1001 Albums Summary

Already listened to many many times before starting this list, an 80s classic and a personal bass guitar playing inspiration.

My only exposure to Afrobeat before this was Fela Kuti's Zombie, so this was a nice 2nd dip into the genre. Amazing rhythm section throughout the album.

Already listened to this album for the first time a few months ago due to a famous VGM composer's fandom for the band, and I see why this is such a revered album of the 90s. A great in-your-face, left-wing metal record that draws from other genres like funk and hip-hop as well.

Not the hugest Springsteen fan, as when it comes to bands dubbed "heartland rock" I'd much rather rock out to someone like Tom Petty who pursued a much harder/louder sound with his Heartbreakers. Regardless, I can't deny The Boss has got some great pipes and catchy lyrics, and there's always some tasty guitar, piano or organ riffs and licks to go along with those lyrics. 8/10.

A great cross between art rock and the then nascent punk rock movement. "Gloria" is probably one of the strongest cover songs and album openers of 1970s rock. 8.5/10

Pretty good noisy, reverb-drenched indie rock, 7.5/10.

Not my favorite Heads album, but also not hard to see why it's on this list. Even besides "Once In A Lifetime" being a new wave classic, the rest of the album is no slouch. Big fan of the entire rhythm section in particular with all the amazing bass, drum and percussion work. Adrian Belew's session guitar work is also a treat. 9/10.

Before this album, I was only really familiar with Eno through his work with the Talking Heads, and before them his collaboration with Robert Fripp on the 1973 ambient album "No Pussyfooting". That ambient album with Fripp, in particular, has it's footprints all over this album, but now in a more tightly written art pop/rock sound. The session musician work is a treat, especially the bass guitar of Percy Jones, and Robert Fripp contributing guitar on a couple songs in his signature fuzzy, high sustain tone. 8/10

Not familiar with Dylan's work despite his reputation. Nice album after a couple listens, but not really wowing me in any particular way. Might come back to it at some point since I'll probably enjoy it more with a lyrics sheet pulled up. 7.5/10.

While I feel this album is probably hailed as a cult classic mostly due in part to the history surrounding it's recording than the music itself, it's still a neat folksy/psychedelic 60s oddity. The songwriting can be very inconsistent at times in both arrangement and structure. Spence sounds genuinely depressed and spaced out for most of his time spent singing, actually a plus given that otherwise the often unintelligble lyrics would just fall completely flat. Best listened to in mono, the stereo mixing is the one part of this album I can say is unequivocally awful. 6.5/10

Already very familiar with this album given that it's one example of my mother's musical tastes rubbing off on me. An amazing soul album, and I can count myself as one of the many bass players who have stuck a foam mute on their bass trying to imitate James Jamerson's parts on this album. 8.5/10

Motorhead play bluesy hard rock, and they play it *very* fast and *very* loud. I already know there's a few speed metal bands out there that probably crib off this band alongside Deep Purple. A fun listen, and I'd already listened to a couple tracks before via the compilation album "No Remorse". Always a fan of Lemmy and his cranked to 11 bass guitar + smoked out growling vocals. While I don't want to come off as a pearl clutcher, given that listening to Motorhead and not expecting crass lyrics is a little insane, the song "Jailbait" is pretty fucking grating to listen to. No amount of catchy riffs can really save it for me given the fact it's another embarassing rock song about pedophilia. Leave that type of songwriting to, I don't know, Jethro Tull I guess. 8.5/10

It's a neat album if only as a precursor to later industrial music. However, music bordering this close to noise just bounces off me. A couple cool ideas scattered here and there but they get lost among the rest, and the awful low budget production does not help. 4/10.

Nice live album. King's guitar and voice sound great, and his backing band also sounds like they're on their A game. If it wasnt for the crowd noises and King's chatter the production would almost fool me into thinking this was a studio recording. Not usually the biggest fan of this kind of piano and horn-heavy blues/R&B, but the songs here sell it pretty well and dont overstay their welcome. 8/10.

Not familiar with tango/nuevo tango, but I was familiar Gary Burton before this and his vibraphone is definitely what sticks out to me here, especially on "Vibraphonissimo". 7.5/10

Some sick instrumentals and Winehouse's singing voice is pretty good, but most of the lyrics on this just bounce right off me. "Stronger Than Me" is an absolutely baffling fucking pick to open your album with. I could only hope to write a "relationship problems" track with such banger lines as "are you gay?" and "feel like a lady, and you my ladyboy". 7/10.

Cool psychobilly/punk rock album. Only stuff close to this I'm familiar with is The Cramps, who are also a fun listen. Songs are fast and don't overstay their welcome. Surprised to see Ray Manzarek of The Doors listed as producer. 8/10.

Fleety Mac are considered pop rock legends for a reason, and I see why this is grouped together with their 2 preceeding albums as a golden trio. Nicks and Christie McVie have beautiful voices. Buckingham, while I'm not *too* hot on his singing voice, also joins the previous two to round out a very consistently strong singer-songwritiner trio. Fleetwood and John McVie provide a strong rhythm section, being the ever present but silent namesakes of the band. It's pretty rare for more than 3/4ths of a double LP to not feel like padding/filler, which is a big accomplishment. I wish the title track had been the closer over "Never Forget". 8.5/10

I can't say this album is actually bad in any particular way: The songwriting is fine, with some cool riffs here and there, and the studio crew put some A+ work on display here with the production/mixing. Unfortunately, I can't say anything in particular really wowed me? I'm just not the exact target demo for this late 90s grungy alt. rock, I guess. 7.5/10.

