1001 Albums Summary

I believe this is the first Queen record I’ve listened to in its entirety outside of compilation albums, and I was pleasantly surprised by the consistency and layered thickness of the sound, which keeps building from the start and never quite loses momentum. It strikes a perfect balance between classic hard rock riffs, experimentation, and glam, while remaining an easy listen that never drags. The absolute standouts for me are the electrifying “Brighton Rock,” the rebellious anthem that is “Tenement Funster,” and the mysterious vulnerability presented in “In the Lap of the Gods.”. It is well worth a full listen.

This is one of the most influential hip-hop albums ever made. Everything that can be said about it has already been said in one way or another. I can only add that the immaculate production remains relevant even 38 years after its initial release. The only drawback is that the strongest tracks are concentrated in the first half of the record, and it tends to lose some steam in the second half. Nonetheless, it remains an essential album whose echoes can still be heard in the modern rap scene.

A seminal masterpiece that will forever have a place in the debate for one of the best metal albums of all time. James Hetfield’s personal songwriting, combined with some of the band’s most iconic riffs, spans from the defining singles that inspired the rebellious phase of countless generations to deeper cuts that still pack a punch, such as “The God That Failed” and “My Friend of Misery.” This feels like Metallica at their absolute peak.

On first listen, I noticed an inherent darkness in the lyricism, which explores some interesting territory and remains abstract without becoming preachy, while juggling themes such as existential dread, paranoia and guilt. It is scarily relevant years after its release, now even more so than ever before. Unfortunately, I didn’t find the delivery particularly convincing across much of the album, and I often felt sonically lost between its different concepts. I struggled to tell many of the songs apart. The two standouts for me were “Ocean of Noise” and “My Body Is a Cage.”

An amazing album with profoundly beautiful songwriting and great tunes. Gentle melodies and pitch-perfect harmonies accompany its poetic core. The record stays consistent throughout, and each song adds an additional layer to the themes of this deeply introspective work. If I had to pick three favorites, they would be “Scarborough Fair / Canticle,” “The Dangling Conversation,” and “Flowers Never Bend with the Rainfall.”

This is an interesting one. I appreciate the craftsmanship behind the album and how great it sounds, but for some reason I couldn’t connect with it as much as I wanted to. The standout track for me was “Visions.”

This album consists of two distinct parts. The first is a conceptual prog-rock odyssey that is fascinating to experience. While it isn’t entirely consistent throughout, it is ambitious enough to make for a fun and engaging listen. The second part introduces some interesting ideas that are more traditional than experimental, but they never feel like they drag. Overall, it’s a solid record with some compelling history behind it. The standout tracks for me are “The Temple of Syrinx” and “The Twilight Zone.”

It's become an annual tradition of mine to try to get into The Smiths. I have listened to most of their stuff and outside of few songs it just doesn't click for me. They seem to be a one-trick pony that can reach higher grounds whenever the stars align and all band members are engaged in creating a tune. In this album we have two standouts and fortunately they are back to back. The first one is "Last Night I Dreamt That Somebody Loved Me" which is the result of the aforementioned star alignment. The other one is the track that follows - "Unhappy Birthday" which is genuinely amusing. I can't for the life of me remember anything else and for the record, No, I stll don't like The Smiths. I guess we will try again next year.

People will listen to modern hip-hop and say that it’s experimental. If you haven’t listened to an hour’s worth of metal pipes, sewing machines, hammers, and drills, you still have a long way to go. This barely listenable record is the ultimate raw industrial experience. It's an interesting work that becomes progressively more challenging with each song - at least until my mind finally gave in and numbed itself. The standout for me was the song "Kollaps".

Fun story: yesterday I randomly listened to this album twice back to back. I also found myself wondering how I would rate it and when it might come up in the generator. I’m not sure how the daily algorithm works, but I started laughing when I saw it this morning. It got me thinking about probability. If we assume it’s entirely randomized, and there are currently 1,089 albums in total and I’ve listened to 9 so far, that puts the odds of pulling this one at around 0.09% - which is kind of insane. Anyway, this is a solid record to hear back to back. It defines its style from the mesmerizing intro and fully commits to it throughout. The album perfectly captures a very specific aesthetic. My three favorite tracks are "Intro" "Infinity", and "Night Time".

Coming off Rumours, Fleetwood Mac went in a strange direction. This album, considered the most expensive record at the time of its release, suffers from a bit of an identity crisis. It wants to continue the traditional Fleetwood Mac sound while also leaning into a poppier direction and experimenting with elements of new wave here and there. It tries to be too many things at once, and that shows in its length. It's not a hard listen, but it's hardly a consistent one. Most of the tracks are lyrically bland, circling around the same themes, and while they sound good and are well produced, the album becomes tiring without enough interesting turns to build momentum. There are still some good tracks, and it's not bad at all - it's just a bit exhausting. The tracks I enjoyed most were "Tusk", "Brown Eyes", and maybe "Over and Over".

A really smooth listen that demonstrates a different take on jazz. It’s funky, it’s bold, and it holds up until the very end. The whole record sounds timeless, and the lack of guitar is an interesting creative choice.

There are days for specifically designed for English rock. The gray weather outside predicted that it's the perfect time for this album. The punk roots were a fine sprinkle on top of everything else. It was a fun listen and even though it got a bit repetitive, it was still a pretty good soundtrack that made thing a bit warmer. My favorite tracks are "Cheat" and "Police & Thieves".

I wasn't in a mood for any new music today so I went a bit skeptical in this record. Reading that the lyrics were written on opium piqued my interest. The record sails along smoothly. It juggles multiple ideas but it manages to stay coherent. It's dancy, it's dreamy and at times even psychedelic. Most of all it manages to deliver some good tunes. To me the vocal performance fell flat at times but the entertaining lyrics and great melodies made up for it. The best tracks on first listen are "Loose fit", "Bob's Yer Uncle" and "Harmony".

I can't say I loved this album on first listen, but something in it really resonated with me. Maybe it’s the mellow lyrics, maybe it’s the wall of sound that mixes interesting distortion, post-punk vibes, prolonged feedback, and all sorts of textures happening behind the chord progressions. MBV were pioneers of the shoegaze sound, and you can hear why. I can see myself revisiting it because as soon as I finished it, I replayed a few songs that had caught my attention. It’s definitely moody in a good way. I absolutely despised the vocal delivery on the first track, but things became more manageable after that. The two songs that made it worthwhile are "Lose My Breath" and "I Can See It (But I Can’t Feel It)".

That album was quite something. I went in knowing nothing about it, and what struck me first were the interesting chord progressions and the immaculate guitar work. The two guitars weave interconnected riffs, each doing its own thing yet combining in harmony, supported by a mellow bass that holds everything together. It defines a bold sound and fully commits to it. The song structures aren't conventional, drawing inspiration from different genres to create something that truly stands on its own. I will surely be revisiting it. My only gripe is that the instrumentals outshine the vocal delivery by miles. My favorite tracks are "Marquee Moon", "Elevation" and "Torn Curtain".

