1001 Albums Summary

A soft-pop rock paragon with the Carpenters as masters of harmony and lush, cinematic arrangements Favourite Tracks: Love to Surrender, We've Only Just Begun, Baby It's You, They Long to Be (Close to You)

A lighter side to 90s alt-rock w/o all the grunge/metal

Braggadocious, gangsta, Southern hip hop contrasts with romantic, eclectic R&B. For a double album packaged in one, the contrast really works.

The instrumentals are good, but that awful lyrical cadence throws me off (2.5-3)

Grapevine lowkey ate

I don't know if it's supposed to be half-urban-funk-rock, half-prog-rock. Confused by the inclusion of military songs along with more relationship-type ones (3.5).

Super groovy guitar! I appreciate how this record helped pave the way for more heavy British blues rock tracks in the late 60s (3.5).

Some moody jangle pop, interesting early example of a drum machine on the last track. I heard elements of this in "Disintegration" which is cool how far they've come. (3-3.5)

Totally Daft Punk's ancestor. Songs are a too drawn out for my tastes (2.5)

Only two tracks! A more subtle jazz rock record than I what initially expected

Bob really has to include at least one cheesy folk-blues song 😭. This to me is very much a sunrise/sundown record. The last track reminds me of Desolation Row based on its length (2.5-3)

Experiment post-punk-dance with almost spoken-word delivery. Just not my style at the moment.

This is where Bob Dylan gets his cheesy ahh folk rock from. An early example of a concept album

Frank helped pave the way for most of 2010s R&B with his free-flowing style. I really like the production and its blend of multiple genres from old-school soul to electropop.

bro think she Laufey 🫩🫠 Fire album tho will be dming this to my deceased grandma 🪦🌹

Easy listening of American standards. It’s a nice sunset album. (3.5)

Fast-paced, polished punk with elements of back-to-basics rock.

The Beatles' weird, experimental phase starts here. "Tomorrow Never Knows" is probably one of my all-time favourite "out-there" songs.

A soothing combination of jazzy folk-rock

Straddles the line between Weezer-rock and Britpop! As someone who likes the former, the melodies and hooks are simple(y) enjoyable 🙃

Classic 80s rock 🤘

Slow, stripped-down tracks reminiscent of Radiohead. I feel like I'm in a Frieren episode listening to Thom Yorke narrate our journey thus far.

Syrupy quiet storm love songs (3.5)

Upbeat, optimistic rap. It's carefree in a 60s-hippie-Dr. Seuss kind of way. Had to do a double take on that one track tho 🤨

They say sax changes everything, and it most certainly does here. So many tempo and key changes it's as if John is communicating with the divine.

Fits right into some 2000s pop rock, while other songs recycle a bit of his 80s output. It’s your typical Springsteen.

Albums like this expand my musical world, and it's straight up just noisy hedonism. "The Gift" was super grisly.

A precursor of longer rock songs throughout the 70s; karaoke-worthy and somewhat ambitious production (3.5-4)

Repetitive drum machines and loops reminiscent of the 80s. LRD has the hooks but doesn't seem to expand on them as much. It's like having the first few sentences of a chapter down pat, but then the actual plot is lost in the words. (2.5-3)

Busy and full arrangements that feel super intentional. You can hear Brian's artistic endeavours throughout the record, specifically the slow, baroque-heavy tracks that make it sound like a modern-day orchestra. "Let's Go Away For Awhile" scratched an itch. A lot of the themes in the song seem to continue from "Beach Boys Today!" in that they often touch on topics not common in pop music at the time (e.g. I Just Wasn't Made For These Times, I Know There's An Answer)

This sounds like an actual studio album with audience "sound effects"! A fun, head-bobbing record to listen to, especially experiencing frontman Phil Lynott's charisma throughout.

My first non-English record from the generator. First song reminds me of Timbaland's production on FutureSex/LoveSounds. Was surprised by the Imagine cover sung in both Arabic and English. All the other songs blend Algerian and Anglophone music to make a modern, groovy Raï sound. It does suffer from being bloated.

Might be mistaken but it sounds like TØP to my ears but with a more country-folk-rock vibe and a chill vocal delivery. Starts off strong but falters after "Earthquake Weather" (3.5-4)

Sub 100K listeners on Spotify, and for music pretty typical of 80s British new wave. Nothing too special except their lyrics I guess?

The foundation of rock and roll! Very timeless and Little Richard has such passion in his voice, it’s hard not to bob your head and groove.

The drums in the opening track shouldn't slap this hard 😭. A bunch of interesting industrial sounds set to atmospheric tunes, like German Velvet Underground. I thought I would hate this album given it's the second-worst rated, but I can kinda see the vision. I only see it cause I was playing some Roblox games, and it fit the sound almost perfectly.

I didn't know he was part of the Wailers! This is my first proper reggae album and despite repeating similar rhythms across songs, the grooves and vocals carried.

The record that laid the death blow to glam rock! Had heard of Smells Like Teen Spirit but never the full album. I'm really surprised how this blew up in the early 90s, when everything popular was either dad rock or mom pop. It was quite edgy for me (ok Polly) but also unserious and playful. That's what I really liked about this record: the sense that it was just three dudes having fun and enjoying the process.

A blend of Latin, urban, and world rhythms. Hearing Khaled's Kenza and ROSALIA recently has made me appreciate the Santana/Timbaland production here.

I've realized that I'm more of a singles dude with these albums. Champagne Supernova and Don't Look Back In Anger are so good, but on my second listen of this album, it's still quite bloated with similar sounding-ballads

Instant Christmas classic with Spector’s orchestral production.

Like most jazz albums set to fancy restaurants but this time with a live audience.

Frat rap full of party anthems that makes great use of the TR-808 and rock beats. Reminds me of Run DMC (3.5-4).

Syd's music sounds less space-y here and more improvised and raw while having those early Pink-Floyd psychedelic lyrics. The music becomes more stripped down and the words free-flowing, as if we're observing his declining mental state in real time. Whimsical, nonsensical lyrics aren't really my thing however so not much stood out for me.

Jangle pop like The Smiths while keeping most of the 80s pop rock sound. They have some sarcastic and witty lyrics.

This soundtrack reminds me of the funkier tracks of the Persona 5 OST (i.e. Tokyo Daylight). So groovy, it's like I'm transported back in the city getting ready to kick ass.

Updated jazz sound for the 70s quiet storm/R&B vibes. Each song sounded very similar to each other.

A softer grunge sound compared to other alternative rock acts. Has some psychedelic moments that give 60s rock an alt feel.

What Are All These Long Song Names, It's Like North English Youth Culture Set to American Rock & Songwriting Is Straightforward... I Love The Drummer He Makes Me Want to Dance/Bob My Head

What did the Nashville sound look like before this? Because this sounds like timeless country to me. This record doesn't overstay its welcome; short and sweet. (3.5-4)

Overproduced music that doesn't gel with its risqué lyrics and Scott's operatic vocals. "Next" is sus 🤨. (2.5)

Tina sounds so confident here; her soulful vocals pair well with 80s pop rock (3.5-4).

Byrds-like folk-rock with more experimentation in other genres (3.5)

Why do they insist on the organs? It sounds more retro than their debut. Jim has a deeper and rough voice here too, which adds to the blues vibes.

The Queen of Soul! Such a wide-reaching voice that touches so many emotions (4.5)

I've noticed that Neil sounds like me at karaoke night, when I'm not too confident to belt out a storng falsetto. Aside from that, Southern Man's anger comes through its biting lyrics and heavy rock sound. (3.5-4)

Just like Ella's album in terms of sound and lyrics. It's very same-y.

Hearing those messy and noisy guitars remind me of Nirvana. Goes to show how local scenes influence each other. This album has a pretty sick cover. (3.5)

I did think at first it would sound "ominous/dark" because of the album cover. But compared to Nirvana, this is more Led Zeppelin-hard rock. The album doesn't really stray from the heavy guitar-drum sound, so for me it gets repetitive after Black Hole Sun.

A timeless blend of modern R&B and old-school Motown

Blues rock that doesn't take itself seriously, like Zappa and the Mothers of Invention (3.5)

The seminal pop-punk album! I love that it doesn't really take itself seriously.

The bass and guitar work is carrying this record. Disco gets pretty repetitive (especially with how long some tracks are) but the grooves from these instruments made most songs really interesting

Poppy metal music, as what a lot of 80s artists did (3.5-4)

Are they trying to break the Guinness World Record for loudest garage rock? The Sonics beat them to it. This record sounds like easy listening metal as one reviewer put it. There's a bit of punk in there too, but it's nothing too interesting.