Please observe my pin that reads "I REALLY WISH I WAS LISTENING TO CARLY RAE JEPSEN RIGHT NOW!" 6/10.

I personally prefer Rush of Blood to the Head, but this is still enjoyable pop rock. 8/10.

While a bit meandering at times, still an album of enjoyable folky 70s pop. Particularly enjoy the tracks featuring a more rocky, electric guitar sound like Armistice Day. Looking forward to when this list has me relisten to Graceland, which is probably the one album of Simon's that 100% deserves its spot on the roster. 7.5, maybe an 8/10.

I guess when I remarked that Einstürzende Neubauten's Kollaps had some interesting ideas hidden amongst way too much chaotic noise, this list would give me an album that flipped that imbalance on it's head. Absolutely amazing album. Besides the occassional and intentional breaks into harsher noise, which don't overstay their welcome, I cant really find any big weak link in this album's track list excluding Scooter/Jinx (which is just one of the already mentioned noisy feedback guitar breaks that bridges two other songs). All 3 of the main singer/songwriters provide great material. 9/10.

A longtime favorite of mine when it comes to 80s synthpop. One or two songs might not have aged too well (lol Sex Dwarf) but it still remains a fun and enjoyable listen. Marc Almond's sleazy and/or depressing songwriting has the perfect backing of either somber or ironically upbeat arrangements, provided by a cheesy but endearing setup of early 80s synths and a drum machine. Not to strictly pigeonhole them into the descriptor, but as part of that demo myself I do find them as one of the best gay male artists in their genre/time period, right up there with Erasure and Frankie Goes to Hollywood. If you enjoyed this album their follow-up, The Art of Falling Apart, is also just as good. 8.5/10.

The album is at it's best when the songs are played fast, and at it's worst when they slow down a bit. I don't really care for David Lee Roth's vocals, but the Van Halens and Mike Anthony can play some good stuff when they want to. Really enjoy "I'm The One" with it's cheesy but endearing swing rhythm. One of those albums that, while historically significant, kind of pales in comparison to some of the many bands it would inspire afterward going into the 1980s. 7.5/10.

Very enjoyable sample based hip-hop/trip-hop. Big fan of all the keyboard and string sounds used throughout, like "Organ Donor" building off a really cool Farfisa organ taken from one of Giorgio Moroder's albums. 8.5/10

While a respectable album without any total stinkers, I just can't really find anything that wows me. Guess I'm just not really here for softer, country-tinged rock, especially when compared to the louder, more bluesy sound I previously knew them for via the '69 Live/Dead album. 7.5/10

Fun mashup of alt. rock and trip-hop influences. Enjoy the bass guitar and all the neat sampling and synth work. 8/10.

Conflicted on if I want to call this punk rock or some weird power pop record. Either way a fun listen, the singer sounds like if Jello Biafra came out of the UK instead of the US lmao. 8/10.

Neat little psychedelic melting pot of pop ,rock and other ecclectic musical influences. Kind of meanders in the middle, but songs like "Default" and "Silver Rays" are good earworm material. 7.5, maybe an 8/10.

For the first half this is an alright ska album, but the sudden nosedives into the more lounge/muzak influenced material don't really do it for me. 6.5/10.

I can see why this was Dylan's breakout album, hes got skill on the guitar and his voice is nice. However, I like my barebones guitar-only folk to be either a bit sadder or more biting in it's political themes (such as Phil Ochs' work going into the second half of the decade on "I'm Not Marching Anymore"). 7/10.

Enjoyable house music, although what was, at the time, breaking new ground sometimes comes off as just a chore to listen to nowadays (could definitely stand for less of the cheesy vocal samples). "Red Alert" and "Being With U" are standout tracks for me. 7.5/10.

Insanely good album. I was already familiar with Bernie Worrell and Bootsy Collins (through Worrell's work with the Talking Heads, and Collins just by reputation as a bass guitar legend), but not really listened to much from the P-Funk collective beyond Maggot Brain and some of Mothership Connection. The grooves and solos throughout this album are so damn good, I can just completely look past the often nonsensical lyrics. 9/10.

Great listen. I love the cheesy samplings of martial arts films and I can't think of a single song with a weak beat behind it. Even my lily white ass, only having barely dipped my toes into the world of hip-hop, can see how influential this record likely is to the couple artists I have listened to before. 9/10.

This makes the first reggae album I've given a listen to now, and it pleasantly surprised me. The band can lay down some nice grooves, and I'm a fan in particular of the how core the bass guitar is in the mix. 8, maybe an 8.5/10.

While not my favorite album to come from the 60s psychedelia scene, still a fun album that effortlessly blends more folky influences into the popular sunshine/soft pop of the day. 8/10.

