Had this album on cassette and used to listen to it all the time in my car. One of the Stones’ 70s best. NN
Always grew up thinking the stones weren’t all that, but I’ve grown to see I was naive. They always sound like they’re having a blast and that makes for a giddy, nostalgic listen. (PS I was introduced to wild horses via the sundays so it’s always nice to return to the og) -Ruby
An absolute king of melody, and this is one of his best. I resisted Elliott Smith for a while, writing him off for his amateurish vocals. Now, I’ve had a change of heart to the tune of: who gives a fuck, what’s coming out of his mouth and heart is solid gold. I don’t care what he sounds like! He’s always read to me as one of those artists who simply couldn’t stop writing music even if they tried. Even at his lowest, one of the only things he could do was create. Real good stuff right here. -Ruby
Like Ruby, and for similar reasons, it took me a long time to get in to Elliot Smith. But now he’s one of my favorites. I prefer his earlier, more stripped down and acoustic stuff to this, but it is great fun to hear him rock out and it adds a new dimension to his sound. Love the Americana influence too — parts remind me of Tom Petty. —Noah
I appreciate the addition of a record produced for and by Africans, specifically from the 21st century. So much of the western perception of African artistic practice revolves around primitivity, or is washed with a sense of underdevelopment: “stuck in the past”. That being said, this record grooves hard and plants Mali firmly in the present! After some research, I discovered that the origins of the record derive from the band’s experience living in Jihadist occupied northern Mali, where cigarettes, alcohol, and MUSIC were all banned. After moving south they all formed a band and cut a record about their collective liberation via a return to music. I wish I knew exactly what the lyrics are conveying. The motif of repetition is strong in this one and it really cements the auditory message they’re trying to send. I like this a lot! -Ruby
Ditto what Ruby said. I’m not the biggest fan generally of this kind of pentatonic rock but their emphasis on groove has earned them a new fan. —Noah
It’s records like this that made me enthusiastic about doing this project. Never would I willing choose to listen to Metallica, but the drive to give records and artists a real chance is very cool. That being said, this record is not for me. Doesn’t make me feel much of anything. Songs are too long, too alike. Not a huge fan of the whole white boys writing about themes of rage and oppression via screamy vocals and fast guitar. -Ruby
I had a period as an adolescent where I was really into heavy music but I never really dug Metallica and I’m not sure why. By all metrics, I should fuck with them — they can play their instruments (hell, they sort of invented a whole new way to play heavy music), the compositions are interesting, and the lyrics and their delivery could be much worse. This album is exemplary of that and why it’s a landmark in the thrash genre but at the end of the day, it isn’t for me. —Noah
This is that kind of dated hippie rock which only boomers with zero cultural or self awareness might enjoy. Album cover sucks — riffs go kind of hard though. —Noah
Not my thing. I could see how at a time when this genre hasn’t been pioneered this would be cool. But not to me in this contemporary moment… -Ruby
Never got around to this one till now — glad I finally did. The record sounds great and the songs are engaging and performed well. However, it’s too long and could benefit from having the blues tunes removed. Brits never quite play it right. Also, Eric Clapton is a hoe. NN
This is my first Eric Clapton listen. I liked it. Nostalgic and warm sounding and is clearly well made. I agree with Noah that it’s too long, and I must say that anything Eric Clapton-made is going to be diluted by his massive douchbaggery. I enjoyed every song less simply because his grubby little fingers is all over em. -Ruby
I’m just not a chili peppers kind of girl. I do not fuck with the vibe they’re putting out. That being said I have a soft spot for flea for some reason? Liked their hits in middle school, so there’s a nostalgia factor, but it’s just not for me. -Ruby
Anthony Kiedis is one of the most obnoxious vocalists in rock history. White boy P-Funk can have its moments but this record is mostly too silly enjoy.