Blends Joni's folk sound and lyrics with soft rock and jazz. Her lyrical cadence can be a bit too "runny"/poetic for me at times but the instrumentals are so soothing. (3.5-4)

So this is shoegaze! So much reverb. I did like some songs but I wasted my time listening to “nothing is”, which is literally just the same section repeated for 3 whole minutes. That turned me off from the rest of the listening experience. (2.5-3)

Bits of electronic rock with some sociopolitical messages; it's giving Radiohead and religious space-opera.

Must have been one of the heaviest things to listen to in the 70s. Not as melodic/hook-heavy as their next album but prog-like.

Back-to-blues. Isn't really my thing but I can appreciate the rhythms and electric sound

He sounds more of a crooner and soul singer here and I love him for it.

Interesting to hear a blend of 80s production and the guitar-heavy folk sound. It does get repetitive very quickly (2.5-3)

Has all the classics (I’ll give you a pass Maxwell), the beautiful medley, and the heavy blues. A bonafide, melodic classic!

It's just like a lot of British punk, nothing too special, except the singer reminds me of female Johnny Rotten and the saxophones. It's a pretty fun record but still at time same-y

Learned Afrobeat = African styles + American jazz. This live-ly album has such energy.

Slower and more expanded production but has all the parts of their sound: Kurt’s hushed voice, the guitar work, the quiet-loud sound, and noise. (3.5)

What was the guitar arpeggio in "Eruption" 😲? Never really heard the guitar being used as a piano like that. All in all, this is some tuff, melodic dad rock that probably kickstarted 80s glam metal.

I like the concept and the vibes of the record but there are not many melodies to get hooked on. It's very much all over the place with the ambience. That said this is a good candidate for a "headphones" album.

First ever PJ Harvey album! I'd love more reverb on her voice. The songwriting is stellar and angsty, reminding me of Liz Phair. The production to me is like a mix between 90s alt-rock and Dire Straits' debut (3.5-4)

Second time around, I get the hype. The songs' lyrics and atmosphere are reminiscent of these modern times. It's kind of surprising how we're living in a dystopia in the big 26. Thom seems disappointed and isolated with the world around him, I can't help but feel the same when listening to this too.

Nick Cave’s lyrics are a mix of spiritual and moody. I like the lounge/guild-hall ambience but I don’t hear any catchy melodies. Plus his vocal delivery seems safe and monotone, I feel like I have to try twice as hard to detect emotion (not you Green Eyes, I can tell how you’re feeling 😭) (2.5-3)

Has a campy surfer rock vibe to it. It's wacky and zany in a 60s space-age kinda way. I don't know what Wikipedia means when it says "kitschy", but I love how they updated retro sounds with modern arrangements. Also, the guitar work here is fantastic, really pairs well with the overall vibe they were going for (3.5-4).

Neil, Joni then Leonard? I get to listen to all these Canadian classics for the first time thanks to this generator! His poetry works well with the lyrical cadence, and it’s just him and his guitar so I really have to try harder to focus on the lyrics. I like how he doesn’t put too much flourish; it’s just him and you in this audial room. (3.5-4)

This was from the 2000s? Sounds like they used retro equipment to make some simple yet effective back-to-basics rock. I can hear the influence this has had on a lot of indie rock and pop!

This reminds me of New Order's dance-rock aesthetic combined with some indie/garage rock influences here and there. I love the grooves and rhythms. They're putting me in a trance! (I love reading the reviews of other albums here! Merci au reviewer français aussi qui écrit les reviews académiques avec plein d'histoire! Je suis inspiré d'approfondir ma connaissance avec cette langue.)

Definitely know Eilieen! But haven't heard anything else. Hearing those violins, it's like they splashed "Celtic" everywhere; like they were trying on every form of pop rock and soul trendy at the time. Still found this record lively and fitting with my music taste

It's noisy and edgy but the sound is like contained in a chaotic atmosphere set to a rhythmic beat (3.5)

More upbeat than the other jazz records I've listened to. Very improvised. it's like the trumpet is scatting (3.5-4).

Sounds like any other album from the 90s that leaned alt/jangle-rock. He definitely doesn't sound as operatic here compared to the Smiths, which fits nicely with the sound. It's not bad, but not much stood out to me either.

Hip hop samples could definitely be heard here. Vocals slap as always

Such a groovy disco record; MJ proved he called the shots.

Beatles-like psychedelia, but they went beyond with a whole story. Some parts sound heavy for its time, and I appreciate the ambitious production (like they're scoring for a modern King Arthur), but it's not something I'd put on repeat often (3.5).

Woah... I know this is a character but like this didn't age well for most. If we take a moment to distance ourselves from the subject matter, I admire Eminem's mastery of wordplay and tone. He nails the acting for Slim Shady between playful and confrontational. If we just had the instrumentals, I'd instantly be hooked on the beats. Definitely could have been "slimmed" though.

The trio works realy well with each member, singing parts of their tracks; beats remind me of ATCQ. Skits revolve around ghetto East Coast life

This is a nice mélange of country and soul, but bro leave that falsetto alone 😭. When it's arranged with just those two sounds in mind, it's a nice album, but they decided to add some downs. For example, I don't personally vibe with the lyrics and the lack of melodies in the more ambient, chamber-pop tracks like "Petrified Florist".

Ziggy Stardust's adult contemporary side quest. Lots of 50's rock pastiches and all around fun, campy vibes (3.5-4)

If David Bowie got his start in the 90s and wrote 5-min songs I blanked out on...

100th Album... still no So 😢 This was probably the 60s lofi study mix. I love how the guitar and the saxophone blend so seamlessly here. I probably wouldn't listen to all the songs in one sitting but they'd make good interludes for my playlist (3.5-4).

I think this album clicked for me in the third listen. I get why Rumours is so popular for Gen Z. Hearing the lore behind this album makes me appreciate the emotions of love, heartbreak, and everything in between. The harmonies really add to it. Personally, it's just catchy pop rock. That's pretty much 5 stars in my books (4.5-5). P.S. Why did they remove Silver Springs???

I really shouldn't have listened to this on the bus for my first listen; a new take on rock (and early punk) was unfolding in my very ears! The drums on Five Years are so sample worthy, Bowie sings in a higher register here, and the arrangements are quite consistent. Starman being popular on Tiktok made me like the whole concept of "Ziggy Stardust" more. P.S. Also TF? I just listened to some songs off this record literally the day before

Eclectic like a mix of gangsta and conscious hip hop to psychedelic rock. The rhymes flow like quickly-melting butter. The album kinda gave me whiplash cause it's all over the place.

I'm really not sure how to evaluate this. It's like they're doing the splits: one leg on catchy pop lyrics and melodies, the other on alt-rock styles. It must hurt stretching your "musical" muscles like that for so long. For me personally, stick to either side or find a way where you can stand instead of splitting (3.5).

A Canadian I've never heard of! Did not know what to expect on my first listen. I just don't know how this fits in the bigger "1001 Albums" collection. Even if it necessarily doesn't, I still enjoyed this album. k.d. has such a lovely voice that brings out her emotions (3.5-4)

Is it just me or does George's guitar sound like modern indie-rock/jangle pop? It makes this album have even more of an introspective, "folklore" vibe that was part of his public image. I think both of these qualities have made "All Things Must Pass" one of those foundational indie influences. I personally love hearing the melodies, vocal harmonies, and chord changes, and there are some nice head-boppers in between the slower songs. I guess that's what happens when you're a Beatle, music is second nature to you. As for Apple Jam though, let's just pretend it's bonus Harrison DLC (4-4.5).

Dusty's voice is gentle and sweet, though I guess I expected some of Aretha's passion. Maybe the soul here is not all-encompassing, it's finding beauty in the small moments.

I know about the National cause Aaron Dessner worked with Taylor Swift during her indie-folk era, but this is the first time I've listened to his band. I realize this kind of music is not for me. I don't hear a lot of melodies, hooks and chord changes, so it's not personally captivating. It's as if the music is just settling, like soda after the fizzle. (2.5-3)

Imagining Prince laying down some sick guitar solos right now... This record fits itself right into the 80s canon. Those synths, guitars, and reverb drums pair well with Prince's heartfelt singing. His vocal deliveries give off a joyful, almost manic vibe to the songs. Plus extra point for "Purple Rain" as it sounds so much like an 80s "Mayonaise". (4-4.5)

Kendrick really knows how to tell stories. Love the contrast between the chill beats, the realities of growing up in Compton, and the religious motifs. Super immersive too! (4.5-5)

Sounds like an updated 90s version of psychedelic rock. I do like the pop-rock melodies more than the drone tracks. There was also like kind of a Weezer vibe to it. (3.5-4)

Mix of country, R.E.M., punk, and the Smiths. Apparently this is a slow core album. I've never heard of that name before, but it sounds like the stripped-back, sad songs in this album.