Not terribly huge on this kind of "Big Music" brand of 80s "folk" rock (AKA glossy 80s pop rock with some acoustic or clean electric guitar). Regardless, I don't totally hate the album given that most of it just sounds like an Australian knockoff of Simple Minds (who I do enjoy). The issue with this comparison though is that nine times out of ten I'd rather go listen to a Simple Minds record instead, and I don't feel like I'd miss anything important doing so. 7/10.

Essential jazz listening, even if you only stuck around long enough for Side A. Joe Morello and Paul Desmond are the real highlights here on drums/saxaphone respectively, and Brubeck himself has some great comping and vamps that really put the "cool" in "cool jazz". 9/10.

Not sure this one will be subject to a lot of repeat listens, but it's enjoyable enough despite not usually being into overly saccharine/twee pop. Peak Softboy Music(tm). 7.5, maybe an 8/10.

Soft country rock usually isn't my thing so I can't really drum up any glowing compliments about it, but still an enjoyable listen. Also saved for me by the fact that Emmylou has a nice singing voice. 7.5, maybe an 8/10.

Essential jazz fusion, especially for those usually more inclined towards rock or funk music (the latter of which is a heavy influence on this album's sound). As one of the synth vanguard of the 70s, Hancock works in some cool synth parts alongside his electric piano, and his backing band are all great as well. 9/10.

80s art pop classic. Production is very dense/reverb-heavy but works in favor of the songs here. I love all the various synth string arrangements scattered throughout almost every song. Not as overly experimental as "The Dreaming", but Bush can still write some eccentric but catchy songs on this album as well (Waking The Witch, most notably). 9/10.

Given the fact that I think Joni Mitchell is a fucking racist weirdo (just look up her history with blackface), it makes it all the more heartbreaking that her early albums like this and Hejira are actually really good. Woman's got definite songwriting skills when it comes to soft, jazz-influened folk rock, and her studio band sound great (her electric piano player in particular has some great parts). 8/10.

Some of the songs are a little too out there lyrically for me (Da Bitchez is just comically funny with it's wierd ass misogyny), but still overall not too bad. Nice beats and interesting choice of samples. 8/10.

(Review based on the 90s CD version I used to own/still have a rip of, which I believe has an expanded tracklisting from the original vinyl release.) Classic live album. A couple songs are kinda whatever (Substitute/A Quick One), but the rest of their hits sound great with this hi-gain, hard rock live sound. The covers of the band's R&B favs are decent enough as well, and the jam version of Magic Bus that closes out the album is a personal fav. Kinda wish the stereo mixing wasn't so extreme, I love Entwhistles bass but the album sometimes sounds weird to me given that it's not closer to/right in the center of the mix. Sucks though that, like the Joni Mitchell album I also got this week, this is another album i gotta try and separate from the artist (lmao Pete Noncehend). 8/10.

It's just *fine*. Another album that I'd classify under "decent enough listen while alone but probably way better of a listen in an actual club setting". Some catchy electric piano/organ loops are really all that catch my attention here. 7/10.

Really enjoy the jazz influence that Fiona brings to what turned out to be a nice 90s pop record. Kind of gets a bit too soft for me sometimes going into the 2nd half, but still a nice listen. Really like the piano vamp/riff on The First Taste, and Shadowboxer and Criminal definitely earned their slots as singles. Hearing Mellotron strings on an album is also always appreciated, one of my favorite sampled instruments. 8/10.

One of a handful of "sad music for sad boys" albums that's actually pretty damn good. Great balance of softer chamber pop and louder, more straightforward indie rock. 8.5/10.

Doesn't wow me as much as the Funkadelic records I've listened to (from what I understand this was meant to be George Clinton's more commercial/safer name to release under?), but that isn't to say it's a bad album: it still grooves and it still brings the funk. Always a treat hearing the bass guitar and keyboards that get featured on these P-Funk albums.

Album that likes to genre hop a bit, but sticks the landing really well for the most part. Fan of the more rock oriented tracks which have great hooks. 8/10.

Not generally a fan of this kind of 90s alt. rock, but I can respect it. "Satin Down" feels like a weird Iggy Pop/Stooges outtake to me at times, which is the only standout moment I can remember after repeated listens. 7/10.

Not really my favorite band ever, given that they kinda earned their reputation as some of the safest yet still popular pop rock, but this is still easily their best album. Clocks is definitely a guilty pleasure all-timer pop song for me. 8/10.

I'm already a fan of Simone from her "Sings the Blues" album, and this one also wowed me. Gold standard of 60s blues/R&B, absolutely in love with her voice and the arrangements on each song. "Four Women", her only self-written song on the tracklisting, is a definite standout here. 9/10.

That good funky soul music. Constant good vibes and I love the keys and guitar, but at the same time a couple repeat listens failed to leave any big lasting impression on me. Solid 8/10, maybe a 7 if I was in a bad mood.

Very good stuff. Chrissie Hynde is a great songwriter, and I'll always have a soft spot for that certain singing voice a lot of women in rock had in the late 70s going into the 80s (ex. Patti Smith, the Wilson sisters/Heart). I also have a very soft spot for the chorus-heavy guitar tones of the same time period, which both Hynde and Honeyman-Scott deliver in spades. 9/10.

