1001 Albums Summary

A perfect exploration of blues and soul, Otis's voice demanded respect and attention. Gone too soon.

Circling around two monumentous hits, this album is full of thoughtful lyricism and ambitious overall songwriting. The lyrics are honest and bare, all the while working in some worldy observations about society as well. "Superstition" by and large outshines the vast majority of the material here, but that doesn't mean that the songs are bad, it's just hard to top one of the greatest songs ever written, ha. Oh yeah he was only 21 years old... damn.

A very front-loaded album, it doesn't help that two of the greatest songs ever written appear in the first half of the record as well LOL. Tiny Dancer and the title track are so mind blowingly amazing that it's hard to have the rest of the record follow up the precedent set by those two tracks. There are other good songs here though, "Holiday Inn" is actually quite nice and "Rotten Peaches" is also a quite good deep cut, but the other songs either fall flat like "Razor Face" or just sound cringey with the lyrics and the context; despite how good the instrumental may be (Indian Sunset). Still, it's a pretty good record and worth it for side A alone.

Funky and groovy disco album, funny enough the song everyone knows from this album is not actually my favorite of the bunch. I vastly prefer the chill and sweetly played "Savoir Faire". Those guitar licks are so so so so amazing, I knew Nile was a great guitarist from a technical point of view, but hearing him show off like this was a real treat. "Happy Man" was a great song especially with the bass groove, and "I want your love" was a great jam from all members firing on all cylinders. This record didn't blow me away as a whole, but I would definitely return to it for a good time groove.

Ray's voice commands attention and respect, but his true genius lies with the blending of genres such as the Blues, Gospel, jazz, and R&B together to make new sounds that were groundbreaking at the time. This record is divided into two sides, one that's mor lively and Big Band-inspired, and one that is more ballad-powered and blue. The music is very of-it's-time for me, and while it is a pleasant listen, I often have trouble focusing on the music itself because it reads as rather basic for me. Still, it's not a bad listen.

Wow. wowowowowowowowowowow. The energy felt on this record is unbelievable. Raw doesn't even begin to describe the pure unbridled ferocity the music has. The wailing guitars, the flying saxophone, the unhinged ranting of Iggy, it's all to make one of the most compelling and destructive examples of rock music of all time. It's just....wow.

Super well-produced and performed, it's a lovely exploration of psych pop and folk pop with a little bit of country woven in. An incredibly underrated record that I feel like needs more people to reevaluate. "The Wolf of Velvet Fortune" is especially good.

10/10 perfect no notes Easily one of the greatest albums ever made of all time. It speaks for itself.

Mostly not for me, though I see what they were going for. Definitely hear Rammstein in this, as pointed out by many others. I get that it's parody music in essence, I just don't really see myself playing this record again.

Very pretty music, lush instrumentation and whispery delicate vocals paint a very serene and contemplative record based on a dream that Goldfrapp had at one point. There's a few highlights, the abstract "Clowns" that opens up the record is neat and sets the expectations well. "Happiness" and "Caravan Girl" are the two most catchy songs while "A&E" has a faint nostalgic hue to it that enchants me. Overall though, the album can't help but feel a little bit like dreamy window dressing, and rarely grabs my attention in a way that makes me stop and go "wow". She's definitely done better before, but this one isn't bad. Just a tad plain sometimes.

A top notch hip hop record with lots of groovy and funky detours in the way of instrumental interludes. The songcraft is peak, and even though the lyrics could use some work, the detail in the production is still absolutely fire and makes up for any of the repetition in that department. I will say that sometimes the aforementioned detours do take me out of it sometimes, but the highlights are phenomenal.

Goddam perfect. The attention to detail, how every piece comes together, the SONGS. Like there's no bad song here. One of my all time favorites no contest.

A mostly live Jam album featuring some Bo Diddley covers, I can see why some might like this if this kind of thing is your...well, jam.. lol But I was just not as into the overly improvisational nature of everything. The songs seemed to go nowhere, leaving me feeling a little left out in the cold, even though the individual musicianship was pretty great. As I get older, I find that Jam Band type stuff just isn't as mind blowing or rewarding as it used to be when I was younger. This album isn't bad, it's just not anything I would seek out in a record for listening purposes.