Wasn't too long till we got another album 🤭! From spoiling myself with the reviews, he sounds "sad" here. Or maybe I was primed to think that, cause the 5 star reviews make it sound profoundly gloomy/unsettling. Whatever the case, despite hearing what I heard were mostly upbeat tracks, I definitely heard some sadness in the slower songs like "Tired Eyes". It's like he's pleading with the listener to not do things that could end their lives prematurely (3.5-4).

With Disintegration, the Cure invites you to put your headphones on and immerse yourself in their ethereal, sonic world. It's parts sensual, melancholic, and sublime. Plainsong sets this mood so well, but I always go back to Untitled and Lullaby because the production for these songs is so hypnotic. This should've been the sound for TTPD to be honest... (4.5-5)

First time I've heard of thrash metal and Megadeth! Sounds like metal infused with hardcore punk. Maybe it's just me, but I can hear some of the 80s glam metal treatment (3.5).

Definitely can hear the punk influence 10 years after metal was formed. Listening to this record made me realize how much I love the choogling, 4-on-the-floor rhythm of heavy metal (4.5-5)

Okay, this was probably the precursor to so many G-funk tracks. Each track flows well, forming a cohesive sound that explores different grooves and tempos. And personally, it just makes me want to dance!! It's a quintessential funk album but also one that's undeniably proud of its Black roots. All that to say, I want nothing but the funk, George!

Mysterious. Just sounds like the 80s but more artsy. Not much stood out to me except for the lyrics, which were pretty psychedelic.

Is this a breakup album? Because his lyrics are still poetic but also more direct so I understand the emotion behind the songs. I also probably spoiled myself on the themes of this record by going on a Wikipedia rabbit hole of Bob's discography. I do like the folk-rock production on this album compared to his older works. His only non-negotiable was probably that damn harmonica 😭. "Lily, Rosemary and the Jack of Hearts" gave me whiplash when I heard those beats (3.5).

This is like the kind of alt-hip hop akin Arrested Development would do in the next few years. I really like how it goes back to the genre's roots; lots of dancing, carefree vibes. This also reminded me of De La Soul, and I only learned today that the Jungle Brothers were part of the same collective as them!

I still remember the last Dylan album two days ago 😲. How long before I hear that instrument again? Oh, the first song 😳... Definitely a more diverse folk-rock album than "Blood on the Tracks". But being a music-first person, Bob's poetic storytelling is still lost on me. I'm used to hearing pop melodies and hooks, so he's really opening my mind to experiencing music in a different way. Thanks Bob, seriously.

First Black Sabbath album on this generator, and it sounds like they've expanded their heavy metal sound. Songs like "Changes" and the "FX" interlude add a lot of depth to this record's ominous vibe. Personally these two come off as existential dread. And then BAM comes Supernaut, with that guitar riff! Thank you generator for leaving this on my lap today!! Vol. 4 makes an awesome addition to my heavy metal (and musical) journey.

Straddles the line between experimental styles and glam rock. The vocals are a bit jarring.

Interesting that this has two different versions like Pokémon. This rating is based on the US version. Hendrix's guitar, which I guess is the selling point of this album based on Wikipedia, adds to the atmosphere of this record. It's a shapeshifter, at times melodic and rhythmic. The guitar sound is like prophetic too. The distortion reminds me a lot of 90s grunge and alt-rock. And the way A.Y.E. switches between psychedelic rock, blues, and experimental guitar grooves! Jimi makes it look easy. I totally mischaracterized his music from the 2-3 songs I heard from him. Listening to A.Y.E. in full, he oozes charisma with the skills to back him up (but maybe that's also because of his legendary status at this point)! (4.5)

Shoegaze is all about the hypnotic vibes. The songs just go a minute too long. However, I did like this album more than m b v (3.5).

Seems to be an observational study of urban NYC through sound. The conversations of Big Apple natives really adds to the immersive experience. That said, the tracks carry on for too long. Instead of some being hypnotic, they get repetitive (i.e. Freaknik, Rodney Yates), especially in the later half. (3.5)

Has that prime Beach Boys’ sensibility/vibe: innocent and child-like but with more social consciousness. The result sounds like a record that comes across as motivational to me. First impression notes (from when I listened to this before getting this album: The Beach Boys updated to a soft-rock/soul/70s pop sound. So serious like Pet Sounds)

Jazzy and soulful with some nice songwriting to boot. Reminds me of Alanis Morissette. Beneath the smooth facade lies pain and heartbreak (3.5).

Like one long DJ mix... alternating between hypnotic, spoken-word dance tracks and electronica. It dips in quality by the halfway point but then picks itself up in the last few songs that remind me of Moby. Does the title reflect the artist's intention to deconstruct and remix rock and roll into dance? I took a look at the samples in Wikipedia and it borrows from a lot of retro tracks.

This is so vaguely familiar and nostalgic, as I don't remember listening to Linkin Park before. It reminds me of the pop-rock radio stations I grew up listening to as a kid. Based on the consensus I online, the nu/rap metal genre is seen as the 2000s version of glam metal. I kinda agree with that for this record. It touches on dark themes that don't really go far/become too universal, in addition to how each song is very similar to the last. Nevertheless, being "nu" to nu metal, I do like some of the sound and production here (3.5).

Pre-The Cure with its uneasy, eerie sound. Reminds me of 90s alt-rock, specifically "Night Shift" with its guitar playing and loud drums. Sticks to a vibe for sure (3.5-4).

This record resembles Homogenic with its strings and ambient mood. It’s more classical with electronic beats laid on top. And when you have Vulnicura as the title, the album reminds me of Iceland and the volcanic force of nature. It's definitely a difficult listen than the pop Bjork records I discovered this year. But I appreciate her toying around with the border between familiar and unfamiliar music. Now I can enjoy more songs in this list by having this in my memory.

80s R&B really wouldn't exist without him. What seems commonplace now was new back then. Stevie was breaking a lot of new ground, and "Talking Book" sounds like that transition between love songs and the deeper topics he'd cover in his later works. Whatever he threw on the wall definitely stuck! (3.5-4)

Me when writing 1001 reviewer headcanon 😳 "Once upon a time there was a very nice reviewer who just loooooved to take readers on long adventures across the Kingdom of Music. During one such trip, the group came across the remains of prog rock, now housed in a mausoleum. This was the reviewer’s favourite part of the journey, because he'd recite the legend of PR’s untimely death and how the 80s rose to power across the land. The story goes that Prog was blessed, like many others, with the power to inspire the world. It lived in a village where other sonic youths would play. Some wouldn't get along, while others came together to form new sounds. Then suddenly, the Rush kingdom and its ruler, Geddy Lee, led an invasion supported by the 80s that would ultimately shake the world of music to its core, starting in Prog's village. While he told the story, the group walked past torn portraits of former genres that were once confiscated by the Rush-Marillion Agency, the former kingdom's police force. After the 90s saw the creation of a genre confederacy, there was renewed interest among the styles to build a memorial to honour their ancestors, the mausoleum of Prog Rock was built to commemorate its enduring legacy on the music world. Going back to the legend, when Geddy Lee threatened PR, the reviewer would make a shrill, snarling voice like he was trying to clear his throat from mentioning the name. By the time he made the noise that killed PR, several tourists had fainted, and the group had to take an extra day. We spent the rest of it discussing music tastes and learning about the different genres that make up the confederation. At the end of our journey, we paid respects to Prog Rock. But as everyone was about to leave, one of the members who was straggling suddenly heard what seemed like Prog's voice talking to the wind. It was reported to have come from the many adventures it took: a mix of the jazzy woods to the ambient seas." Tbh, this was my first time listening to Rush and 80s prog rock. The reviewer, whose top rating for this album I made a pastiche to, had some good insights on the contemporary sound and how it reached every genre. I literally could've listened to this album from another artist. And the lead singer's voice is a grower for sure. P.S. Au top reviewer qui a écrit ce critique légendaire, merci de le créer. Tu m’as inspiré d’en faire mes propres!

Reminds me of that Funkadelic album from more than a week ago. I expected lots of synths and space-y vibes; would have loved more modern "funk" and "groove" into it like Got To Give It Up, but maybe that's just what happens when you listen to Espresso too many times to count (3.5).

Haven't really listened to krautrock before, and this reminds me of proto-shoegaze with its atmospheric sound and consistent rhythms. Side B tracks like "Hero", "E-Musik", and "After Eight" sound like formative punk songs. This album is best listened to with headphones on, fully paying attention to it (3.5).