I'll admit up front I really don't care for this band already (Sweet Home Alabama is a grating single), but while this album isn't unlistenable or totally offensive it really does not click with me. If I want to listen to Southern US blues rock, I already enjoy the Allman Brothers Band and do not feel I'm missing much by not exploring Skynyrd's discography further. 6/10.

Kind of goes in one ear and out the other, another album that goes harder in The Club(tm). I do really like Narayan and Firestarter though. 7.5/10.

While it didn't really wow me in any particular way, Dennis is still a respectable songwriter. Sucks that, like Brian, he also had a pretty fucked up personal life. 7/10.

Probably the best Dylan album this list has served me so far, his voice and songwriting work much better for me with a full band arrangements. 8/10.

Gold standard dream pop album. Intelligible lyrics take a backseat and are more focused on the vocal melodies that bring all the dreamy guitars, keys, and drums together. Pitch the Baby has always been a favorite song of mine if only for that amazing chorus-drenched bassline. The bookend tracks are also standouts for me. 9/10.

I cannot wait until Eric Clapton fucking dies. That said, this is the single album he's involved with I have actual nostalgia and a soft spot for, and it's mostly due to the fact Jack Bruce is a GOAT bassist/singer of 60s psychedelic rock. Ginger Baker is a capital C Character of rock music in himself and is also in top form. "Sunshine Of Your Love" is a radio classic, but I also love "Dance The Night Away" and "Tales of Brave Ulysses" 8/10.

One of *the* concept albums/rock operas of '70s rock. While alot of the tracklisting can come across as filler (in my opinion, the film adaptation is a much better realization of Water's vision because of this), they don't overstay their welcome too long, and even divorced of context the biggest hits from this album (Another Brick in the Wall, Comfortably Numb, Hey You) can still go hard for an inattentive listener. Just on the whole a very deeply angry and bitter album. I don't know when Roger Waters originally came up with the concept of the titular, metaphorical Wall to write the album's narrative around, but he uses it to vent many deep grievances he carried growing up in post-WWII Britain. Not hard to see why Waters was so deeply resentful of a conflict that stole his father from him. Other targets of hatred include the systematically abusive post-war British education, and the rising fascism of a Britain that ironically claimed superiority for having defeated Nazism. It's kind of silly that I feel like I could type another couple paragraphs to defend the album from those who engage with it on the most shallow level and deride it as "we live in a society" junk, a critique which I could give leeway too if some of the loudest people shouting it are idiots like Doug Walker. 8/10.

Been awhile since I both saw this film and listened to the soundtrack on it's own. At this point I think the soundtrack is far, far more popular than the film itself and it's not hard to see why, given the great blend of funk and soul music Mayfield provides here. 8.5, maybe 9/10.

I'm not really as obsessed with Rundgren as I used to be a few years back, but this is still a really good album. Unfortunately it can feel at times like the record fell victim to the curse of a double LP being burdened with filler, as besides the smash hit "Hello It's Me" the rest of Side D falls very, very flat. That said, the rest of the album is a very fun journey through a ton of different flavors of 1970s pop rock, "Couldn't I Just Tell You" in particular will never get old. 8.5/10.

I don't really listen to contemporary R&B at all, and this was probably one of, if not THE best introductory album to it as someone who would call more "prog/progressive" genres his favorite. It's psychedelic and progressive/art pop leanings always kept me guessing throughout my 1st listen, and definitely earned a couple repeat listens after. Suite II is just a non-stop rollercoaster with 2 different multi-track runs that I adore, and Suite III is no slouch either. 9/10.

Fun disco-ish europop. Already knew Dancing Queen, of course, and there wasn't any track that let me down even if it is kind of just junkfood music. Love the synths. 8/10.

A neat performance of what I assume must've been alot of the popular standards of the 50s. Unfortunately time has not treated the material well and, while played and sung well (Vaughan does have a great singing voice!), it doesn't wow me in any particular way. 7/10.

Pretty cool album. I assumed this would be a bit more by-the-numbers alt. rock but the band get's pretty creative with the songwriting. Matt Bellamy's got some killer riffs, but his voice still needs to grow on me a bit. Chris Wolstenholme is easily one of the best bass guitarists of 2000s alt. rock. I now can see why during a period where I was obsessed with Dream Theater, their song "Panic Attack" was derided as a Muse ripoff. 8.5/10.

Really creative sampling here with all of the 70s rock tracks used, and just off this album I can see why 808 beats are a backbone of hip-hop for a reason. 8.5/10.

The first few tracks are pretty good, but the rest doesn't impress. I love The Jam, but I struggle to see what makes a Paul Weller solo album important enough for this list besides charting at #2 on release. 6/10.

Nice choice of an album to show off probably *the* musician who helped popularize the Hammond/electric organ in the late 50s and 60s. Real nice blend of soul and jazz music, and full of tasty licks and smooth solos. 8.5/10

Not my thing, but still a neat peak into pop music coming out of Northern England in the 80s. I hope their other 2 albums are worth the spots they have in this book/list though, because this album alone hasnt really sold me on them. 6.5/10.

A bit too old for my musical tastes, but I'll be damned if Sinatra's voice isn't legendary for a reason. 7/10.