Coming off the immaculate run of OK Computer, Kid A, and Amnesiac, along with their earlier records, Radiohead had already cemented themselves as a staple of the modern music scene. They had solidified their place in history as one of the most groundbreaking bands, so the spotlight was firmly on them to see what would come next. Even though this album isn’t in my top five Radiohead records, it’s still an excellent listen. It’s sonically rich, with an underlying sense of political disassociation and angst. It remains consistent throughout, with both the opening and closing tracks standing out as highlights. My favorite tracks are "Sail to the Moon", "Go to Sleep", and "A Punch Up at a Wedding".

A really bland album where nothing really stands out. It's just a bunch of random ideas that rarely combine into a coherent vision. The experimentation never really pays off. It was shallow and worst of all, it was a chore to get through. At times it feels like the creators were convinced they had stumbled onto something genius that only made sense to them when high. The worst part is that it's a bad album not because the music is terrible but because it's so uninteresting to endure. I will not be revisiting any of the songs but "Guys Eyes" is the one that I actively didn't mind for the most part.

It wasn't the most enjoyable listening experience but I can say that the production really stands out here. There's an underlying darkness found beneath the sound which is oddly modern. I couldn't really connect with the songs. After a while they start feeling dull and uninspired - more like underdeveloped demos rather than fully finished ideas. The song "Ghost Rider" is a nice opening as it sets the mood for the rest of the album.

I’m not the biggest country listener, so excitement wasn't my initial reaction when I saw it. But once I pressed play, something changed - after the first song, I found myself getting more and more drawn into the songwriting. There’s a sweet melancholy that pairs perfectly with the band's warm backing. Thematically, it stays coherent, even if the latter part becomes slightly repetitive. Still, Loretta Lynn's excellent vocal performance more than makes up for it. The best songs are "I Really Don’t Want to Know", "Tomorrow Never Comes", and "I'm Living in Two Worlds".

This is a review for the album Brothers by the Black Keys. This was the longest car commercial I have ever listened to. It is generic and unimaginative. While the production is nice, the songs themselves are uninspired. At times it sounds less like a cohesive album and more like a catalogue of songs created for ad agencies to choose from. If you have listened to one song from the album, you have pretty much listened to everything. Choosing a favorite song from this album is both hard and easy. Hard, because nothing really stands out. Easy, because the songs blur together to the point where it hardly matters. I'll randomly pick "I'm Not The One" and call it a day.

This immaculate album is yet another showcase of Radiohead’s depth and versatility. Every member of the band is in their own world, and the combined sound paints a vulnerable palette of emotions and rhythms. Starting with the opener "15 Step" and ending with the haunting "Videotape", it is a cohesive work of art that truly leads the listener to interesting places. Coming back to this era of the band is always a pleasure for me. Each time, I discover something new, and I feel there are still more pieces of this puzzle that will eventually fall into place. One thing I took away from this listen was how the song "Reckoner" lays the groundwork for what would later become "The Smile". I love most of the songs on the record, but my three favorites have to be "Nude", "House of Cards", and "Jigsaw Falling into Place".

This is the first time I come across this band and I was pleasantly surprised. The songs flow nicely into one another. The raw female vocals alongside the frequent tempo changes and the playful guitar riffs build up a particular atmosphere that develops with each song. The album is not afraid to try out some interesting stuff such as the folky segment in "Rabbits Dying". Not all songs work for me but I was amused by the bold mood swings that sometimes happen even in the same song. My favorite song is "Green".

A mostly consistent album that’s rhythmically delightful, with layers of instrumentation and grooves that lean heavily into R&B. While it’s enjoyable for the most part, it begins to lose some momentum after the halfway mark, and a few songs struggle to fully hold attention. The highlights for me were the opening track "Keep On Movin'" and the excellent midpoint cut "African Dance".

It's surprising that The Fall went on to have a career after their debut. This is a mostly forgettable blend of repetitive sounds that just doesn't hit the spot. The second part of the album improves slightly and there are some tunes that are okay. The album is not outright horrible or anything like that but I would describe it as "elevator punk" - abrasive in theory, yet background music in practice. The two songs I didn't really mind are "Underground Medecin" and "Two Steps Back".

That was a fun and cohesive record. It’s a pretty good debut that captures the raw, gritty sound of the 90s. I enjoyed how it progressed without ever losing steam, and it ended on a high note. The simplicity of the lyrics completes the picture perfectly. If anything, the album has fun with its sound and songwriting without trying to break new ground and it excels because of that. The standout tracks for me are "Lose It", "Strange Ones", and "Time to Go".

An overall enjoyable collection of psychedelic sounds and melodies. The composition shines more than anything else on this album. The songs flow nicely into one another, making it an alright listen - especially the first half. The intro, in particular, grabbed me. That said, the album never truly moved me. I suppose I will try again some day, but as a whole it didn't manage to convert me into a Beatles fan. I have tried multiple times, and while I fully recognize how their legacy shaped music, I can't say they are among my personal favorites. The best tracks for me were "With a Little Help From My Friends" and "Within You Without You".

This is a deeply introspective album that works more as a coping mechanism for handling grief rather than a truly coherent musical piece. The sound is generally surrounded an ongoing ambience and rather minimalist instrumentals. There is nothing flashy about them and they are mostly following a loop-pattern without really progressing. It makes the listener feel stuck in a state from which there is no going back. This all builds up to the final song which sounds cathartic to a way. What shines here though is the songwriting. It is melancholic and moving. It's not an easy listen. The second part of disc one is especially challenging to get through due to the way that tracks blend together. The standout track for me is definitely "Hollywood" by a mile. It definitely ties the album together and sticks a magnificent landing.

This debut album turned out to be one of the most influential rock records of all-time giving the start to Led Zeppelin. It is consistent and it combines blues and rock in a way that would echo through the years. The songs are bold, sexy and timeless. Listening through them is a breeze and they can really make you move. You may also start feeling like the main character of a novel from the 20th century. My favorite track is "Babe, I'm Gonna Leave You".

I have always viewed this album as a journey. I remember listening to it for the first time years ago when I was at university. It was well past midnight, and I was sitting alone in my dorm, blown away by the variety of sounds and quietly contemplating my life. I don’t revisit it often, but whenever I do, it instantly brings that memory back. It truly feels like an immersive sonic odyssey. The standout tracks are "Moonage Daydream", "Starman" and "Ziggy Stardust".

Once again I have the same feeling as before with Stevie Wonder. I appreciate the craftsmanship and the tunes. It is executed to perfection. That being said, I feel that throughout its runtime it juggles with the same themes musically and at some point it starts to drag. It is influential but at the same time I can't really connect with it. The tracks I liked the most are "Have A Talk With God", "I Wish" and "Pastime Paradise".

I just found out that Bob from Fight Club actually has a secret life as a rock star. While my brain is trying its best to process this information, I can say that this album has a grand sound that mimics a rock spectacle. It has a lot of soul and it just sounds good. It doesn't rely on typical song structures and it does its own thing. One downside that stands out is that songs tend to drag a little, but overall it was a pleasant experience. My favorite tracks are the opening "Bat Out of Hell" which sets the tone perfectly and "Two Out of Three Ain't Bad".