I'm sorry this is so cheesy 😂. Just give me the instrumentals. Bro just couldn't hold it in 😭 (2.5-3).

Johnny's beautiful swan song. It's like hearing an old friend reflecting on the long life they've had. This is made relevant with his sparse arrangements of covers, which adds to the introspective mood. "We'll Meet Again", for example, is kinda haunting, knowing that this would be Cash's last album. Personally, I enjoyed the popular covers and the simplistic production here, it really fits the mood well. Thanks for sharing your last piece of work with us, Johnny! (3.5-4)

Having a hard time describing this album without referencing the hundreds of British punk albums in this list. It’s a collection of punk and rock songs with bits of new wave. Sounds grimy. (3.5)

With that voice, I can't take this seriously 😭. Every time I hear those low growls I just can't help but laugh in a way that makes me enjoy the album a bit more. As with this kind of metal, I feel like I've heard this sound in some online parody, but have never intentionally listened to thrash/death metal. Even the name of the genre sounds scary. "Arise" sounds like the broodier twin of that Megadeth record I listened to a few weeks ago. Now gaining more metal experience thanks to this generator, the guitar riffs are what I really like the most about this genre. When they match the drum beat, that's *chef's kiss*. (3.5-4)

Reminds me of the Clash in terms of proficiency and the Arctic Monkeys in vibes.

This is country? It sounds like a melding of jazz and R&B, but with Charles' country drawl. I can somewhat hear it; a lot of the slow songs remind me of Patsy Cline (i.e. Crazy). I guess country back then was more orchestral-flavoured than it is now. (3.5-4)

Flow starts off relaxed and slow, then picks up momentum. Each song has a different yet similar vibe (i.e. samples, genres, features), which I really love. I think "Fishscale's" forte is its ability to form a cohesive message within each unique sound. It continues the trend of 90s-aughts gangsta rap but with more storytelling than just straight up boasting. (4-4.5)

Singing is a bit weak, especially in the first half. It might just be the production aspect of it too. The schtick does tire itself with the same synth-pop sound. Nevertheless, this record foreshadows the greater 80s revival in the next decade.

Resembles a bit of Neo soul and Questlove but with that early, Kanye-style production. I'm really not sure how to further describe "Be" but in the context of the 2000s, it's like "soft" hip hop when that was picking up steam in the mainstream Lowkey that PhD review feels like ragebait 😳

Video game boss music (complimentary). Weirdly enough, this is my first exposure to Metallica. Don't know much other than their name and status as a legendary metal band. I've been getting a lot of "heavy" albums recently, that I'm starting to wonder if I've developed a tolerance to it. 2 hours of symphonic metal is just too much for my brain. (3.5)

It's not trip hop/downtempo per se but "Vanishing Point" comes close to it. First 20-30 minutes seem uninspired and lacking "kick", like paint that's dissolved in the water of alternative dance/rock. "Medication" and "Motorhead" were nice changes of pace though.

Is this gonna punish me?? I've heard how boring it is by a lot of the reviewers here. Actually, this sounds more like a musical. It cycles between relaxing and unnecessarily operatic. That last song though just solidifies this album as a bit too “much” 😭 (2.5-3).

This record made me understand how soul is the "secular" form of gospel music. The songs are slower than "Lady Soul" which lets Aretha's emotive signing shine through.

Out of all the grunge albums I've listened to so far, "Dirt" resembles more heavy metal from the decade before it. Where "Superunknown" was hard rock and "Nevermind/In Utero" were (noise)-punk, Alice in Chains went down a different path. Probably not in the right headspace to listen to this right now. Even if I were having a bad day this wouldn't be the first thing I'd put on.

Okkkk we got some classic rock. GNR definitely followed/updated the glam metal/rock template to a T. Probably a bit too much because they all sound the same. I think there's a reason why the two songs here are overplayed.

Never listened to Tom Petty before. This debut is short and sweet rock n' roll. The songs seem like they were made to be singles on the radio. It was a nice listen, but the execution is just not my style. (3-3.5)

I would vibe with this more if it had more bass and if I didn't get a 2 hour orchestral metal album last week.

Oh, the last album from the Cure already?? We haven't even hit 200 albums yet... That aside, I'm loving the Cure more and more because they do such a great job creating and maintaining the atmosphere for their albums. Case in point, the first song sets the stage for a morose vibe. And overall, this record sounds like Seventeen Seconds but with more emphasis on the reverberated drums.

Dolly sounds so sweet and wholesome here. And I like the Joseph metaphor in the first song. She definitely has a knack for storytelling, but this album does sound a little basic to my ears.

From my first listen two years ago: Don't have much to say about it. Very against my current musical tastes Now: Bob, I'm slowly tolerating the harmonica... but I still don't like some specific drum beats (i.e. in Tombstone Blues, From A Buick 6) 😭. The bluesy/soul tracks are probably my "favourites". I think why Bob Dylan doesn't really click for me before because his early folk music was a vehicle for his poetry. This meant his reliance on verses were like "musical stanzas". That was totally out of my comfort zone, listening to someone sing in the same cadence and tone for 5+ minutes, especially since I don't really focus on the lyrics. But nevertheless I think this album might be the one I enjoyed the most from him. Personally, out of all the other Bob Dylan records, this was the one that was the most "catchy" and "soulful". It helps that the record is quite concise too. (3.5-4)

It wanders and drags a lot. Probably because melodies are replaced by "stream-of-consciousness" stylings. Van Morrison's soulful vocals combined with folk doesn't really work here for me. (2.5-3)

Ok so I literally thought of this album cover this evening. what... You could draw a line from blues to hip hop and this record does its best to merge two of these forms together. I like the result; as if 60s blues rock was sampled. Lyrics are 🌽 but at least G. Love’s committed to the vibe. (3.5-4)

Looking back it’s so funny how the 808s contrasted the subject manner. This album really set the popular blueprint for the next two decades. (4-4.5)

Reminds me of D'Angelo's Voodoo and the Roots. And just like those albums, I like the sound that Erykah expanded on from Baduizm. Those drum beats are hypnotic and her vocals give it a certain "ASMR" quality. I know I say retro a lot but this is the right adjective to describe this record.

House music, but you used things in an actual house as instruments. This record sounds chaotic and all over the place; I could see this being played in a dance party when it's loud and people care more about dancing to a beat than listening to it in their spare times. "Yo Yo" made me chuckle, it's bad 🥀. But most of the songs are pretty tolerable... then I got to "Same Old Show" 😭. Thankfully "Bingo Bango", which sounds like the name to some new brain rot, was much better (2.5-3).

Sounds like punk paying homage to its roots (rock). It was an interesting blend of singing and talk-singing, but the vocalist is out of tune, which took away from my listening experience (2.5-3).

A welcome evolution from their pop-punk sound in Dookie! Sad that I was born too late to really enjoy this album in its heyday. Really interesting to hear Green Day try out operatic-punk, which goes well with the heavy-handed topics it addresses.

Mi(n)d-lessly repetitive dance instead of being psychedelic and hypnotic. This kind of dance definitely didn't age well. It was quite underwhelming like they were repeating the same motifs and beats from one song, and calling that an album?? Go guys give us nothing 👏 (2.5)

He's not tuff bad here, he's down bad. But I can't fault him because 80s pop is my guilty pleasure. The funky drum tracks and the melodies are pretty catchy, but they're not as strong as Thriller. If we're really talking "bad", the ballads are not my kind of thing here. (3.5-4)

A lot of short songs showcasing different styles of music packaged under Jimi's singing guitar. Genres range from soul to experimental to straight-up heavy psychedelic. The end result is that it doesn't sound as tight as his debut, which I found more cohesive (3.5).

Never really listened to world music straight from the source before. There's a relaxed, sunset social vibe here, especially with the drum beats. The rhythms resemble something out of what Paul Simon would later do in his Graceland album. The songs themselves, despite their length, didn't feel too long.

Like the previous album before this, the album is really good at not sounding too long. It's a very jubilant record on the surface but discusses a lot of political and social issues in Nigeria and Africa as a whole (3.5).

Another thing I've learned through this challenge is that my bias leans towards 2-4 minute songs with a verse-chorus-verse structure. You'd have to make a song that can catch my attention with key changes, instrument solos, hypnotic (not repetitive) musical sections, and/or catchy pop choruses. But sometimes, I don't need pop-adjacent tracks to keep me interested, and it's this album from Wilco that sounds good in theory when I want to immerse myself in the vibes. It sounds a bit like the debut from Dire Straits with less melody and more filler. I'd much prefer if they made it concise as there are only some songs that really stood out to me (i.e. Kingpin, Sunken Treasure, Say You Miss Me, etc.). Thankfully by the second disc I started to like it (3-3.5).