Exactly what it says on the tin, just nonstop songs about murder. The songwriting likes to flip-flop alot from really dour and depressing to being more tongue in cheek, which is good because god damn I don't think I could make it through a whole album of songs like "Kindness of Strangers" without just getting really depressed. I do wish "O'Malley's Bar" was trimmed down a little, the 14-minute runtime had me just wanting the song to end by the end. If nothing else I'm glad I got to hear "The Ballad Of Robert Moore & Betty Coltrane", it rules. 8/10.

The slower, more crooning songs kind of bounced off me during my first listen, but the more straightforward blues rock numbers made a good enough impression I can see myself warming up more to those slower songs if in the right mood. Really love the piano and electric organ whenever present. I just hope the whopping 4 other albums by Waits on this list don't disappoint. 8/10.

Starts off a bit slow but really started popping off by the end. Some of the lyrics can be hit-or-miss for me, but the production is amazing enough to carry those weaker verses, real big fan of the jazz-heavy selection of samples used. I'm very, very glad that a song titled "The Infamous Date Rape" did not turn out to be as bad as I would've expected by the name alone. 8.5/10.

Never listened to any sort of popular music from Brazil before, and this was a really good introduction. The reverb heavy production gives even the barebones acoustic guitar tracks an almost, for lack of better words, proto-dream pop quality at times. I think another reviewer compared it to Melody's Echo Chamber? And yeah I can see the comparison. I just wish I knew a lick of Brazillian Portugeuse, because that language barrier is the one thing keeping me from fully enjoying the album. But even without knowing the language, the vocal melodies are superb throughout. 8.5/10.

An extremely avant-garde album that I thought would repel me on first listen, but it's got a certain charm about it I can't shake even if the album isn't gonna make me an instantly devout fan anytime soon. I've got a softspot for bands that refuse to set up shop around one specific sound, and The Residents definitely fit that bill. This feels like the missing link I never knew about between 60s experimental acts like Zappa or Cpt. Beefheart and 90s alternative rock bands like Ween or Primus. If I gotta pick standout material, I was charmed in particular by the weird soul jazz homage of "Booker Tease" and the weird bell instrument arrangements of "Disaster". Constantinople is also a fun single/album opener, being the only song remotely close to being considered "conventional". 7/10.

I'm a little picky when it comes to what I want out of a 70s glam rock band; usually I just gravitate towards glam-influenced power pop that popped up later in the decade. Regardless, this is still a neat little time capsule to show off one of the genre's pioneering acts as they transitioned from folksy psychedelia to flashy hard rock. Get It On is a classic rock staple for a reason, its far and away the best song here. 7/10.

I don't know who was ultimately responsible for most of the production duties here between Lennon, Ono and Spector, but it just falls flat. "I Don't Wanna Be A Soldier Mama", the worst offender, sounds like it was recorded in a tin can, and not in any creative or endearing way. Phil Spector already makes my skin crawl knowing all the horrible shit he got up to in his private life, but if this is the product you'd get by letting him in your studio post-1960s (his limelight era), I'm not impressed. Lennon's songwriting is the only thing keeping this from being a total flop because there is some decent material underneath everything that would make a decent 7/10 album with a better producer. The title track is a funny staple of classic rock, also funny that he wrote an entire track getting mad at Paul McCartney. You know the arguments those two had would've been funny as fuck to listen in on back in the day. 4, maybe a 5/10.

I can never truly hate this kind of 90s britpop. However, even with really good instrumental songwriting and production, the lyrics needed another draft or two at times. I'm not on the UK side of the pond, but I can see why this was probably a milestone album over there for a country slowly starting to move away from Oasis and Blur dominating the pop rock charts nonstop, but still craving that same sound (the Oasis influence in particular is all over this one). 6.5, maybe a 7/10.

I don't know why I can't seem to find a whole lot of words to describe why I like this album, but I just do. This flavor of post-punky alt rock just hits for me I guess? 8/10.

While Tommy and Quadrophenia are the band's most ambitious efforts, this is their best studio album imo. Noncehend's guitars sound the best out of any Who record I've heard, and his addition of synthesizers to the band's sound lands really well. The rest of the band are no slouches either, Daltrey's voice is still excellent and Entwhistle and Moon have great basslines/drum rhythms. While Entwhistle is a legendary bass guitarist, his songwriting could still use some polishing up given his one songwriting contribution, "My Wife". 8.5/10.

Not really much of a big Van Morrison fan; his work just never really made much of an impression on me and his voice is a bit of an acquired taste. That said, he definitely sounds far better here, with a full backing band, than any of his studio efforts I've heard. 7/10.

I'll begin by saying I write this from the biased perspective of someone who considers Deep Purple one of their favorite bands/musical influences. Even if you aren't a fan of the band, I would argue this album is important enough to be present on the list/in the OG book due to kickstarting the "Anglosphere band records a live album in Japan for publicity/novelty and sells gangbusters internationally" trend of the 1970s, a fad which became even bigger once Cheap Trick would release "At Budokan" at the end of the decade. However, this album is also honestly really only going to land well for those already familiar with the material here; I can't see people coming in blind having a totally enjoyable listen. I really only revisit this album when I've just listened to Machine Head and want to hear the hits from that album but with different, usually longer solos/jam sections. Despite sounding pretty good despite the absence of overdubs, I do still have personal issues with the mix. Roger Glover's bass is either too fuzzed out or barely audible beneath Blackmore and Lord's guitar/organ most of the time. TL;DR great album for those already fans of the band, and historically significant for the fad it helped start, but it's not going to win any new fans of the band in 2026. Just listen to Machine Head or In Rock. 8/10.