After a promising start with some back-to-back pop bangers, the album quickly loses momentum and begins to feel more like a product trying to cater to multiple audiences. This is reflected in the mixed messages throughout the record, jumping from songs about women’s independence to others that seem to contradict that sentiment. In many ways, it feels like an album built around five juggernaut pop songs surrounded by too many filler tracks, causing it to drag on longer than it should. I still enjoyed the undeniable pop anthems "Independent Women, Pt. 1" and "Survivor", which even after all these years haven’t lost their edge.

I am always up for an album that isn’t afraid to commit to a particular sound and stick with it. That is exactly the case with the self-titled album by The Velvet Underground. There is a specific kind of melancholy that can be felt from the very first note. The lyrics are introspective and vulnerable, and the musical flow throughout the record is excellent. I also like how it subtly blends genres while remaining consistent in tone. The tracks that stood out to me are "Candy Says", "I'm Set Free" and controversially enough "The Murder Mystery". The latter has been stuck in my mind. While the execution of the idea of having two parallel vocal tracks may not fully pay off, is it so unusual that I can't help but find it fascinating.

This album came out during a run of nonstop successful records for The Rolling Stones. In my mind I see Mick Jagger just smiling and confidently knocking it out of the park. The vocal delivery is seductive, the melodies are confident and the sound is everlasting. Right from the start I was hooked and it never really let me go until the end. The range is also quite impressive, it contains blues, country, and even some gospel elements, all culminating in a great rock album. My two favorites are "Rocks Off" with its subtle introspection and an unexpected psychedelic turn halfway through, and "Torn and Frayed".

I enjoyed the mellow vocals a lot. It started off strong with a solid production. One element that was especially cool was the subtle elements across the songs. For example the great guitar licks that filled certain gaps. They weren't in the spotlight but really elevated some songs by making them more layered. Unfortunately, I felt that the album starts to drag in the second part. There is a very good album here but it is also padded and the themes can get repetitive. My favorite songs are "I Feel The Earth Move" and "Way Over Yonder". The trumpets on the latter were especially great.

I’m not really big on ABBA. Their sound is instantly recognizable, but the music just doesn’t connect with me. On one hand, there are the songs that have been played to oblivion, and on the other, the deeper cuts that rarely get talked about. I was more interested in exploring the latter. The lyrics can feel a bit all over the place, though it all fits within that seminal ’70s disco-pop sound. The best tracks for me were "Dancing Queen" and "Happy Hawaii".

A day before listening to this album, I found myself thinking about Cohen and even had a conversation about him. I almost knew this would be my next pick. Sometimes music feels like poetry. This is one of those cases. It is beautiful, emotional, and connects on a deeper level. At times it feels almost dreamlike; at others, it is grounded and raw. It is an astonishing debut that begins a decades-long exploration of the human condition. Almost every song shines, making it difficult to choose favorites. I’ll go with "Suzanne", "Master Song", and "Stories of the Street".

This album can be looked at as two distinct parts - the title track and the five songs that precede it. I found myself much more invested in the build-up, as the nearly 20-minute centerpiece didn't fully land for me. The first half consists of some solid psychedelic tracks that, while somewhat repetitive, allow the vocal performance to shine alongside serviceable riffs and acid-laced lyrics. The title track, however, feels uneven. It has some interesting moments, but I would have preferred more self-contained songs and less emphasis on scale. My favorite track is "My Mirage".

Simplicity can be beautiful, and this album is a great example of that. At times it feels like a compilation exploring themes of youthful love and heartbreak. While it can get repetitive, it carries a strong sense of energy throughout. Looking at the song lengths, you could almost say The Beatles pioneered the SoundCloud wave half a century early. It's also interesting that 6 out of the 14 tracks are covers, though I found myself preferring the Beatles’ own compositions over the covers. The songs that stood out to me were "It Won't Be Long" and "All I've Got to Do". From the covers, my favorite was "You Really Got a Hold on Me". I'll also give a special mention to the weakest track, "Little Child", which breaks the strong momentum built by the songs before it.

Before saying anything about the album itself, I have to mention how much I love the cover. It’s oddly satisfying to look at. When it comes to the music, I feel a bit out of my depth trying to fully comment on everything that's going on. If anything, this album feels like a potential gateway into West Coast jazz. I liked the tunes, but I couldn't really connect with them. After finishing the album, I listened to more from the Quartet and actually found some of those tracks more engaging, so I'll definitely be giving this more time. I enjoyed "Strange Meadow Lark".

This was a nice listen. The blend of new wave and punk, paired with lyrics exploring objectification, angst, and desire, makes it a good way to start the day. The downside is that the first half is far more memorable, while the second half feels a bit padded. Some of those tracks could have done more on the instrumental side, and the vocal performance occasionally slips into autopilot. I'd revisit the album at some point to see if I missed anything. My favorite songs are "This Year’s Girl" and "The Beat".

Daft Punk would go on to become legendary figures in their scene and beyond, so it’s interesting to go back to their debut and trace how their early style began to take shape. While the album can feel a bit repetitive at times, it’s very accessible and driven by strong, infectious rhythms. You can already hear the foundations of the sound they would later refine. The best tracks for me are "Da Funk" and "Rock’n Roll".

This was my first time hearing Hot Chip, and I was completely blown away. The mix of sounds just does something to my. I immediately connected with it and felt the groove. I ended up replaying several tracks throughout the rest of the day. The vocal delivery is interesting and fits the aesthetic of the album perfectly. It confidently blends disco, synths, and indie elements, making it a sonically rich and consistent journey. The standout for me is “Look at Where We Are.” It stuck with me so much that I woke up the next day with it still playing in my head. I also really liked most of the album, with "Motion Sickness", "How Do You Do?" and "These Chains" as other highlights.

This album has soul. It contains some high highs and some obvious fillers. Some ideas shine through and make the experience worthwhile. A few of the experiments didn't fully pay off but I always appreciate when artists experiment with taste. My favorite songs are "Higher Than the Sun - Higher Than the Orb Mix" and "Inner Flight".

This lovely album, with its great vibe, invites the listener to slow down and find beauty in life. The songs are well developed and deeply soulful. It features an emotional vocal performance, blending funk and R&B elements into its reggae core. I found myself forgetting about the stressful things in my life and simply nodding along to the rhythms. My favorite song is "Them Belly Full (But We Hungry)".

I love trip hop and the Bristol scene as a whole. It inspired a wave of really interesting music that blends genres in an intelligent way, creating a cinematic and dark sound that can truly shake you. I associate Massive Attack with the word “layers,” and here you can hear the beginnings of all the elements that would later cement the band’s legacy. There’s the dark electronic atmosphere, moody basslines, hip-hop drums and scratches, minimalistic guitars, and even a sprinkle of reggae. My favorite songs are "Safe from Harm", "One Love", and "Unfinished Sympathy".