Another reggae album! This one felt more expansive and just did more with the genre. This was also my first Bob Marley album so I'm super excited to have heard his popular songs with fresh ears (3.5-4)!

Songs flow well but it's quite a mixed bag of similar country, folk, and blues rock. It's like an amalgamation of all the styles that were really popular in the late sixties and early seventies: CSNY, Buffalo Springfield, CCR, and the like. I'm at that point in this challenge where I'm noticing how similar a lot of these albums sound. Manassas is an example made worse through it being a double album.

It's like halfway between accessible and experimental. I get both Public Image Ltd. and Pixies vibes from this band because of the singer's vocal rambling and atmospheric production. The record does start well with a nice instrumental track. An aside, but is this what post-punk is? Taking the simple, DIY principles of punk and adding a more experimental edge to it (i.e. making songs longer or incorporating instrumental sections)?

What a quintessential early 2010s album. It’s like her own “Back to Black”. A lot of the hit singles here are very sentimental ballads (Someone Like You, Set Fire to the Rain) I find overproduced in casual listening but enough to get someone to karaoke to (3.5).

Starts off with some nice ambient dance but then the later half of this record sounds like a deep sci-fi soundtrack meant to put you to sleep. It’s okay to listen to when your day is just starting, but that’s it.

It's all over the place but also the songs form a cohesive theme. Not really sure what that is though, as not much really stood out to me.

Reminds me of the Toy Story soundtrack, considering he's also the one who made "You've Got A Friend In Me". It's also giving early Elton John.

It's interesting to hear Bowie kind of go back to his roots in art rock but mixing it with jazz styles. By the time I reached the last song, it felt like a complete finale to his career. Thanks for sharing your last work with us David! (3.5-4)

The music is like the piper heralding a spacey, quirky age.

Based on my limited knowledge of music, I think this album represented a turn in alternative rock, where it took a more poppy, dance-rock direction. I thought from the band that they'd be more grunge/punk, but I found myself head bopping to a lot of the tracks here.

Listened to The Stooges' Fun House a few months ago. Raw Power by contrast has more calculated rock songs than the jam-based ones in their previous album. Their raw-sounding guitars, provocative lyrics, and Iggy's stage persona probably helped form the modern, rebellious rockstar archetype. Not much really captivated me here, since I know how the ingredients in this album were all mixed together by other artists to create the punk "cake" I'm familiar with. Raw Power is more of a historical artifact I can listen to once and appreciate how it helped shaped a new sound in the years to come.

The guy who kickstarted the Beatles' (and the Western world's) interest in classical Indian music. It's quite similar to jazz in that both use improvisation. The record as a whole feels more like a tutorial than a cohesive album, but I appreciate Ravi's efforts to share music from India to the world.

One of my favourite artists! I first fell in love with this album because of "The Weekend". Then I listened to it in full and liked a lot of the songs. I'm not really sure how to describe this kind of R&B but Ctrl is committed to an introspective, laid-back vibe. It was trip hop for me before I even heard of the genre. It does overstay its welcome a bit with the last few songs. However, I still really liked the end result. With songs like Drew Barrymore and Garden, anyone can relate to inadequate for someone you like. Much prefer SOS than this album though. (4-4.5)

Based on the selection from the 1001 Albums, reggae artists seem to focus their songs on sociopolitical themes. Marcus Garvey sounds like an anti-colonial, political statement. But I had a hard time deciphering the rest with how similar the songs flow. It's a little too cohesive, but the longer I listened to it, the more it felt hypnotic and blended nicely (3.5-4).

People in funk, soul, and R&B were cooking in the 70s and 80s, and the Isley Brothers were no exception to that. This album feels more accessible than Funkadelic and resembles Stevie Wonder's golden period. There were some songs that sounded super close to disco but not really. Even so, this record has all the things I love: grooves, catchy melodies, and harmonies.

I was doing my chores while listening to the album, and I noticed that the songs didn't really change much. They were repetitive and long. The silver lining is that I've never heard of Malian folk before, which I wouldn't have listened to w/o this challenge.

It's interesting that this album still has that old school hip hop sound that would turn into the G-funk only a few years later. To my modern ears, it's quite dated and presents a funny contrast: politically conscious and aggressive lyricism mixed with funky, dance beats. Same for the delivery, I find myself trying to "correct" the cadence of the raps 😭.

Poetic (prog-)punk that reminds me of the Velvet Underground's atmospheric and spoken word tracks. It's fascinating listening to this as a result of how simple chords can be experimented with. I've always wanted to listen to this based on the cover, and now I get to do so. Opener "Gloria" was spectacular. I don't really hear that many songs that turn punk a few minutes later. As for the rest, the long songs didn't seem too lengthy; in fact the punk beats were trance-like. I think this still reinforces the fact that I'm more of a music than lyrics-person, as the words and their meanings went through their head. Next time, I'll pay closer attention the lyrics and understand more of the poetic side of this record (3.5-4).

So starts the Byrd train 🚂 Without this album, there probably wouldn’t be the Smiths, REM, and those other 80s alt-rock bands with the jangly guitars. Wikipedia said that the Byrds combined British beats with folk sounds and I can kinda see it. I’d say that “Mr Tambourine Man” is more of a historical relic than it is a great rock album. Most of the songs sound very similar, which makes the record sound like a 30 min track than a collection of songs. But then again, this is also the sound I like to hear from them too, just not too much. Maybe I’ve had my Byrds limit filled for today (3.5).

It's hard to rate this album w/o considering what Beyoncé was doing before this came out. This record was the start of an "artistic" period for her. But when I first listened to it, I only paid attention to how she was exploring different genres under a loose electronic vibe. I was also fascinated by how she was feeling herself in this album, how frank she was about sexuality. There were a few songs that stood out to me like Blow for its roller skating funk, Partition and No Angel for their minimalist beats (one more energetic and the other chill), Rocket for sounding like D'Angelo's Untitled, and Haunted for its transition from spoken word to a thumping, electronic atmosphere. That said, some songs were also filler to me (Jealous, XO, Pretty Hurts). If I had to choose an album that best represented Beyonce in this decade, it'd have to be Lemonade. This is more so a taste of what was to come (3.5-4).

The more I listen to krautrock, the more I notice how their experimental sounds come across as indie movie soundtrack to modern ears. The driving beat resembles disco but is more mechanic and robot-like. It's more daring than something like "En-Tact" and I love it for that (3.5).

My first thoughts were, "this is the lady that did Fast Car" and "I think this is gonna be pure, acoustic folk." The first one was right, the second one, not so much. Interesting how the next few songs after Fast Car fell squarely in the 80s pop sound. I really like the vibe of the opening track and hoped for an album that had a similar vibe, but it ended up turning into that Suzanne Vega record I had a few months ago.

The first thing that came to mind with this album was how it sounded like the theme songs to a late 60s, early 70s TV show. Then that second song came and I was like, oh this is getting serious. Stand! manages to balance funk's joyous spirit with the sociopolitical messages of the later half of the decade. I think it's one of those perfect albums that capture the fallout of the flower power movement and the resulting aftermath that leads into the next decade (3.5-4).

1 more solo and 3 Crazy Horse albums after this! Compared to his other albums, the instrumentation and baroque arrangements here are a bit much. They contrast heavily with his voice. (3-3.5)

This is an early 2010s-core album by arguably the most 2010s-band I've heard so far on this generator. The vibe of this album is "Ex's and Oh's" meets Tame Impala psych-rock meets Amy Winehouse-like vocals (3.5).

Despite knowing lots of his music, I've never listened to a full album of his before. He has a knack for catchy melodies and reminds me a lot of Billy Joel if he were British. It also has a lot for the glitz and glam of the early 70s, alternating between ballads and back-to-basic rock. It's a bit too long though so it gets almost 4 stars (3.5-4).

A mix of R&B and electronica, which reminds me of FKA twigs' Eusexua. My favourite songs are the ones that are more R&B and melodically focused than leaning into the electronic ambience (ex. Waitin, Truth or Dare). The rest sounded like it was trying to gain momentum which wasn't there (2.5-3).

When country meets 90s alt-rock. Some jam-based tracks. A lot of the songs seem pretty similar to each other.

One of the first East Coast hip hop albums! So much groove and vibes. It still sounds pretty fresh, as if Kendrick made it before his GKMC era.

Never listened to a Grateful Dead album despite their status in the music community. With a name like that they sound like an edgy band or at least hard rock. This album sounds more like the Byrds under a Bob Dylan folk rock beat.

Short folk ditties that remind me of children's songs. Its short runtime and consistent sound make it a nice afternoon nap type of album, or maybe that's because I've been putting songs on Kacey's new album on speed dial (3.5-4).