A wonderful little pop album with lush and delectable production, fitting very nicely up there with the likes of Pet Sounds and some Beatles work as well. The Carpenter's voices are also very very nice. Even if this album feels a bit pastiche with the late 60's-early 70's music style, I can't help but grin at the silly lyrics and quaint instrumentals that adorn this album. Truly, it's just "Nice Music" encapsulated. Don't think too hard about it.

Starts off very strong with the monumental hits like "Scar Tissue" and "Otherside", but sadly (and mainly due to Kiedis being annoying as hell), a lot of the other songs on this album don't quite live up to the hype. Contextually I can see why this album would be looked back on fondly, but over time it doesn't hold up as well. Still, it's fairly enjoyable despite Kiedis being dumb.

Right from the first track, this thing is nuts. "Right Here, Right Now" is one of the greatest dance cuts of all time. The sample-work is phenomenal and the beat that is crafted makes me wanna dance till I die. "Rockafella Skank" is also super fucking good. A masterclass in sampling and creating something incredible from something repetitive. The rest of the record is also very good, some of the deeper cuts aren't as memorable and it does go on for quite a while, but "Praise You" and "Acid 8000" are worth the wait as they round out the album rather nicely. This record may not be the most consistent or focused, but it's a damn good time.

Very VERY good record, lots of fun pop songs with fantastic rhythm sections. John Taylor's bass playing is DELICIOUS. Am absolute must-have for any 80's record collection for SURE.

This goes from being genuinely charming and interesting to downright annoying and boring at the same time. This Ain't Living is the best song by a mile, but it's a bit too long at the same time. 1001 albums? why?

A pretty good debut. The songwriting is gritty and honest which is refreshing for a pop artist, and her voice is smoky and spectacular. This album essentially reads as a darker version of what an Adele record sounds like. Same kind of soulful R&B that takes a lot of inspiration from the olden days of Jazz Vocalists (she even references Sarah Vaughan in a song), just with a barer and gruffer aura to it. The songs on this record aren't as sticky and immediate as on Back to Black but her talent is definitely present, and this isn't a bad record to have on.

Sounding like a more disparaged early-Coldplay, The Last Broadcast is heavily atmospheric with some dreamy and otherworldly production, but with vocals about as interesting as a house salad with no dressing, and not a whole ton of songs that stick out as being exceptional, this whole thing feels like early-aughts bookstore wallpaper. It's not unpleasant, just doesn't really leave an impression. I liked "Words" and "There Goes The Fear" however.

Immaculate! The guitar playing is incredible, and hearing their renditions of different classic rock songs is refreshing and they honestly sound better done in their funky soulful ways. This whole album is pure joy.

Mournful and forlorn, this is Outlaw Country to a T. Willie waxes poetic; covering a majority of the time, a handful of classic country tunes set to loose concept of a man who regretfully murders his spouse. It's a rather short listen, but the way this record is composed sounds like something coming out of a jail cell inmate who was given a guitar and a harmonica. It's very lovely stuff, and absolutely a must-hear.

A fantastic 80's rock and funk metal album with great production for the time, especially with how the bass pops. Good songs with great messages (maybe glamour boys didn't age too well though) and just overall a great time.

An interesting record, feeling almost Daniel Johnston-esque with how much of Syd's inner workings is going on here in the music, combined with his interesting singing style. Sadly, this record is a bit too inconsistent for me overall. There are some pretty good, and even catchy songs here. "Octopus" and "No Good Trying" are genuinely some decent psych rock tracks, and "Dark Globe" actually wowed me a bit with it's haunting lyrics. Unfortunately the second half of the album drops off pretty steeply with some forgettable songs and one or two just unbearable tracks one of which being "If It's In You". Yeah, I can confidently say that I am not too eager to hear this in full again, but it is a pretty interesting listen, if not for all the right reasons at the end of the day.