The melodies on this one are really great. Like with most albums that cross the one-hour mark, I was initially skeptical and expected some padding, but I was glad to be wrong. It’s an interesting record with strong rhythms and consistently good songwriting. The vocal performance can get a bit repetitive, but the lyrics make up for it. The instrumentals keep a sense of tension throughout. You never quite know what will follow a muffled guitar or a subtle synth. I also found the first half to be more experimental, and it works especially well there. The best songs for me were "how do you sleep" and "call the police".

From the very first note, this album felt familiar. I looked it up and found that Justice had collaborated with The Weeknd on “Wake Me Up,” which helped set the tone right away. The album then opened the door to a sequence of solid electronic tracks. It’s energetic, well-produced, and consistently engaging, though it does feel a bit padded at times. Overall, I found it enjoyable. I liked "Genesis" and "Waters of Nazareth".

I know how influential Public Enemy were when they first found success with their albums. While listening, I looked back at anecdotes from that time, and it was fascinating to see how people described the music as something completely new. The creative sampling and strong lyrical messages were unusual for the rap scene, and many praised the imagery and how it expanded their worldview. Now, almost four decades later, I can unfortunately say that the album doesn’t fully hold up for me. It feels like a contemporary piece of art that had its moment to shine and pave the way for music that would later influence my life. With the risk of becoming a Public Enemy myself, I found the album to be a slog. The vocal delivery felt repetitive, and I had to take a few breaks along the way just to get through it. I really liked "She Watch Channel Zero?!"

One of the most unremarkable albums so far. It’s the definition of elevator music. It’s not bad at all, but there’s not much to say about it. It checks all the boxes of inoffensive, bluesy pop with some soul elements, making it more of a background listen than anything else. In fact, I didn’t even notice when the album ended and had already listened to a few more songs on shuffle without realizing much of a difference. It left me with no real emotion. I can't even say I actively disliked it. It felt like sitting in a piano bar, talking to someone while a band plays in the background. You occasionally nod along, but never really engage, and forget it on the way home. The album cover does scream early 2000s, which is kind of cool. I liked "Come Away With Me".

I wasn't familiar with U2 outside some of their radio hits and the controversy surrounding the free album on iTunes more than a decade ago. That said this turned out to be the tip of the iceberg of controversies surrounding the lead singer Bono. Nonetheless, I went in open-minded and found a pretty enjoyable record albeit too on the nose about its political messages. It didn't really click but the guitars tunes were good and it sounded really well put-together. I liked "New Year's Day" and "Surrender".

It’s not common for me to feel completely exhausted after listening to an album, but this was one of the toughest I’ve ever had to get through. I had to stop four or five times just to regain the energy to continue. It felt like a fever dream with almost torturous intent. I am more than convinced that this is some sort of a sick joke that has a niche community of people that are on it and praise it as high art. The joke goes that this is a brilliant album but to understand it you have to give it multiple listens. I suppose that's when you receive your invitation and can start pushing others to endure what you had endured. It could also be "Finnegans Wake" of music - likely meaningful to some, but completely impenetrable to me. I highly doubt I will ever ever listen a single note from Mr. Beffheart and his entourage. The lack of structure isn't even the problem. The musicians are clearly talented and it shows but all of them are intentionally playing a completely different thing with no solder to keep it coherent. I am sure that this was done to piss people off. I don't have any favorite songs because nothing here can be classified as a song. I will pick the last one because it meant that I had endured and because the title resonated with the feat of my achievement - "Veteran's Day Poppy".

This album has become a landmark in the punk rock scene. Its reputation precedes it, but it still holds up incredibly well. It’s influential to the point of inspiring countless bands trying to capture its energy, attitude, and rebellion. Each song carries that careless, anti-conformist vibe, making the whole album feel consistent and bold. The riffs are simple and catchy, but there’s also depth beneath the surface, with some surprisingly melodic moments. My favorite tracks were "God Save the Queen" and "Pretty Vacant".

This definitely wasn't my jam. It almost sounded as if Brian Wilson wanted to create a soundtrack for a Disney film that never got released. That being said, liked the ambition and the scale behind it and I can totally understand how it resonates with a lot of people. There's an orchestral grand feeling throughout that paints vivid pictures by mixing elements from various styles. It missed the mark for me but I respect it. I liked "Surf's Up" and "In Blue Hawaii".

I can say for a fact that the album cover perfectly captures the atmosphere of the album. As a matter of fact, I would imagine that this was Bruce Springsteen’s face throughout the recording sessions. It's a tightly consistent album with some high moments. I would really like to explore it again sometime in the near future to see if I would connect with it more. Some songs didn’t stick with me the first time around, but overall the powerful vocal performance made it worthwhile. I liked "Adam Raised a Cane" and "Darkness on the Edge of Town".

That was a nice folk rock album. Even though this is not a genre I really associate with much, it was a pleasant venture. It carried out its vision consistently, and although it got repetitive at times, it had some enjoyable highs. The guitar work was pretty good, and the lyrics also had their moments to shine. My favorite songs were “Duncan” and “Run That Body Down.”

As a non-Beatles fan, one part of this project with which I have a love-hate relationship is exploring their discography. I believe this is the third album of theirs that I’ve listened to since I started, and I can say that this one is the best yet. There’s nothing I can add to the discourse, so I’ll just waste a few more words on this review. This album was by far the most polished. It sounds really modern, and I was interested to see that upon its initial release it was a bit controversial among some. These people found the sound to be artificial and too studio-like, due to the band using modern techniques at the time such as synthesizers to achieve complex layering. To me, that stands out. I enjoyed it a lot. My favorite song was "Come Together".

I somewhat enjoyed the goofiness of the first song. I couldn't really take it seriously even though the rest of the album went in a completely different direction. It was alright. The other songs might have been good but none of them were memorable to me in any form or capacity I didn't connect to any of it but it also wasn't predominantly bad. It just wasn't good either. Maybe it's not my cup of tea. Until that changes we will just continue to "Fahr'n auf der Autobahn". My favorite song here was "Autobahn".

I was excited to hear an album by a band I had never listened to before. Some of the material was interesting, while other parts missed the mark. I especially enjoyed the fusion of soulful passages with jazzy elements, alongside the groovy bass. I wasn’t crazy about the vocal performance, and it’s one of those albums where you have to listen to the whole thing otherwise, it starts to feel repetitive. Whether that’s a good thing or not is a debate for another time, but overall, I found it to be alright. The tracks I enjoyed were the opening "I Don't Want to Talk About It" and the closing "Apron Strings".

A lot has been said about RHCP over the years. A lot has also been said about this album which many consider to be their magnum opus. I am convinced that some of the songs on it will forever be remembered. They are anthems that mean a lot to many people. I was one of these people. While I was in high school, this was one of my all-time favorite bands. Nowadays I don't listen to them as much but they will forever be in my heart. They manage to capture a specific type of warm melancholy dressed in a fuzzy fashion that can really touch your soul. The combination of Frusciante's masterful guitar riffs and Flea's punchy groove become a playground for the stories that Anthony Kiedies wants to tell on top of the rhythms of Chad Smith. It's one of those rare examples of a band fully complementing one another and working to achieving a unified synergy. I have only two main critiques for things that don't really work for me in this album. First is the song "Get on Top". It breaks the flow of a nearly perfect run and then the transition from it to "Californication" is terrible. The second one is that besides the one mentioned, there are some other filler songs in the latter half that to me only pad the duration of the album. It is still an iconic landmark in modern music. At the end of my comment-reviews, I usually pick out my favorite songs but here I will do something different. I will highlight a few lesser known songs, outside of the usual suspects. Songs that are often overlooked but pretty good from this album include "The Velvet Glove", "Savior" and "Porcelain". And just for the record, my all-time favorite from this album is "Scar Tissue".