An all-female band! I've probably said this before but this kind of new-wave/punk is so lively and playful. The tracks sound similar to each other, but it isn't a bad thing here. They sound like the B-52's but more poppy and less kitschy (3.5-4).

Boasts a wide range of genres under a pretty British rock sound. The jangly guitars throughout this album make each song similar to each other. The opening track did give it some oomph but the momentum died out by like the 4th song.

Storytelling set to a mix of country, blues, and rock that works. It reminds me of "Nixon" by Lambchop and the later indie influences like Faye Webster. I can see why Bob Dylan and George Harrison liked collaborating with "the Band" because this album gets lyrical more than it does melody-wise at the start. A reflection I had from this album is that one/a few good song(s) can affect how I see the rest of the album. After "The Weight" for example, "We Can Talk" immediately stood out to me as a fun song. If not for those two songs (Side B at this point) it would've been barely a 3.

Bob Dylan speedrun?? Makes sense that this is the first in his Electric Trilogy. I’m not really feeling this album’s sound a second time around, and it’s a shame that the album cover is so good. Songs like Garden of Eden and It’s Alright, Ma have that “spoken poetry” songwriting I don’t like. The verses and simple musical sections get repetitive, especially with a 46 min runtime. I’m glad Highway 61 clicked for me, I found it more musically varied (2.5).

One of the pioneers of soul, according to Wikipedia. Lots of short love songs and covers turned to “rock and soul”. I understand the genre a bit more through this record; it’s very vocal-focused, which makes sense given its roots in gospel. As for this album, I think it suffers from how similar-sounding each song is. I guess since soul was just breaking ground, it was still attached to like rock and R&B (3.5).

Interesting how "world" music up to this point was Bossa nova. It's a very minimal album with just Miriam's voice, guitars, and African drums. You can also hear a hint of jazz in some of the slower songs and that one duet. It's a nice listen but there's not much to it than that (3.5).

"You Are the Quarry" resembles the Smith's music if they added more instruments than the guitar and lost the reverb. It's just like Morrissey to make 2000s guitar rock sound theatrical, which doesn't really pair well for me. This is probably one of the first times I paid a little more attention to his lyrics because they come off as whiny and embittered. This resulted in a bit of disconnect for me where simple rock hooks clash with the "woe-is-me" mood.

First album from the Foo Fighters! I didn't know Dave sang so good (or at least goes really well with this record). The album starts off strong and keeps that momentum for the next two songs. But the bigger picture is that it emulates a lot of the alt-rock/grunge sounds that were going on at the time, so not much stood out to me after the fact. What I did like was that compared to his time in Nirvana, this was more melody and hook-focused. Perhaps this debut is where the Foo Fighters gets its "foo"ting (3.5).

Wow! One of the first albums I listened to nonstop in 2021 over the summer. It was also one of the first “concept” albums I listened to; I found the way each song drives the narrative of a night party so masterful. Now having aged, I feel more of Lorde’s pain and infatuation over this doomed love. It pairs so well with the sound she and Jack made: so modern, late-night, and urban. And that album cover? I hope I get my own portrait from that artist. It’s so beautiful and captures the kind of impressionist, emotional vibe “Melodrama” has (4.5-5).

It's giving Bossa Nova Steely Dan. I really don't have much to say, it's nice, calming music that does its job of nicely.

Sticks to an early 80s fomula and probably informed a lot of synth-pop in the future decades.

Folk/roots rock with synths. It’s not prog rock but the tracks are ambient and run too long, like a late night drive on the highway type of vibe. The lyrics are like the reflection on the way back home (2.5-3).

It reminds me of lounge-folk with a hint of jazz (aka kd lang’s Shadowland). Other than that there’s not much variation in the songwriting, delivery, and instrumentation, which does make sense that this record was made as a live session. Even still, I can’t believe this album is 50 minutes long. It makes it seem like double that. I couldnt wait for this to end. At least Bob Dylan showed some diversity in the albums on this generator (1.5-2).

Wasn't able to find this Spotify but thanks to this link I was able to find a lot of the songs: https://www.youtube.com/playlist?list=PLglUu7rOaMDtVwnAyTk9BNz80ONuhBxkO Before listening to this album, I noticed this was one of the lowest rated albums. Makes sense why. It's like if blues/post-punk was made with the screechiest, roughest instruments. They do make a dirty/scrapyard sound, except for the singer. He doesn't sound tuff, bro sounds like a zombie tweaking out 🤡. Not sure what made them think a few 4+ minute songs were a good idea. At least it's better than the last album, that had little to no changes in its instrumentation (2.5-3).

Haven’t heard much music with a flute solo before. It’s fascinating to listen to a combination of folk. Sounds like it could be put in a modern fantasy anime with slice of life or battle montages.

"The Real Thing" has like traces of Red Hot Chili Peppers but with more metal. The parallel makes more sense when the vocalist at times sounds like Anthony Kiedis, at other times like he inhaled helium. If you take that away, I hear some pretty ordinary metal with a hint of funk beats.

After some old metal I get some "nu" metal! Follows the quiet-loud formula of alt rock and has those late-90s hip hop drum beats and guitar work. "Make Yourself" doesn't really sound as heavy as I thought, almost kinda "sanitized" and commercialized (2.5-3).

This has a Monkees/Beach Boys/Zombies vibe to it. It incorporates some South American rhythms, soul, and rock. Definitely an "of its time" album. I'm not really "Groovin" but it passes the vibe check for sure (3-3.5).

So many things with a saxophone that I didn’t know you could do! I think I heard the trumpet talk at one point. The challenge for me with jazz is that it’s often improvised, which should make it exciting listening to what could come. Maybe it’s because certain sections repeat themselves so it doesn’t come off as fresh. Or that there are no lyrics so you have to really focus on multiple melodies instead of concentrating on one. However, it’s really cool hearing Charles Mingus and his band play with such skill that they can freely bounce off each other’s instruments. This album is ultimately refreshing when I need to hear form than structure in my music listening (3-3.5).

This is very much Steely Dan-lite in all its long ambiance. All buildup, no climax like EDM trance without a proper drop/mood change. I was taking a bit of a nap and I didn't really hear much of a transition between any of the songs (2.5-3).

From the album cover, you think it'd be a provocative, no holds-barred record. But the themes and messages in "Stripped" seem to go in different directions. I was in whiplash hearing "Can't Hold Us Down" transition to "Walk Away", a piano ballad. And this happens a few times, that the album becomes indulgent and overdone in its mood and runtime. There were some gems that I love though: "Loving Me 4 Me" was so beautiful and reminded me of "4th of July". "Underappreciated" was also pretty groovy. I can hear her influences pretty clearly from both Mariah (vocally) and Janet (aesthetically). She seems to wear them on her sleeve (3-3.5)

The vibes I get off this album are like an attempt to make an epic, storytelling album. Reminds me of roots rock and Bruce Springsteen. The songs themselves don't feel too long despite the runtime. My favourite among them has to be "With Or Without You". The way it builds up and gets intense with every verse is *chef's kiss*. Unlike the last album I got, this one is more consistent, but the production choices sound make it same-y than cohesive. That's the major gripe I have with "The Joshua Tree".

A heavy funk sound with sprinkles of ballads and between. If there was ever a term called “frat-funk” this album might be it. It comes off as juvenile rather than sensual to me. I can get behind the sound but it’s tiring like 30/40 minutes after that. I think the past few albums so far in this challenge have me stretching my attention span or seeing where it lies.

From the first song, I was transported to when I listened to Scott 2 with a country twang. I was really caught off guard by the one lyric, which reminded me of "Jackie". On a storytelling category that includes Bob Dylan, Scott Walker, and Tom Waits, Nick Cave totally fits into this storytelling troupe. Their cadences and lyrics can get very theatrical or verbose, which I'm realizing is my musical weak spot. Throughout the record, the songwriting has a poetic, vignette feel to it. I like to use the word "atmosphere" a lot, but "Henry's Dream" definitely sets a macabre mood. Don't really get what Wikipedia means by "punk blues". If we're talking about his time with "The Birthday Party", this record's not it.

Chuckled listening to the first song. Reminded me of modern car commercials with the electric guitar riffs. What I took out of this album is that it combines world music with blues rock instruments. It’s a fascinating concept but something I’m not inclined to listen to further. It’s probably a lack of sleep but I was impatient for this album to finish during the last 4-5 songs (2.5-3).

Sam has such an energetic stage presence! He oozes soul and charisma with both rock music and ballads. I’d love to have watched his performance here (3.5-4).