Not entirely my thing, but still a neat slice of early 2000s pop. Interesting to learn what album it was that spawned "Beautiful", one of the biggest radio earworms I had to endure entering my early teens in the 2000s. 7.5/10.

Enjoyable punky new wave. Songwriting is tight but suffers from a rather thin production; I can hear the bass guitar fine and that kick drum is definitely there, but the version i'm listening to has like no low end in it's mix. "We Got the Beat" is a classic single, and I've used it as guitar and bass practice many times over. 7.5/10.

If I was still in high school I'd be giving this a 10/10, but after over a decade it's deprecated a bit given my current musical tastes. All said though, still enjoyable. Noel Gallagher had a knack for writing some really damn catchy riffs, and I can still enjoy Liam's nasal "I wanna beeeee John Lennoooooon" voice. Just wish the actual lyrics Liam was singing weren't nonsense half the time. 7.5/10.

I feel like this album finally made sense for me, regarding the incredibly 80s production, when I read that her first single was written on a Casio keyboard using autochord. Sonically the album is in fact incredibly dated, but as someone who enjoys cheesy synths of the late 80s/90s it isn't a dealbreaker here. However, the songwriting just isn't clicking for me. I'll admit I'm not equipped to relate to the maternal themes that make up most of this album's lyrics, but I still gotta say they are not doing it for me. The particular standout in this regard was "The New Generation", a song that made me do a double take and go find a lyrics sheet to read due to coming off as what I can only describe as a weirdly natalist screed. Album also isn't helped by the fact that while she has a good voice, her delivery/flow does not do the extremely dense lyrics any justice. There are cheesy albums of this era that stood the test of time but this isn't really one of them, in my opinion. 4.5/10.

Honestly pretty good, given I didn't really know what I should expect beyond knowing this album had "Smooth Criminal". The FM synth heavy arrangements are nice and nostalgic, but can be a little dated at times. I guess at the time he dropped this he still earned the right to hold on to the "King of Pop" title, but this one doesn't impress me nearly as much as Thriller did. 7.5/10

Neat snapshot of The Who when they were part of the '60s British Invasion. Kinda proto-punky in a way at times. The title track will honestly never gets old for me, but overall the band still had a ways to go from here sonically. 7/10.

Favorite album from one of my favorite bands. An eccentric blend of new wave, punk, soul, funk and even country music that just lands perfect for me. Tina Weymouth's bass guitar on this album was a big influence when I was learning to play the instrument, especially on songs like "Artists Only", "The Girls Want to Be With the Girls" and the cover of Al Green's "Take Me to the River". 10/10.

Solid album, but unfortunately has the biggest stink of objectivism/libertarianism out of all the bands' records given the physical LP has a shoutout to Ayn Rand (thanks I guess, Neil Peart). Even ignoring the cringe political elements of the album, I still would've chosen another early period Rush album for this list like Hemispheres or Farewell to Kings which are far superior sonically and lyrically. Any misgivings aside I have about the album though, it's still got killer riffs and solos aplenty. If you're a prog rock nerd you'll still find *something* to appreciate here. 7.5, maybe an 8/10 on a good day.

Exceedingly English folk rock, which the band would later perfect on their next album (Liege & Leif). Despite being a bit of a transitory album, still quite enjoyable. Sandy Denny has one of the best voices in folk rock. 8/10.

I've listened to Fifth Dimension many times over, but I guess I was sleeping on this album a bit too hard. McGuinn's wannabe Dylan singing voice fits nicely with this psychedelic sound they were experimenting with at the time, and the guitar work is cool stuff. 8/10.

Another album I would have given a 10/10 many years ago, but has deprecated a little bit coming back to it with fresh ears. Side A's two big tracks are the real standouts here, and while Side B doesn't wow me like it once did, is still solid material. Chris Squire was *the* reason I picked up the bass guitar and started teaching myself how to read and play music, and "Yours Is No Disgrace" was one of the songs he played on that fueled that interest. 8.5/10.

Not my favorite of his, but it's not surprising to see it included with 3 other Stevie Wonder entries on this list. Very nice soul music with then-cutting edge synthesizers that Wonder became famous for incorporating into his songwriting. 8/10.

Haven't listened to The Beatles in a hot minute, but overall this album still holds up as 60s psychedelic classic. Losing my mind though at the John Lennon wife-beating lyric on "Getting Better". 8/10.

One of their best albums, featuring one of their best lineups. Wetton and Bruford in particular were generational pulls on behalf of Fripp; I'm not surprised they were the last to go during this period (Bruford even coming back during the bands next incarnation in the 80s). Constantly veers back and forth between rather eccentric, improv-heavy jamming and screeching heavy metal riffing. Worth a listen just for both parts of the title track alone. Listen to 1974's Red if you enjoyed this record, it's the magnum opus of this era of KC. 9/10.