This album stunned me from the start. The way it combines soul and funk with just the right pinch of psychedelic sounds made me appreciate it even more. The lyrics aren't really its strongest aspect, but the guitar work is incredible and the energy is non-stop. It has swagger, and it has soul. When I finished it, I immediately listened to it again because I was so mesmerized by the good vibes the project gives off. I'll definitely be revisiting it soon. I have a feeling it might become one of my go-to summer albums this year. My favorite tracks are "That Lady, Pts. 1 & 2" and "Summer Breeze, Pts. 1 & 2".

I liked how rhythmic the whole album was. It had some cool ideas, but I couldn’t connect with it on a deeper level in any way. Aside from the melodies, I don’t think it does anything particularly interesting. I don’t even have much to say about it, as I didn’t actively dislike it. The vocal delivery got boring pretty quickly, and the latter part of the album didn’t really land for me. Instrumentally, though, it had some solid jams. I enjoyed "Sometimes" and "Princess of the Streets".

I have a really weird relationship with this album. For the most part I consider it just alright but there are some impressive highs that elevate it much more in my eyes. As a starter the whole atmosphere of the album is perfectly moody. Both the upbeat parts and the slower ones manage to stay coherent to the original vision. The whole package consists of 8 songs which make up a really nice listen. Bonus points if it's one of these gray days that would elevate the experience even more. Now as far as the ranking. My favorite song of the record is "Elegia". This one is a bit more special for me. It is actually one of my all-time favorite songs in general. There is something about it that throws me to the deepest corners of my psyche. Everything from the slow build-up to the eerie sounds layering on top of one another makes it a truly magnificent piece of art. I ultimately consider it New Order's greatest achievement. It also greatly skews my overall rating of the album. The second standout track, in my opinion, is "Sunrise".

I found this album to be pretty decent. It was my first time listening to TV on the Radio. The first thing that stands out is the production. It features satisfying drum patterns across a range of styles, from alternative rock to EDM and even lo-fi. The experimentation mostly pays off and invites the listener on a pleasant journey that feels rewarding from the get-go. I loved "Love Dog" and really enjoyed "Crying" and "DLZ". Special shout-out to the outro of "Heroic Dose", which appears on the bonus track version of the album. The original album was so enjoyable that I couldn’t help but keep listening to more. That’s definitely a good sign.

I found the beginning of this album to be pretty strong, but it slowly fades and loses steam by the end. It’s still a nice listen that explores the more melancholic and introspective corners of modern indie rock. At times I could definitely hear the influence that Elliot Smith had on Wilco when it comes to general song-writing. I enjoyed "Kamera" and "Jesus, Etc.".

This album is a classic that I don't fully connect with. I like the first half much more than the second. In my opinion, it loses steam. I appreciate the complex simplicity, which is an ongoing motif throughout the record. The songs aren't obsessed with being perfect. They feel gritty and natural. The lyrics are also on point, with strong vocal delivery to match. The raw songwriting, whose themes range from urban decay to prostitution, adds to the album’s identity. The instrumentals are also worth mentioning. I also need to acknowledge how influential this record is, as it pushed boundaries and inspired many artists. I feel that if I spend more time with it, my opinion might improve, but on first listen, the second half was hard to get through. The songs that stood out are "Sunday Morning", "Femme Fatale" and "Venus in Furs".

The ArchAndroid is a record that is perhaps too ambitious for its own good. When it lands, the highs are incredible, but it’s also a flawed project held back by its length. It feels as if Janelle Monáe wanted to get all of her ideas out, and more often than not, it works. Even from the grand opening, the listener feels as if this is going to be something big. I love albums with scale, and this is one such project. It’s soulful, rooted in R&B, and often psychedelic. The transitions are beautiful, and the album really has everything. Even Big Boi makes an appearance. It’s also impressive how mature it sounds, even as a debut album. I went in with no expectations and found myself tapping along, pleasantly surprised. The best tracks are "Dance or Die", "Mushrooms & Roses", "Wondaland". I also liked the weirdness of "Neon Gumbo".

This is serviceable music, but nothing beyond that. If we ignore the lyrics, the opening track sounds like a perfect candidate for an intro theme from an early-2000s animated series. I almost found myself looking for a Beyblade or a duel disk. Most of the songs follow a similar structure, and while they’re not bad, there isn’t much to them either. If it wasn't obvious by now, I liked "Sex Beat" and "She's like Heroin to Me".

I was initially intrigued by the album cover, but I found the project itself underwhelming. I think what holds it back is the vocal performance. It doesn’t do the instrumental side justice. There are some really nice ideas here, but the howling becomes difficult to tolerate the longer the album goes on. With each song, I found myself trying to focus on the guitars and the way everything came together melodically, only to be pulled out of the experience by the vocals. I couldn’t even focus on the lyrics. I think "Race for the Prize" is stronger than most of the songs here, and the silence and shift in mood on "The Observer" were more than welcome.

Illmatic is one of the strongest debut albums in the history of hip-hop. Nas started writing it as a teenager, which makes it even more mind-blowing. I’ve listened to it several times, and what always stands out to me is how vividly it tells its stories and builds atmosphere. You can almost feel as if you’re roaming cold streets while navigating issues ranging from systemic oppression to nihilism and ambition. The beat selection is immaculate, and the verses are consistently thrilling. The songs that speak to me the most are "N.Y. State of Mind", "Life’s a Bitch", and "The World Is Yours".

I expected a completely different album from the one I got, and I mean that in the best way possible. I thought it would be a glam-inspired ’80s-style album, when in reality it turned out to be deeply introspective. I looked into it further and discovered that Jeff Buckley was a major inspiration for artists such as Thom Yorke (whose music speaks volumes to me) as well as Matt Bellamy and Lana Del Rey, just to name a few. From the very beginning, the listener is drawn into an emotional landscape that attempts to explore and understand a wide range of feelings. The album experiments with different ideas while still managing to stay fresh throughout. Jeff Buckley’s vocal performance is the clear centerpiece. My favorite songs were "Mojo Pin", "Dream Brother", and "Forget Her". Even his cover of "Hallelujah" stands out, as he manages to take an already excellent piece of art and transform it into something uniquely his own.

There were some pleasant jams on Le Tigre. I can say that the thing that left the biggest impression on me was how the album has two distinct parts. The first being more punk and dance-oriented, while the latter ventures into more experimental territory. That alone makes it a worthwhile listen. The structure of the songs is simple but effective. It’s punk, but it also has a message, and at times it can even feel lo-fi, which makes for an interesting combination alongside the angst and energy present throughout many of the tracks. I can’t say all of it is great, but I also wasn’t waiting for it to end. I really enjoyed "My My Metrocard" and "Slideshow at Free University".