Obviously a classic, but also just as obvious is how dated it sounds. That's to be expected, as the beats were all created with a drum machine and sparse synthesizer and guitar usage. Speaking of guitar, the single "Rock Box" would do huge numbers because it actually features guitar rather prominently, successfully bridging the gap between hip-hop and rock, and showing that the two genres have more in common than one would think. JMJ, Run and DMC all work incredibly well together to make some hard hitting and in your face jams, but it's not very often that the songs stick with you for very long after you listen. This album is a great starting point for any aspiring MC to study, but given how far rap has come over the decades I would say this album deserves it's flowers for planting the seeds, despite how much of a time capsule it really shows itself to be. "Rock Box" and "It's Like That" are immortal classics of hip-hop and rap, and that's the way it is.

Exuberant and vibrant hip-hop with great songs all around and one of the greatest songs of all time in the mix as well. "Can I Kick It?" is an amazing example of beat-craft and songcraft at the same time. Amazing debut from this group, even though they would move on and top this one in just a few years.

Oh my god. This one was obnoxious, that's like the best word I can use to describe this. The production was too loud, it felt like the music was trying to attack me. The vocals were way too up front and the repetitions were way too distracting and straight up annoying. The sounds used in these tracks also just do not sound good. It's grating, and dares me to turn it off at any moment. There were two tracks that I actually ended up really liking and those were "Dreamin'" and "Jacques". I could actually see myself vibing to those ones when in the mood. Seriously though, this album isn't it. I enjoy EDM and House music well enough, but this one was a complete misstep.

First off: it's really long. That's to be expected though as it's a Metallica concert. Those are going to be epic. Now, this thing is awesome in concept. Putting Metallica's music together with a symphony? Genius. Thanks to Cliff a lot of their classic material was written with classical concepts in mind. Songs like "Master of Puppets" and even "Fuel" sound fantastic with the epic strings and tympanies in the background, even "Enter Sandman"; which I am sick to death of, sounded beefier with the added orchestral arrangements. "No Leaf Clover" is one of the best songs here as well, making strong usage of the orchestra. Songs I was always kind of lukewarm on sound great too, like "Sad But True". Here's the major kicker though: this album is ruined by James "OH YEAYUH" Hetfield. "Nothing Else Matters" is absolutely ruined to pieces, his vocals DO NOT sound good on this track AT ALL. He just brings so much cheese and corn to this otherwise epic concert that I found myself snickering and rolling my eyes all throughout this thing. I mean, at least he's having fun.... lmfao. Anway, even despite that, Symphonic Metallica is pretty overall good. If I'm going for a long drive this one might be in rotation to help soundtrack the trek.

Yeah idk man, I tried listening to it again and it really really realy wore off me. I feel like people who are trying to say this thing is one of the greatest albums of all time are seriously on some pretentious bullshit here. This is Aphex Twin for people who like their music with a little less flavor and a little more mayo. In all seriousness though, I'm probably not having a great time with this due to the band being beyond washed up and now that Thom and Johnny are just being absolute twats about their career and their stances on geopolitics, I kinda hear this music as one giant sham. Trying to sound smarter and emotionally deeper than they actually are. OH DON'T GET ME STARTED ON OK COMPUTER.... anyway. The music itself is fine, there's not really any song here that's BAD really, it's just overall uninteresting to me and I feel like the main thing that sticks with me is the humming sound in "Idioteque" and the drum machine loop in that same song. While it's playing, "Optimistic" is actually a pretty decent track that breaks me out of the monotony, but yeah I just don't know. If anything, my tone feels harsh here because I feel like I've been lied to and I need to not lie to myself. Radiohead is NOT THAT GOOD. and THAT'S my opinion. GOOD NIGHT.