I’m not super familiar with the steely Dan universe, but Fagen has an undeniably important sound. To my ears, this record has a sort of dated sound, but that is only because of how engrained in the canon Fagen is as a song writer. This was definitely easy on the ears. -Ruby
This record is a cool early example of an entirely digitally recorded album but for that reason, I feel it lacks the warmth of Fagen’s work with the Dan. Plus, he’s not quite Fagen without Becker. —Noah
This record is going into the “not rly sure this needed to be on this list” pile. Is it bad? No. But it’s not super impressive to me personally. It’s giving I graduated college in 2009 and immediately moved to Williamsburg, and this was the soundtrack to my early 20s. -Ruby
This album is so murderously drab I was angry by the time I finished it. The production is great but that alone is not enough to save such uninspired and insincere compositions and arrangements from themselves. Millennials really did not know how to rock — it’s as if the Great Recession affected their psychology such that they were never courageous enough to take any sort of artistic risk. This album is exemplary of that particular Millennial cultural deficit. —Noah
It's records like this that make 3/4 of the others on this list look like hot garbage. This actually is a record that everyone should listen to before they die! Such easy, joyful listening with all of the nuance and soul of a gold star record. I can't imagine there is anyone out there who wouldn't be grateful to listen to Aretha. Or at least want to dance a little bit ;) -Ruby
Aretha’s records are worth listening to for the rhythm section. I find this sort of vocal soul styling to be very dated sounding. —Noah
Idk man I don’t rly feel like I needed to listen to this. -Ruby
Noah did not finish this record despite it being 36 min long
I always find it really impressive when an artist as prolific as someone like Bowie can produce a record in the very late stages of their career that is both a true build upon their lengthy discography while avoiding sounding out of date or grasping for something they once had. Blackstar is absolutely an outlier in Bowie’s sound, but what makes it a true genius brainchild of his is that it also vividly holds a mirror up to the entire career he had behind him. He created this record at a time when he was keenly aware of how much time he had left to live, and you can hear it. I would call this record deeply unique and highly profound. I enjoyed it very much. -Ruby
A really cool album that by all metrics (laid out by Ruby above; I’ll add the band (Donny McCaslin’s) is one of the more notable working jazz bands of the mid 2010s) I should like more than I do. Outside of his Berlin era, there is little of Bowie’s discography that really grips me. This album has an eerie and haunting sound that has always intrigued me. I like it.
This was already a fav of mine so I loved it duhhhhh ❤️👅❤️ those rolling stone guys rly know what they’re talking abt -Ruby
I guess I’m just cursed to never like this band. —Noah
Definitely a cool record with a cool thesis. Maybe this was the editors’ attempt to look less square… it’s hard for me to hear reggae as not so monotonous but it’s always an easy listen on the ears and I really like that this record was explicitly political. - Ruby
Don’t know much about reggae but this was an enjoyable listen. I read the dub version of this album is called “Garvey’s Ghost,” which is the name of a Max Roach song on the album “Percussion Bittersweet.” I went and listened to that one after this. —Noah
Really spectacular, one of a kind record. Sad to know that’s it’s still deeply relevant today, but empowering that it’s around at all. Very much enjoyed this one. -Ruby
Ditto. This was a very important album for me growing up and continues to be. It was the catalyst for me beginning to think critically regarding the powers that be and radically about change. Musically, the band takes no prisoners. Tom Morello produced sounds from his guitar that are just mind boggling. Lyrically, there are so many quotables on this record. Zack de la Rocha had a way of crafting his lyrics so creatively, steering clear of the trite themes so often characterizing protest music of the contemporary era.
Started out with some good variety and compelling ideas, but got pretty one note as it went on. Nina is undoubtedly a force in the history of music, but we weren’t terribly impressed with this record.
Really enjoyed this one, esp as the first jazz record on our list. I always so admire the raw ambiance of old jazz records, being able to hear mistakes and audience reactions. Super awesome stuff -Ruby
I had never listened to common before this, and I liked it a lot! Idk, not much more to say besides it was cool
Best Beatles albummmmmmmm 100/5 -Ruby
One of the goats. —Noah
Nice album but one dimensional and I got bored. Rhythm section was my favorite part. —Noah
^^ -Ruby
Why is this on this list. —Noah
We got to Dusty albums in a row. I’m bored. —Ruby
Typically not a fan of the genre, but I am glad to have listened. Dare I say megadeath > Metallica -Ruby
I enjoyed this more than I thought I would. Riffs are cool and the whole band is playing well. —Noah
As much as I can understand why someone would be a fan of the doors, I am simply not moved by them. Their musicianship is clear, but I have never come away from listening to them with any kind of enthusiasm. Jim Morrison has a crazy model face tho which is funny. -Ruby
Some classic songs on here from a bygone era but overall pretty mediocre. —Noah
Her voice is very good and she has great control over it, but I’m kind of bored by this record. It’s a bit too one note for me to come back to it again.
I’m really impressed by this one, despite it not being my personal favorite genre/era. It was one of those records that immediately read as hugely important, especially now knowing that Chrissy Hynde is such a badass. She clearly had such an eye and ear for talent, and knew her worth as a musical powerhouse. Girl taught Sid Viscous to play guitar gods sake! She even played in a band with mark mothersbaugh at Kent state. The record is so varied and the riffs are great, I really enjoyed this.
P.S. artists from Ohio are always super goated and always be setting the trends shout out Akron