This felt more like a compilation of songs played during a radio show. The concept works, and the radio call intermissions started off feeling really fresh, but by the end they became a bit dull. I read that the album was seminal in bridging the gap between genres and exposing a lot of people in the UK to an entirely new set of sounds. Of course, there’s also the controversy surrounding Malcolm McLaren and what his actual contribution to the project was, but I’m truly out of my depth on that topic. I know there were some nice jams here, but as with a lot of compilation albums, it doesn’t really feel like a cohesive vision. I enjoyed "Double Dutch" and "Merengue".

This album felt inspired and fresh. It came across as the distinct vision of artists exploring all sorts of sounds, mixing interesting samples with their own artistry. It is experimental to the core and showcases a variety of rhythms, including African and Middle Eastern influences. The sounds, the ambience, and the guitar work layered over the samples made for a great listening experience. To some extent, it even feels like a precursor to trip-hop as a genre. Its first half is much stronger than the second. The best songs for me were "America Is Waiting" and definitely "Regiment".

I remember when I first heard this album years ago. The sky was an almost white shade of gray, without a trace of color. The world seemed dull. I was at work, looking out the window, when I decided to give Radiohead one more try after multiple failed attempts throughout the years. Then the first notes hit, and the rest is history. Everything was indeed in its right place. I became obsessed with the album and the band. I kept repeating it over and over again. Only a handful of albums throughout the years have spoken to me in a similar way. The blend of sounds is so unique that it amazes me from a musical perspective while also speaking to something deeply human. The lyrics are abstract in a way that allows a person to find a piece of themselves encoded within the intricacies of the melodies. I love it in its entirety, and I believe it is one of the truly important pieces of art. My favorite songs besides the opening track are "Optimistic" and "In Limbo".

The year is 1956, and everyone is breathing jazz. This album feels less like a standalone record and more like a time capsule from another era. For about an hour, you get to experience a small piece of history. The band is excellent, and the music flows effortlessly. That being said, while I admire the craftsmanship, I couldn’t truly connect with it emotionally. I found myself more fascinated by the era surrounding the album than by the album itself. "Blues to Be There" is my top pick.

Damn, I didn’t know Cookie Monster from Sesame Street had released an album featured in this list. In all seriousness, the novelty wore off about two songs in, and the rest became more of an endurance test against the voice of Mr. Waits. I couldn’t really focus on the lyrics either, as most of my energy went into simply making it to the end. Some of the instrumentals were moody in the right way, though, and I did enjoy the bluesy guitar work. Still, I don’t think I’ll be revisiting it. The one song I liked was "In Shades".

I was excited for a heavier album, but this didn’t really scratch that itch for me. It started off strong, but by the time it ended I found it rather dull. I liked the industrial aspects, but I believe the album lacks the depth needed to fully pull that style off. The tracks also sound a bit too similar to one another. The standout aspect for me was the drumming, which was excellent. The rest was just kind of there. I liked "Just One Fix" and the experimental nature of the closing track, "Grace".

I consider Joni Mitchell to be a great songwriter. To me, her magnum opus was released four years before this one. This album is simply a good record. I can’t say much about it other than that it’s tight and features some interesting lyrics, but Mitchell plays it a bit too safe vocally while the jazz-influenced instrumentals seem to be doing their own thing. Still, it’s a good one. My favorite songs were "Edith and the Kingpin" and the title track, "The Hissing of Summer Lawns".

I didn’t grow up with The Who, and outside of respecting their significance in the music scene, I was never a huge fan. After listening to this album, I feel exactly the same. It’s a nice debut album, and instrumentally it does more interesting things than it does vocally. I can’t say I was particularly impressed by most of the lyrics, but the freewheeling atmosphere is definitely there. This band had to walk so others could run. The best songs for me were "I Don’t Mind" and "The Kids Are Alright".

The production on this record was phenomenal from start to finish. It had some really strong tracks, and even though I couldn’t connect with a large portion of them, I still appreciate them for what they are. It’s always fascinating to hear how production evolves over time. The songs are layered and crisp while still maintaining simplicity. I’m definitely coming back to this album to see if I can connect with it more deeply. It manages to stay fresh and consistent throughout, and overall it feels like a very well-executed project. I really liked "Homemade Dynamite" and "Sober II (Melodrama)", with the latter definitely taking the crown as the best song on the album. The transition when the drums hit genuinely made me turn my head and start vibing hard.

That mix of soul and funk will always put a big smile on my face, especially when it’s handled with as much care as it is here. I was immediately impressed by the variety of guitar effects, which really made the sound stand out and gave the album a great sense of energy. I would often get lost in the melodies, which reassured me that things would be alright and work out in the end. Maybe it does get a bit repetitive at times, but it feels more like an intentional groove than a lack of ideas. The standouts for me were "I Want to Take You Higher" and "Sex Machine".

I liked the vibe of the album. It had its ups and downs, but the former outweighed the latter. The music especially shines during the quieter, more personal moments that build around a particular theme and gradually develop it into something meaningful. That approach is repeated throughout the entire album, and it made for a consistently enjoyable listen. My favorite song was "The Loneliness of a Tower Crane Driver".

This album demonstrates the brilliance of Malian folk music through rhythms and musical patterns that feel almost hypnotic. It’s an easy listen, yet there’s plenty of substance beneath the surface. It’s true that many of the songs sound somewhat similar, especially in the vocal delivery and guitar work, but that repetition ultimately works in favor of the album by reinforcing its atmosphere and mood. The standout tracks for me are the opening "Bonde" and "Ai Du".

This album is ambitious, and I appreciated that immediately. While it isn’t entirely up my alley, the songs are nuanced and layered. The lyrics are emotionally delivered, and the synth elements fit the atmosphere perfectly. I do think some of the tracks could have been shorter, but overall it’s a worthwhile listen. My favorite tracks are "Don’t Give Up" and "We Do What We’re Told (Milgram’s 37)".

I will first say that I pulled this album on my final day as a 27 year-old. I found this to be rather amusing. It was a perfect way to celebrate this day. As of tomorrow I will be officially out of any danger to join the club. This album is really important to me. It was the soundtrack of my high school years more than a decade ago. I know it by heart. This time I re-listened to it and sort of reminisced about various moments and It feels like a lifetime ago and yet I stay hopeful. That being said the album is brilliant. It is a contender for the best Nirvana performance and as it goes out you can see Kurt Cobain slowly entering a flow state with the peak arriving during the final song. The way he channels his voice to unleash a plethora of emotions on to the listener is phenomenal. The final chorus of "Where Did You Sleep Last Night?" is, to me, one of the greatest musical moments captured on camera. There’s a split second where Kurt’s facial expression changes entirely after the sigh, right before ending both the song and one of the most iconic live performances ever recorded. The album is filled with highlights, but besides that performance, I absolutely love "Lake of Fire", "Pennyroyal Tea", and "Something in the Way". This time around, I listened carefully to "Oh Me", and for the first time it truly spoke to me. I believe the whole thing is beyond excellent, and I’m glad it exists.