While later becoming famous for their britpop outings, the Richey Edwards era of this band gave us this nice slice of punk rock. I'm indifferent on the very bitter, tongue-in-cheek lyrics from Edwards, but sonically this album has kept me coming back every once in awhile just for all the cool riffs throughout. Shame Richey literally vanished off the face of the Earth after this. 8/10.

Production is pretty muddy (kind of a given for early British punk I guess) but the vague "psychedelic punk" sound from the creative use of a transistor organ make this a a fun listen. Enjoy the bonus track featuring Lemmy on bass as well. 8, maybe an 8.5/10.

Everytime I put this album on I keep going into it thinking "I like P-Funk a bit better when they entered their synthesizer era, I think" but then still get blown away regardless. The slow burn guitar solo that makes up the title track is a classic, and "Super Stupid" will never leave my favorites/shuffle rotation. I first got into this a few years back because Dean Ween sang high praise for Eddie Hazel's guitar work on this album, and after giving it a listen I understand why. Banger funk album that for me is definitely worth the re-listen every few months. 9.5/10.

Really cool stuff. Hard to find a specific adjective to describe the album as a whole; constantly goes back and forth between slow, ambient psychedelic droning and fast, "motorik beat" (?) driven that I'd almost describe as proto-punk or even a precursor to post-punk given the use of synthesizers. One of the bands I'm glad this list finally got me to listen to, given that I'm already a fan of the band's contemporaries like Can and Kraftwerk (the latter being the group they broke off from). 8.5/10.

"What if REM was a post-hardcore band?"

I still can't wait until Eric Clapton fucking dies. That said, I must begrudingly accept that this album isn't that bad, although I'm still torn on if it's because of Clapton's songwriting or the fact that I just hold Duane Allman in high enough esteem that his involvement salvages the album for me in some small way.

I'd actually listened to this for the first time a month or two ago before starting this challenge. As a lily white man I'm definitely looking in from the outside when it comes to the lyrics here, which are written for black Americans and no one else. Despite having trouble relating to the lyrics, Kendrick's flow is amazing, along with the songwriting and production in general. Seems like every other track had some beat, synth or other unexpected instrument dropped in that wowed me. 9.5/10.

I can sympathize with those who call this as their favorite Heads album, but unfortunately the often muddled production really puts a wrench in things for me personally. Still has some absolute bangers though like I Zimbra/Life During Wartime/Memories Can't Wait. 8.5/10.

While this album isn't helping the author's UK-bias allegations, I actually enjoyed it a decent bit. Kind of reminds me of Scottish Talking Heads with it's funk/reggae-heavy new wave sound. Will probably come back to this for more listens down the road. 8/10.

Another artist I'm glad this list got me to finally give a proper listen to. Franklin has an absolutely legendary voice and I'm a real big fan of the faster tempo tracks here. A definite gem of late 60s soul music. 9/10.

Competent enough 90s "slacker"/alt. rock, but even some of the tracks that should grab me just make me wish I was listening to better bands. Susan's House in particular just makes me want to turn the record off and go listen to Soul Coughing instead.

Just hook after hook, an album that deserves it's rep as one of the most influential cuts of late 70s rock. Side A in particular is just a perfect run of songs. 9/10.

Another cool 60s psychedelic pop/rock album. I've admittedly got a soft spot for albums like this where a band makes very liberal use of the then-cutting edge Mellotron, I just love it's lo-fi string samples. 8/10.

A lot of the written lyrics are pretty forgettable, but Snoop 's rapping still sticks the landing, and the Dre production on this album is insanely good and what saves this album overall. "Murder Was the Case" is the real standout here for me. 8/10.

Very cool moody, jazz-influenced folk tunes. Jaco Pastorius' contributions are a highlight here, man was a master of knowing when to employ bass harmonics and had a great fretless bass tone. Gotta dock a star though solely because Mitchell's obsession with blackface still poisons my perception of her work anytime I try to relisten to it. 7.5/10.

Probably the first pure house album so far able to keep my focus. Expert example of an album that's basically all samples 8/10.

I got respect for Queen just off of a lot of their hits, but this album in particular just aint fully hooking me. Yeah its got 2 of their biggest hits but I just can't lock in with half the songs here regardless if they have a solo here or a cool idea there. I've listened to a couple albums of their in the past (Sheer Heart Attack, News of the World) that I remember enjoying a lot more overall. 6.5, maybe a 7/10.

Might be overrating this one a little just because it's been a staple of my music library for many years, but I just really love this particular blend of funky, dance-influenced psychedelia. the bass guitar and keys in particular are great stuff. 9/10.

I'm of the opinion that Jim Morrison is a little overrated in the pages of rock history. I just never fully locked in with whatever vibe he had going on. Putting Morrison aside though, Ray Manzarek has been one of my keyboard heroes for a long time; his organ and piano make up the backbone of the band's sound on most songs and I'm here for it as the big reason I come back to this band at all. 8/10.