🐟🫪 The legendary Beefheart album. FAST N' BULBOUS 💡🏃 What's jarring is that the notes are played in different rhythms, which is a far cry from the harmonious chords I'm used. We're hearing the chords deconstructed to their most basic form. It's like the sounds I hear in my day to day life: the conversations, the loud Instagram reels, the engine on the bus. Each has its own rhythm and I think Trout Mask kinda "replicates" that. But most of the time Captain Beefheart and his band are giving elementary music class. And I mean this positively. There's a kid-like experimentation, a sense of wonder in this record where you just do random crap and see if it sticks. It takes me to being a kid again and not caring about what the world thinks. A masterpiece or a piece of sh-t, it doesn't matter if he's having fun with it. But personally, I'd lean to the latter, I don't think I'll be listening to Trout Mask Replica often. However, it's a much needed escape from that Trinity Session recording I had two weeks ago. A lot of these polyrhythms remind me of Geese's Getting Killed album but less refined. Later in the record, they get tolerable, but the runtime is just a bit much. For an album with jarring sounds, it follows a conventional structure: songs mixed with tape-recorded conversations as interludes.

Love the early Timbaland production here. "Supa Dupa Fly" has some laid-back energy and delivery. It only works when the tracks are concise and unfortunately they go a bit too long.

Coffee shop-core reminiscent of early 70s singer-songwriters. Feels like sipping a cup in the early morning before the rush (3-3.5)

Damon Albarn finding his footing in the trip-hop space. Incorporates a lot more guitar and rock instruments than the other trip hop records I've listened to. Prefer the poppier albums like Plastic Beach and Demon Days (3.5).

I'm currently in an electronic-pop mood right now so having another Nick Cave album in less than two weeks is pretty jarring to me. Felt unsettled by the intro, not because of the dark vibes but because of how wordy it is. It's giving Disney villain theme song but without the catchiness, just the storytelling. The duets are probably the most commercial sounding (2.5-3).

A mix between ambient, hip-hop, and electronic music. It’s like that Basement Jaxx record but less overstimulating. Like all the other dance records of its time, doesn’t really hold up to most modern music. Track Six though is pretty goofy, just not in a good way (2.5-3).

Can't believe we're speed running Bob Dylan. I guess the folk rock trilogy had less accessible lyrics. This is very stripped down, with only a guitar and his voice (wait, don’t forget that harmonica!). The lyrical images are more straightforward in their metaphors than his later stuff.

The guitar is doing a lot of the work. Sounds like the bridge between 70s punk and 90s alternative. Influence-wise it's good, but there are just too many songs for me to fully appreciate it (2.5-3).

80s pop would've been my weakness a few years ago. Glad I can hear an album I've never heard of around that time with fresh eyes. After getting records that have expanded my musical knowledge, it's nice to have something more in familiar territory. It sounds crafted and polished, which is a far cry from their post-punk background upon glimpsing the band's bio on Wikipedia. The singer has a breathy voice that pairs with the production, and sings a lot about love and girls as if those are the two things pop music is known for. The record definitely sticks to the 80s blueprint: lush ballads, funk tunes, and new wave SYNTH. Reminds me of Sabrina's most recent album (3.5).

Soothing modern jazz-soul. Its charm is how it's less polished. In paying homage to Frank and other legendary crooners, this album accomplishes to sound both modern and old. There are elements of R&B throughout the decades. What I do like are the more modern tracks that have the groove (like Mr Magic and Pumps) And "Teo Licks" is such a good interlude. What a Persona 5-adjacent track (3.5-4).

What I put down on my first listen: "More folk-rooted than their previous hard hitting records. Robert really carries with his voice." I remember it being more slow, but actually it's less intense than their first two records. Has more of an introspective mood for sure that's added by the folk rock sound of this album (3.5).

Omg black punk? Nice to see some diversity, and I really needed a fast and heavy sound to channel my emotions today. Listening further, it sounds more like an 80s heavy metal album, given how hardcore punk helped give it a foundation. It bends the genre by adding a bit of funk to it (She's Calling You, Sacred Love). Would love to hear more metal-influenced funk in the future though! The singer has some interesting vocal flexibility, which adds some character to each track. What I did like was that the riffs at the beginning are so good, but I guess my pop instincts took over and wanted to hear more of that in the song. I was a bit disappointed that they didn't carry through the way I wanted them to. I honestly wish they did more genre bending as advertised on Wikipedia.

Love the cover art, it’s pretty psychedelic and all over the place. Reminds me of the underground comix style. As for the music, this album showcases Janis’ vocals. It’s raspy and fits so well with their blues sound. The Big Brother members seem to compose based around Janis. The mix definitely needs to be remastered on Spotify. Even at max volume on my phone I can’t fully appreciate the music. Overall it was pretty groovy, which I think is all you need for the blues. And they did their homework pretty well (3.5-4).

Wow, on a Friday? I literally watched his biopic the day before. Easy day today. People know most if not all the songs here. They're catchy and groovy what else is there to say? (4.5-5)

Crams a lot of musical sections; mostly blues rock but with added sound effects (2.5-3)

Quite poetic and there are some melodies. The raw, acoustic production just didn't cut it for me on my first impression. It's a little hard to wrap my head around the music when I don't really those "pop" hooks (2.5).

I love the mini concept songs in the beginning. Sounds even more modern and polished than "The Soft Bulletin". Some songs I could see being hip hop beats/instrumentals.

Drums working overtime, adding “chemicals” and “excess fat” to the other tracks. It’s bombastic and if I were dancing to this at the club, I’d probably wonder why I’m hearing the same motif like 20 times for each song. Like for example Don’t Stop the Rock is giving meme brain rot vibes (air horns, phonk-type synths). I’d vibe more if each song was more simplistic (2.5-3).

They know how to harmonize their vocals. Reminds me of the Gunfighter Ballads album. It says "Tragic" in the album but without reading the lyrics it's kind of a soothing country record. Does get pretty repetitive, like I've heard this Latin guitar strum pattern at least once per song (2.5-3).

Guess Supertramp have always leaned into the synth organs. Other than that, I really don't know how to distinguish this album from all the other prog-rock acts in the 70s. Each tracks flow into the other and uses a lot of piano. Tone and mood are a bit too slow personally (3-3.5).

On first listen: Samples are so random and funky; the vocals sound like cacophonous Bob Dylan Months later: Quirky sample-heavy hip hop. Goes beyond their frat-rap sound for more abstract ones.

Haven't heard of rappers with a nasal tone. Has some nice funk beats but the MC's cadence turns me off. This is another case of gangsta rap sounding corny before the G-funk sound. This hasn't aged pretty well (2.5-3).

Album cover has an "outlaw country" vibe to it. Simplistic and minimalist. I hear some back-to-basics elements like honky-tonk, the harmonica, and the storytelling cadence. It's very calm for pretty dark subject matter (that I only found out through Wikipedia-- more proof of being a melody guy). First few songs were in "E" so I was tempted to call it an "E" album until the next bunch turned into "D".

Incorporates some Latin instruments and rhythms to soul. Thought the album cover didn't carry the vibe but all they had to do was put some slower tracks in a minor key and it fit the mood quite nicely. The long tracks were the best, reminding me that soul works well when you let it simmer and cook long enough. I wish there was just more groove to it though! With a bleak mood, the songs feel like they're getting somewhere but not arriving there yet.

the Ass. This album gives me a bit more context into the British new wave/post-punk scene in the early 80s. It's too atmospheric and all over the place for me; totally not the pop or even rock I'm used to. Giving experimental Bowie and that Ocean & The Bunnymen album vibes. The exceptions, "Party Fears Two" and "18 Carat Love Affair", are probably the closest to an 80s pop sound. Why didn't they just sprinkle the poppier tracks near the beginning of the album? Personally it wouldn't have been as bad if listeners got a break with something more commercial and familiar in-between the more experimental tracks (2.5-3).

In-between music Sinead wanted (folk-baroque) vs what the label put on the album (pop-rock). It feels like the album revolves around the hit song. Each track makes liberal use of the fade in (3.5).

EDM-house really took over the mid-2010s huh, or maybe since this is my first "The xx" album that I might actually be describing their niche sound? It sounds so of its time and also very "modern" (in that I'm reliving my teenage years) that I'm still a bit turned off by it. I'm not sure how to describe the album but to me it's uncomfortably familiar: the dance-adjacent production and the ambient synths. I think trite is a better word; I heard elements of this album from listening to Top 40 radio every day as a teen.

Maggot(s for) Brain(s) So many guitarists probably started their careers from that first track's guitar solo. It's a nice experience hearing the birth of funk coming out of rock's belly. The first time I listened to this, it was in the afternoon, on the bus with the volume pretty low. I never did appreciate the opening track and believed that each track sounded the same. Second time through, I seem to pick up more details and appreciate the sound at a louder volume. Like for example, the last track is just plain goofy. That's a pretty signature Funkadelic vibe. They stuck to a vibe and the end result paid off pretty well (3.5-4).