This is an unremarkable album with some nice ideas and, every so often, even a genuinely good song. Unfortunately, it also feels hectic, unorganized, and in desperate need of polish or trimming. I would have much preferred if the artists had focused on expanding the parts that actually worked instead of throwing every idea at the wall to see what sticks. Out of the bunch, "Strange" and "Fragile" work better than the rest.

This album was such a massive improvement over "The Soft Bulletin" that I had to double-check if this was the same band. Last time I was impressed with the ideas that could have been developed better with the weakest link being the vocal performance. This time I can gladly say that the band had elevated everything and completely blew it out of the water. The songs here are not just ideas, they are a part of a complete artistic vision that is uncompromising in its exploration of new sounds while coherently layering them into memorable compositions. Even the vocalist had improved massively. The lyrics on various songs are existential in a good way. It sounds more mature, more understanding of where the great sides are and fully committing to what it does best. My favorite tracks are "One More Robot / Sympathy 3000-21", "Yoshimi Battles the Pink Robots, Part 2" and "All We Have Is Now".

This is a tough one to rate. This is the album that started one of the most dominant runs in rap. It was considered controversial, offensive and shocking to the whole scene at the time. The hunger with which Eminem raps here and on the following two albums is undeniable. The whole cadence is addictive to follow, That being said, I don't think it holds up that well. The rhyme schemes are entertaining and delightful but some of the punch lines rely on contemporary events and personas. The shock value quickly grows old when you are not 13. The beat selection is also on the safe side without really leaving a lasting impression outside of the singles and some other songs. The skits can still be fun. Unfortunately it feels a bit too long for its own good. It is influential for a reason but it's been nearly three decades and it shows. My favorite songs are "My Name Is", "If I Had" and "Still Don't Give a Fuck".

I like an album with a message and there's a bunch of them here. It explores systemic oppression, poverty and even love. It is done in an excellent fashion. The musicians are excellent and you can tell just by listening to them how in sync they are with one another to paint these pictures and tell their stories. I believe that it is slightly weaker in comparison to Natty Dread but it is still worthwhile. This time it gets repetitive without fully letting the listener settle into a flow state. The standouts are "Concrete Jungle" and "Kinky Reggae".

I didn't know what to expect going into a classic Bowie album on a particularly rainy day. Contrary to my expectations, this turned into a magical journey that caught me from the first song to the last. The lyrics are poetic, and Bowie delivers on all fronts. This is a departure from his previous sound, but it's a stylistic choice that works wonderfully. Replacing the guitar-heavy approach with a more piano-driven sound creates breathing room that complements the introspective themes beautifully. Some songs, like "Andy Warhol" and "Song for Bob Dylan," pay homage to American culture. Others, such as "Life on Mars?", explore escapism and false promises. It is a great album that I will surely revisit in the future. My favorite songs are "Life on Mars?", "Fill Your Heart", and "Quicksand".

As every self-respecting person who is now nearing 30, I have been raised on nu-metal. This type of sound was a huge part of my childhood. That chapter has been long gone so I was in a way looking forward to re-igniting the spark. Unfortunately it didn't work out as well. I was never that big on Slipknot. I like some of their later albums but this one was a grind to get through. The songs are formulaic in a bad way. The lyrics are the epitome of edginess and once the album loses novelty, the slog toward the end begins. Joey Jordison's drumming is the one thing that shines through as well as Corey Taylor's vocal performance whenever he decides to show range. It wasn't a fun journey and I am not sure if I will give another listen to this particular one. Then again it is fun to remember that back in the day people would come up with these crazy rumors about some bands and artists. Slipknot used to play heavy into them while trying to build the freaky image. I don't think much of it (if any) was true but it helped solidify them as the band they are known today. My favorite song was "Wait and Bleed".

This is an exceptional work of art that I discovered a couple of years ago. I consider it the grand finale of a lifelong career full of poetry and artistry. Released only a few weeks before his death, it feels like a deliberate farewell. Here, Cohen fully commits to the themes that defined his work. The minimalistic production creates an intimate atmosphere that invites the listener on an introspective journey through mortality, faith, and regret. The songwriting is beautiful, and the album's biggest moments shine brightly. It is a magnificent work of art and a fitting closure to an extraordinary career. My favorite tracks are "You Want It Darker", "Treaty", and "Traveling Light."

The album drew me in with its opening track, and I expected it to maintain that momentum, but I was disappointed to find that it didn't. The middle section is mostly mediocre, and even the beautiful loops weren't enough to elevate it. I liked the progression of some songs, while others felt tedious. Overall, the album is a bit too formulaic for my taste. I would describe it as good background music, but not particularly rewarding when listened to attentively. I liked "Forever" and "Sad but True".

I had listened to this album a few times in the past. I originally discovered it while looking into some of the inspirations behind The Last Shadow Puppets. The album consists of only four songs. I really like the first two tracks, but I hardly care about the last one, which unfortunately makes up almost half of the runtime. Despite that, it remains a solid and soulful record with plenty of style. More than anything, it feels cinematic and layered. Unfortunately, that final track could have benefited from being split up or at least significantly abridged. My favorite songs are "Walk on By" and "Hyperbolicsyllabicsesquedalymistic".

This album provides a collection of solid rock tunes from start to finish. It contains some of the most overplayed radio songs ever recorded, but they’re accessible, melodic, and undeniably well-crafted. It’s a strange one for me because I liked the entire project, yet I never truly loved it or felt deeply connected to it. The guitar work is spot-on, and some of the riffs are incredibly catchy. One of the things that really stood out to me was the intro to "Money for Nothing". For a brief moment, it felt as if Dire Straits had tapped into that Pink Floyd magic, only for it to disappear once the main riff kicked in. It caught me completely off guard because I had only ever heard the radio edit. The song is iconic, but I found myself wishing there had been more of that atmospheric introduction and a little less of what followed. I enjoyed "So Far Away", "Your Latest Trick", and "Brothers in Arms".

I have to admit that this is a great album title for a record that never quite lives up to it. The cover artwork is nice as well. Other than that, I found it largely forgettable. The songs are fairly homogeneous and lack any real standouts. The vocal delivery doesn’t do much to elevate the material either. It’s not terrible by any means, it’s just kind of there. I liked "The Passion".

I was in the mood for some old-school synth sound and this one delivered perfectly. It features some solid production and the songs are danceable. The themes of urban decay and sexual liberation persist throughout. The cover of "Tainted Love" has become the definitive version of the song for some people. As a whole I think that it's a solid debut album even though the sound becomes a bit stale toward the middle. My favorite songs were "Frustration" and "Tainted Love".

The story behind this album is incredible. For starters Keith Jarrett was sleep-deprived and had a terrible back pain. Then the opera house had mistakenly provided a small, baby grand Piano that was in terrible shape. Initially Keith refused to perform as he needed an imperial grand. They managed to convince him to go out there since the entire venue was sold-out and people were waiting. He went out there and completely improvised one of the greatest jazz-performances.. To this day, it remains the best-selling solo jazz album of all-time. It is emotional, intimate, raw and grand when it needs to be. I would want to go back several times so that I can fully connect to it and try to lift the curtain behind it at least a little bit. For me the best piece is Part I followed by Part II b.

