rhymes and beats to bop to.
Great vocals. Wonderful production. But the songs themselves are just not for me.
Had I heard this completely fresh, I might have a slightly higher opinion. But this just brings me back to a time that I simply have no desire to revisit. And that’s a me problem, so I cannot completely blame dear Adele for that.
Damn. I really did not like this lol. My least favorite kind of music to come out of the 90s.
You know, this album wasn’t as bad as I thought it would be. I really do enjoy the scrappy skate punk songs that make up the album’s deeper cuts.
I guess I approached this album thinking it would be bad based on the singles, which are forever stuck in radio play purgatory. Specifically Self-Esteem—seriously, what the fuck even is that song? Everything about it is so ass. The wailing non-chorus, the perpetual vi-iv-i-v chord progression, the shitty ra-ra intro. It’s fucking cheeks. Banish that shit back to hell.
This is one of those real tests where either you get it or you don’t. Slayer is fast and aggressive and ugly and attempting to be more evil and extreme than their west coast thrash contemporaries. They do a decent job at that, so I can’t fault anyone for not vibing with it.
Regardless of personal taste, the boldness and speed on this record is undeniable. Truly some incredible riffs and proto-breakdown moments that would pave the way for future metal and hardcore to come. The lyrics and aesthetic, feeding off of other bands at the time like Venom, invoke Satan and evil and the human downfall that would eventually be the blueprint for death and black metal. Despite all this, Rick Rubin’s production makes the music somewhat approachable, balancing the otherwise confrontational nature of its other qualities; this is a balance that the aforementioned Venom severely lacked.
Not my favorite thrash album, but a fantastic and canonically important one. If you fuck with this record, welcome to the rabbit hole. More extremity awaits.
This was solid. I can always get down with some post punk.
He can’t keep getting away with this
Some decent country. Enjoyable enough.
Quite an enigmatic listen. Had to give it a couple tries. I really like David's voice, and was surprised to more or less enjoy the tracks with more of a show tune quality (up to a certain point--Ballad of the Ship of State was a bit much for me). It's not a style I'll revisit regularly, but I was surprised to enjoy it as much as I did.
First time I’ve listened to this one. There’s a couple duds but the majority of tracks really hit. Johnny Marr’s guitar work is phenomenal as expected. Will return to it for sure.
Really found myself getting lost in these instrumentals. Reminded me of Porcupine Tree at times. Quite enjoyed it.
I’ll get crucified for this, but Arcade Fire just isn’t for me. I’ve listened to this album multiple times over the past decade plus, and it’s never really emotionally clicked. I appreciate the arrangements and songwriting and thematic elements, but vibe-wise… it’s weird that I can’t put into good words how not into this I am. I won’t give up on it, and maybe someday it will hit. But not today.
This was okay. It's a pop rock record with an 80s sheen. Unfortunately the songs were not super engaging, and quality vocal hooks were significantly lacking. This could not be made up for even with the tight instrumentation and crisp and glossy production. 2.5/5
What a snoozefest. It’s truly telling how boring an album is if the best tracks are the intro and the interlude.
The production is admittedly on point, but the sparse instrumentation and vapid subject matter leave this devoid of any emotion. Some interesting moments peak out during Shelter and Basic Space, as well as the intro and Fantasy which I already mentioned, but they’re too few and far between.
I also hate this dude’s voice. It’s the worst of the late 2000s hipster style. I avoid using that descriptor because it’s usually so reductive, but in this case that’s the truth. Could be why I enjoyed Shelter more than the others (because he shut the fuck up).
With the XX headlining Kilby Block Party, I was initially glad this popped up so I could give it a critical listen. I’ve at least confirmed that I can go home early that day.
Lovely voice. Lovely instrumentation. Lovely production. Just an overall lovely record.
I just spent a week at a recording studio, where we put in dozens and dozens of takes, trying together to make each run through tighter and more accurate than the last. So hearing this immediately after spending time in that environment made it sound like complete amateur hour.
I’m still compelled to give it a listen with a more open mind later, but I could not help but be bothered and almost revolted at how sloppy this is, even by punk or post punk standards.
This is the blueprint for some of my favorite music, from Fugazi to Unwound to Pile. Minutemen nailed the post-hardcore sound so early. It’s so damn long but there are bangers aplenty.
This is a good heavy first outing by Queens of the Stone Age. Some serious hard hitters on here, and you can hear a bit of that bluesy, Stoney Kyuss DNA in songs like Walkin on the Sidewalks. It’s a truly fun album and honestly one of my favorites of theirs.
But there’s that elephant in the room—why did this one make the list? It goes without saying that Songs for the Deaf or even Rated R were even more groundbreaking that this one. This list has me seriously scratching my head at times.
A simple and earnest offering of hardcore punk. The lyrics are straightforward and go super hard against the grain. I can’t say it’s an outstanding piece of work in hardcore but the energy and attitude are certainly there.
What I can say is, much like I would bump metalcore before a water polo match, I’ll be bumpin the shit out of Operation to hype me up for my vasectomy.
The earliest hip hop album that I’ve really enjoyed so far. This is some brilliant and colorful sampling and production, with such a lighthearted flow and delivery over the top. The skits add a charm that puts into context the vibe of impulsively fucking about in the studio. Simply a lot of fun.
This is incredible. I swear I nearly transcended during Birdland. So much to appreciate about this one—songwriting with a lot of flair and exciting buildup, extremely tight performances, and the most badass aura in the vocal delivery. Despite all the years I’ve been aware of Patti Smith, I never listened. This album is a reminder that going through this project is worth it.
I love Rush. They’re a huge part of my teenage years, thanks to my dear friend Sofia. She was my ride or die drummer friend with whom I would jam with almost weekly, and she absolutely idolized Neil Peart. We went to see Rush together in 2010–my first concert. We learned the 2112 overture together and would play it like a warm up before each jam session.
I consequently have deep appreciation for the epic title track. It is Rush’s first foray into long-form prog rock songwriting, with Neil Peart this time providing the lyrics with a literary focus. They don’t totally nail it here like they do on later albums such as Hemispheres, but it is still an impressive endeavor with plenty of memorable moments. The B side is wonderful as well, though understandably overshadowed by that first side.
I don’t even think I need to go into the musicianship on this; the godhead that is Geddy Lee, Alex Lifeson, and Neil Peart is as eternal as the father, son, and spirit.
Every time I listen to this record, I am transported back to youth. It is a sweet and exquisite feeling that gives me immense gratitude for the bonds I’ve made through music, as well as for each and every opportunity to enrich my skills in the craft.
Very interesting listen. It’s such a mess but that messiness lends itself well to the psychedelic qualities that this album goes for. Not counting the other takes included in the track list, it’s a super solid record that I’ll want to revisit.
I really appreciate the live band feel here. Performances are tight. But I don’t entirely vibe with this. The vocals first off are absolutely ridiculous and distracting, but I suppose that’s a matter of personal taste. Also, the dead sections of dialogue/band banter were unnecessary to include and took me out of the moment.
Santana is a late 60s/early 70s artist that I’ve overlooked (Erin would say he’s a 90s artist thanks to the generational triumph that is Smooth). Glad I’ve come around to listen to this because it’s outstanding. Great guitar work obviously, but the work is a psychedelic Latin fusion that works so well. The extended jams are engaging and well performed. And that cover, so cool.