I was literally on the plane recently, this should've been the music that played. This album reminds me of those ambient YouTube videos where they have someone narrate Bible verses as you drift off to sleep. Ambient 1 gets you in a mood to reflect, journal, and play some Breath of the Wild. 1/1 sounds like the Zoom doorbell notification when someone has joined the waiting room. It definitely fits the airport vibe. 2/1 and 1/2 sound like a sanctuary. And 2/2 is the triumphant traveler going home. Can't believe I listened to 48 minutes of this... intently... (3.5)

What do the Greek titles have to do with the album? It sounds somber and moody unlike Heaven or Las Vegas, but the instruments are still familiar. Maybe it's HoLV but in a minor key. Anyways, I can't really get into this because the melodies just aren't there! I don't care about the yap-singing, just the fact that if I can hum it, I'll enjoy it. I don't really find that much there; it's atmospheric for a reason. Guess that's a muscle I need to grow throughout this challenge. Thankfully, I can add this post-punk/dream-pop album to my growing knowledge base of British-sounding records! Feel like I'm slowly becoming a pop/music detective with how many records I've listened to the span decades (2.5-3).

I find this album from Alanis sounding like an in-between of two similar singers: A subdued and poetic Avril Lavigne, but a more pop-rock Fiona Apple with anger to boot. Her voice also has some interesting changes in timbre: from yodels, rough-scratching shouts, to softer vocals. Really adds to why the singles are iconic, or should I say "ironic"? With an album cover like this, I thought it would sound more intense. It's almost ballad-like if not for the harder-hitting instruments. Kind of like Garbage's debut cause there's some bits of dance-pop here (3.5-4).

I thought the Pink Flag was floating lol 🫪 How do they make 2 min songs sound so long? Maybe it's just punk's repetitive chord and chorus structure. Thanks to some recent post-punk albums I can sort of hear that genre here in the 3+ minute songs like "Strange". The rest though does sound similar to the Ramones debut though (3.5).

My first Smiths album, and it's the last... My reference point here is listening to "Heaven Knows I'm Miserable Now" on repeat, so I'm surprised that it has a different sound to it. It's reminiscent of R.E.M. and the Pixies, which makes sense given how they probably inspired each other during the 80s. Morrissey is still as theatrical as ever. It's a nice listen but not much stood out to me. One of those perfect 3-star albums where they are no peaks, just long drives and vibes.

For a creepy album cover my first impression was that this was another metal album... that's not the case here. Unlike the last few dance/electronic albums, this one is beat-heavy with a sprinkle of some random side effects. And for 78 minutes it goes on far too long. I’m more partial to recent dance music like Underscores and Ninajirachi since they condense it into less than 5 minutes per track (2.5-3).

Electronic influenced rock. Sounds politically charged.

I don’t really like this. Very atmospheric but doesn’t have a lot of substance to it. It’s giving a trustafarian sound: surface-level exploration of world music and philosophical themes. Not to mention the voice, reminds me of Public Image Ltd.’s vocalist, kinda adds a B-movie soundtrack vibe for this album. Despite having dance beats, it’s quite tiring listening to this. Not sure if this is a sign of burnout in this challenge but I find it more difficult embracing an open mind with albums I’m not familiar with.

Not in the mood for storytelling and retro country unfortunately. My ears have gotten used to modern country-rap/rock that older music feels like being in a time I could never comprehend. A time where folk instruments did not have the hard hitting rock elements I prefer. The harmonies are nice though. Though I guess I was expecting something like Kacey Musgraves (2.5)

If Britain were an album - part like 56. I do like how it sticks to being Anglocentric across different genres. It's a pretty cheeky record so the ballads that are sprinkled sour the vibe a bit. I remember not liking the songs "Bank Holiday" and "This Is A Low" when I listened to it a year and a half ago but they sound tame now with a bit more musical experience. I don't mind most of the songs, the satire just doesn't cut it for me.

Abrasive, glitchy dance with a lot of cut and scratching. Not my kind of dance but there are some personal good moments (3.5)

There seems to be a strong social consciousness to this record. Uplifting African Americans while highlighting contemporary social issues. It's celebratory, hopeful, and a powerful reminder to not let go of your roots because they give you your foundation. Do prefer their other contemporaries though like ATCQ and De La Soul.

Reggae trip hop? Never heard of that combination before but I wouldn't have been surprised since they both have a chill, hypnotic vibe to them. This is most definitely background music, something to put on while you study rather than intently listen. Seems that there are different avenues of listening to music "the right way" even though objectively there aren't any. Using it to study is just one of the more common ways we'd listen to this, but it doesn't make it any better than listening to each track intently (2.5-3).

Transition point from grungy songs to more acoustic, introspective ones. Thom almost sounds like his OK Computer-self here, like he's trying out Jeff Buckley's style. I was pretty harsh when I listened to this for the first time a few years ago. Didn't have the musical experience to appreciate the alt-rock sounds here. Now I do and it pays dividends to enjoy things I once didn't enjoy (also probably cause I was on the bus listening to this, again). (3.5-4)

God this cover is SO dated. Is that supposed to be a digital condom? That looks like an NFT 🥲. So on their Spotify bio they say this rap group uses Parliament-Funkadelic samples. This was before G-funk perfected the recipe. Add to that they don't know how to cut a rap short. Even on "Doowutchyalike" someone tells the DJ to start their fade out lol. There's only so much you can "pack" on one song till it gets annoyingly repetitive. All that to say the last four tracks seem to be the most consistent with the album's vision. With a rap group name like that though they could have leaned into the "digital" sound more. The production on "Sex Packets" has aged the least; sounds like a 2000s or mid-2010s alt-R&B song. Quality control could have helped this album so much (2.5-3). (Also I don't get their vibe. Are the Digital Underground supposed to be zany but also gangsta? Like an in between De La Soul and NWA?)

Wow, who am I going to finish first. Bob or Stevie? Sounds a lot like Talking Book but with more of those funky clavinets (which I now know what they sound like). "Living For The City" stood out to me on this album. A groovy social consciousness piece? Sounds a lot like the start of hip hop to me! I'm always looking forward to what Stevie is cooking during this period! Keep giving me more!

Oh it's Biggie! The beats are fire and the rhymes are flawlessly slick, but each track sounds the same with each boom bap. The momentum stays pretty strong in the first half, but loses it in the latter half. "Big Poppa" will always be my jam (3.5-4).

Ooh a Sonic Youth album! If I had this earlier I would've recoiled a lot. Turns out I can tolerate and maybe enjoy some noise rock if you put it while cooking. The minutes of fuzzy guitar feedback pass by so slowly that I need to do something to make good use of it. This isn't my first time listening to them anyways. I do appreciate how tight the songs are while still keeping their edge. I really want to bump this album to a 4 just to look like I do love experimental acts. Guess I can't help but have pop in my veins (3.5).

Here for the original sample from "Fantasy"! The disco-funk vibes are zany and fun, keeping the Talking Heads spirit I guess. I only learned about that on my latest Wikipedia rabbit hole dive. Without this cool butterfly effect, we wouldn't have one of Mariah's most well known hits (3.5-4).

Polished like an antique table. Nothing really stood out. Put this in an 80s mix and it'll blend so well.

A legendary punk album! Didn't like it first time I listened to it, found the voices kinda irritating. A few months later, I got around to it and I was vibing with the production. Now I have London Calling on vinyl! I love how both punk and pop it is. I love how it pays homage to different kinds of music from reggae to 50s rock and roll. It's also quite cheerful despite the lyrics meaning otherwise. London Calling is a nice transition for pop listeners looking to learn more about punk and want something accessible and catchy. It definitely hooked me in for sure!

Beats are kinda tuff and fresh. Can't and won't relate to the gangsta life though (3-3.5).

🦀🦀 CRAB RAVE 🦀🦀 The songs are tighter than their debut. Still rely on a lot of heavy and repetitive drum beats. Not feeling the vocals on this one.

For a British band this is one of the most American albums the Who has made. The songs themselves don’t really overstay their welcome. Each one sounds a little heavy for its time. Paired with Daltrey’s powerhouse voice, it sits comfortably as a mix of rock and R&b with the other albums of the 60s (3.5)

Nice switch up from folk to rock in the beginning. It's been a while since I was surprised by an album on the first song. I like how Spirit switch up on different psychedelic styles: rock, folk, jazz, and some groove here and there. It's already pretty zany but the mix on Spotify lets me appreciate how varied the production is (3.5).