This album is probably what The Black Keys wish they sounded like. It has aura that can be felt from the beginning to the end. The subtle psychedelic elements mix well with the pure rock and roll that is definitely the highlight of the record. The production also sounds modern. Jim Morrison's vocal delivery is confident and works well. I can say that thematically it feels like the soundtrack of one's bohemian lifestyle. I liked it. My favorite songs were "Cars Hiss by My Window" and "Riders on the Storm".

This is a really peculiar album in Bowie’s discography, and my relationship with it is equally strange. I will start off by saying that one of my all-time favorite Bowie songs is from here. It's "Warszawa". The word "elegia" comes to my mind when I think about it. It's powerful. At the same time the album is uneven. I think it tries a lot of things and that's a good thing. It's ambitious but it's also uneven. I like this part of Bowie. It feels like a much more intimate album. It is the one where there are not theatrics, it's just an artistic self-expression and evaluation. The unevenness comes from the experimentation. It is ambient and grounded. I think that the second part is better that the first one. This album explores a lot of sounds. Some of them would be seminal in the development of various genres. I will need to listen to the whole thing in its entirety a few more times. There's something about this album. I adore "Warszawa" and:"Subterraneans".

This really wasn't my jam. The songs felt repetitive and the vocal delivery of miss Billie Holiday was incredibly dull after a certain point. The depth of her voice in undeniable but unfortunately I don't think it shines really well throughout the record. The beginning was nice but then it became the ultimate chore to get through. The instrumentals didn't go anywhere either. As a whole it felt like one song was playing over and over again. I read more about the tragic story of Billie Holiday and I couldn't help but wonder whether this album was a cry for help from a soul long gone. There is something eerie about her performance. The best song is "I'm a Fool to Want You".

I found this album to be a rather introspective folk journey. The lyrics were the highlight. Neil Young's vocal delivery was confident and served the purpose. The songs are layered and contain variety of instruments without really losing the main motives. The only real drawback is my subjective view on using the harmonica as prominently as it is featured here. To me it just sounds out of place. I liked "Harvest" and "Old Man".

I didn't really care about the previous Public Enemy record that I had to listen. Needless to say I wasn't excited to get back to it. I am happy to say that my low expectations were shattered. This time the album was solid throughout. I felt the energy, the angst and the vibe. The main highlight next to the delivery was the production. We get a solid selection of beats and instrumentals that really fit the urban feel of the album. I may even revist it. It was a pretty good and consistent listen. My favorite tracks were "By The Time I Get To Arizona" and "Bring Tha Noize". The latter was a great way to end an album.

I feel that whenever I am traveling with my parents, Sade is playing on the radio. Some of these songs are certified radio hits. I didn't know they are a part of the same album. Especially the first part of listening to this album was me being surprised song after song. To me this is a solid pop album with. It is way more diverse than a lot of pop albums and even has some enjoyable funky turns and rhythms. Sade's vocals shine throughout. I think that the last three songs are a bit weaker. The whole album is consistent though and never gets stale. My favorite songs were "Smooth Operator" and "Hang On to Your Love".

I am sure that there is a masterpiece album buried somewhere here. It just kept going and going. I read a bit about the history of the album and how it's widely considered the best solo album released by a Beatle. It is in a dire need of trimming but there are some good tunes. I wasn't a huge fan of the folk elements. Even though I can't classify it as a psychedelic record, there are some elements that shined through. The lyrics were good as well I would love to go back and try to explore it again. It was just too much to take in during one sitting. I even took some breaks. The mellow sound was a highlight as well. I really enjoyed the modern production. I liked "I'd Have You Anytime", "Beware of Darkness" and "All Things Must Pass".

An album that has some nice ideas and some weird delivery. The instrumentals are rich but as a whole I found it, mostly forgettable. I can't say that anything really stood out. There are moments in which Fiona's vocals shine but those are surrounded by mostly melodic narration which in that case is a disservice. The album also comes across as quirky, though not in a way that worked for me. I liked "Shanmeika".

Well, hello there, Mr. Young. It's been a week since we last met. Your voice is still a delight to listen and it made me reflect on my own life. This time, though, we are dealing with an album that is way less introspective than Harvest. Some of the main topics are artistic survival and cultural shifts. As we have already established in a lot of these album notes, the harmonica is kryptonite to my ears. Here I had to snap myself out of some magical moments by that screechy sound. By the end of the challenge, I might gaslight myself into liking it, but this time I managed to win once again. I liked "My My, Hey Hey (Out of the Blue)" and "Powderfinger".

I am generally not huge on Björk. I have listened to several album of hers and I am still waiting for one to truly click with me. I will keep attempting though. A friend of mine complained about this record and played me a song without context. I wasn't wild about it. Needless to say the lack of excitement was here when I pulled this album. I am glad to say that I was pleasantly surprised. It is one of the more interesting albums I have listened to during the challenge. I didn't know what to expect but some things stood out. First the dark atmosphere was great. It really reminded me of some songs across the various projects of Karin Dreijer. Then the whole approach to crafting the album. It deconstructs music down to its rawest form and in most cases instead of instruments, Björk uses human vocals. That makes it standout in front of a lot of albums. I can't say that the concept worked for me in its entirety but it's really ambitious and I like that. I also think that it needs to be listened in one sitting as the tracks and the mood builds up. Listening any song outside of the context of the album would probably result in a similar result to when I had tried to do so. I liked "Desired Constellation" and "Mouth's Cradle" as the blend of excellent electronic elements and vocal harmonies worked exceptionally well for me. The more I think about it, the more I see it as a work of art. I may even have to retract what I said in the first paragraph.

Alice in Chains have a really distinct sound. It is sludgy while remaining melodic throughout. The layered guitar tone is a highlight here and it makes the whole record shine throughout. I always respect when something is so distinct that it becomes iconic. It is heavy without losing identity. The only main flaw of the album is that it feels a bit padded. Some tracks could have been left out without hurting the overall experience. I was also impressed by the fact that the best songs are evenly distributed which makes listening to it easier. Overall, it's a really well-made record. My favorite songs were "Rain When I Die", "Junkhead" and "Dirt".

I currently have a ticket to see "The Cure" in a few weeks. I bought it last year when I was going through a Cure phase. However, I feel rather indifferent to the band right now. I was hoping that re-listening to this album would change that but it didn't. My favorite album by them is ironically Bloodflowers, followed by Faith. One thing I can definitely say about this one is that it is the best kind of moody. It has a concept and it sticks to it. The feeling of existential dread permeates from one track to the other. It is gothic and it is nihilistic but it loses steam fast only to return and stick the landing. I guess if it was autumn or winter, I probably would have resonated with it more. The Cure just don't pair very well with summer heat wave. I'm even considering selling my ticket. There's still plenty to appreciate here including some fantastic tracks. They just require a very specific mood though. The best tracks are "One Hundred Years" and "Cold".