Easily one of the best heavy metal albums of all time, and a great representation of the "New Wave of British Heavy Metal". Really helps that the production here is the best of their earlier albums, with the guitars sounding crystal clear and still leaving room for the bass to cut through when needed. The albums that came before and after this can often sound a little muddled in comparison to what's on this release. The title track and "The Prisoner" are my personal standout picks here, with the only one I would call a dud being "22 Acacia Avenue" due in part to it's kind of frankly shit lyrics. Even so, that song flies by without issue for the most part thanks to the riffs and solos doing some real heavy lifting. Still keeps it from reaching a truly perfect score in the end, though. 9/10.

Heartbreaking: A noted sex pest made enjoyable industrial rock in the 1990s. 7/10.

Nothing particularly wowing me, but still a solid post-punk album all around. I enjoyed the effects-heavy guitar and bass throughout, and Smith's broody/whiny voice fits the mood. 8/10.

Feel like I would need to give this a few more listens than I already have to fully take it in, but regardless it's good power-poppy new wave. 8/10.

Some great covers weighed down some not so great ones, but overall definitely a legendary farewell album. Even on the songs that don't land as well as others, Cash's legendary voice still saves the day. 8/10.

First time listening to this particular record despite listening to "Crocodiles" and "Porcupines" many times over a few years ago. I much prefer their earlier, guitar-centric brand of post-punk compared this; just not totally into this band's particular useage of string arrangements. 6/10.

A lot of artists in the 80s really needed to have the word "faggot" taken from them and placed high up on the shelf. Even if used in a "Money for Nothing 'Scumbag POV'" way it still weighs down what is probably the best song on this album (Fairytales of New York). That aside, I don't think I would've needed a Wikipedia article to tell me this band was unabashedly Irish. 6.5/10.

Puts the art in art pop. Really enjoy the choice of 90s synths throughout. Will be giving this repeat listens soon. 8.5/10.

I have a hard time getting into a lot of the Zappa canon somewhat due to not usually caring for his boomer brand of satirical lyrics. Albums like this and "The Grand Wazoo", where the focus is basically entirely on instrumental improv rock, are his best material for my own tastes. 9/10.

First couple tracks are pretty good, the rest was fine. 7/10.

Used to be a lot more obsessed with stuff like this, what I can only call "indie rock for the lads", back when I was coming off an Oasis/broader britpop obsession in high school. Nowhere near as passionate about it now but albums like this are still enjoyable, although this one kind of just kind of passes by without anything in particular standing out. Maybe I'm just not paying enough attention to the non-stop barrage of every hook and riff the band seem to have available to them when they recorded this. 7.5/10.

Asinine lyrics that are being carried like the burden of Atlas via Octagon's flow and well-produced beats. 7/10.

Goes hard, love the beats and Chuck D/Flavor Flav's lyrics/delivery. "When I Get To Arizona" is gonna be stuck in my head for a while, and the Anthrax cover that ends the album is a fun little oddity. 9/10.

The 1970s version of "DUDES ROCK!" music. Dumb as hell but also quite the fun listen. Interesting how close the band seemed to be to Blue Oyster Cult, given the involvement of Sandy Pearlman/Allen Lanier and the shoutout to Eric Bloom on "Two Tub Man". 8.5/10.

Gets a bit too butt-rocky at times for my taste, but not the worst out there. I like the bass guitar work, helped out a lot by nice production/mixing. 7/10.

Psychedelic blend of new wave and post-punk influences, fun listen. Another album that hooks me with it's electric organ heavy sound, and I'm also a fan of the trumpet arrangements on the songs that have them. 8.5/10.

One of the first big examples of what would be considered "progressive rock" and still one of the best examples of the genre 57 years later. The album's opener is the only instance of more "conventional" loud, fuzzed out rock, and then delves into much more jazzy, improvisational material that would became an influence for many bands that came after. Not too often you get a rock band accompanied by a killer brass and woodwind player in Ian MacDonald, and his use of the Mellotron's string samples makes this one of if not the finest album of the 60s to heavily feature that specific set of keys. Shoutouts to Greg Lake getting his big break here as bassist/vocalist before going on to form Emerson, Lake & Palmer, and for Robert Christgau infamously calling this album "ersatz shit" upon release (I still enjoy his work though <3). 10/10.

A great answer to the question "what if a Brit tried his hardest to sound like Dylan and played blues rock?". Even on this debut album Mark Knopfler was already earning his rep as a guitar legend. Good stuff. 8.5/10.

Feels like all of the really good stuff got crammed right in the middle of the tracklist, but I'm also just picky when it comes to grunge. Regardless, not hard to see why this is regarded as a staple of the genre. 8/10.

Penis Music (Affectionate). A lot of this kind of just kinda flies by for me, but "Human Cannonball" and "O-Men" in particular are fun tunes. 6.5, maybe a 7/10.

Not feeling this one *as* strongly as Apocalypse '91, but still a very strong debut album. Not hard to see why Public Enemy has 3 listings here. 8.5/10.

Way more of a challenging listen than Debut, but I dont totally hate it. Just will need several more listens for me to parse the songwriting and arrangement. That aside I'm kind of failing to see how this is included amongst the many Bjork albums already on this list. 6.5/10.