The Kinks by now have established that they are pretty much master songwriters and performers, with a hefty collection of hit records and timeless classics under their belt, their 6th record is probably their best of the bunch even if it didn't do well upon initial release. The Kinks Are The Village Green Preservation Society is a concept record about recalling the good ol' days of old British culture and ways of living before modernization and Americanization of their ways of life. The title track is essentially this record's mission statement on that front, declaring all of the "British" things that they still want to hold on to and to preserve. Village Greens being the main focus, for those who are not familiar, Village Greens were communal parks and areas where the village could gather to socialize or relax. These became less common as Britain became more and more modern. The record itself is a wonderful batch of the catchiest pop music you will ever hear from this period. Ray Davies has managed to come up with a sound and way of playing that perfectly evokes the sense of nostalgia in not just the lyrics but in the music as well. Each song tells a tale relating to the old ways, whether it be legendary icons (Johnny Thunder, Monica, Wicked Annabell) or looking back on memories (Picture Book, People Take Pictures of Each Other, Village Green) there's a wistful yet happy nature to the songs. Refreshingly pleasant I might add, as I am used to nostalgic tunes having an air bittersweet melancholy, these tunes all have a nice optimistic pleasantry to them which I find wonderful. The first half of this record is spectacular with one great song after the other, while I felt the second half wasn't as stand out in comparison, and the finishing track wasn't very climactic or conclusive either. In a way though, this almost works to the album's benefit I feel. Even if the material isn't as strong on it's own, when listening all together the atmosphere created by side A continues on into Side B and helps keep the sense of longing and wonderment, and the last song just begs you to start the album again right as it's over. This is probably my favorite Kinks record, it's just so cheerfully pleasant and makes me nostalgic for things that were never really relevant to me to begin with. When something like that happens you know that this is something special.

mm idk, this didn't do much for me personally. It's certainly not bad! The production is light and funky albeit pretty dated. It's just that outside of "People Everyday" and "Tennessee" there wasn't much here that really stood out to me. "Teach a man to fish" had a decent message but also was a bit too repetitive and a little corny for me to take seriously. I think at the end of the day there just wasn't much for me to connect to, as a white atheist.

Very fuckin' solid alt rock and power pop. Not a single bad song, and it was made vmby fookin' 19 year olds!!!

Honestly I was pleasantly surprised by this! It was a ton of fun, and had some great features all throughout. The album flow was fantastic as well. "Acetate Prohpets" was kind of a weak closer imo but that's really the only complaint I have. "A Day At The Races" is phenomenal.

genuinely pleasant music, the production is actually rather fitting as I was afraid this was gonna sound weird and out of place, but it's actually a pretty good listen.

There's some neat ideas and interesting blends of rock and psychedelics, but I found it really peters out after the second half. "Safesurfer" is certainly the highlight, I just didn't find myself captivated nearly enough to give a damn about any much else about this record.

Admittedly, Elvis and his whole... thing is really not my bag anymore. For every Elvis song there's a black artist that's done it better, and seeing as how most of his best songs are actually covers it pretty much cements him not as a great songwriter or musician, far from it actually. He's a great performer. This album is the perfect example of why that's the case. The producers for the label picked these songs for him, to try and help get back in the mainstream's good graces, and it worked. Fans ate this up. It's easy to see why though, his voice is spectacular here and the arrangements are tender and warm. The songs being performed are all great, and specifically "In The Ghetto" and the not-included-but-should-have-been single "Suspicious Minds" are absolutely fire. The reason I don't rate this album higher is basically, circling back to my first point, I would rather listen to black soul and r&b singers that have done it first and done it better. All that being said, this is easily Elvis's best record and the only one I would consider essential listening.

Pretty stellar Side A, all the songs range from great to fantastic. "Wild Side" is absolutely great, and "Vicious" and "Perfect Day" are also wonderful. Side B has some great songs too, it's just that "Telephone Conversation" and "Goodbye Ladies" don't really do enough for me and take me out of the whole experience. Minus thoae two songs though? This album rules.

A very fun and varied record, it took a few relistens to click but this thing is endlessly entertaining and brings a lot to the table. Definitely one of those records that the more I hear the more I'll grow to love it.

Pretty great singer songwriter record from Paul McCartney's favorite American artist! This record is pretty versatile and shows off Nilsson as a jack of all trades. His Without You cover is the best song, while Jump in the Fire is the most exciting.

A pretty stellar live performance of southern rock jamming!

A beautiful record with very soulful singing and intimate lyrics detailing Anohni's inner thoughts and feelings regarding her transition, and how she sees herself. It's complex themes and bare emotions make it a hard pill to swallow sometimes, but simultaneously her earnest lyrical delivery pulls you right in.

A pretty great album honestly, I really enjoyed the first half. "Bodysnatchers" and "Weird Fish" are possibly my favorite radiohead songs of all time if I'm being honest. Sadly for me once "Faust Arp" hits the record starts to lose steam for me. It's still pretty good in the second half, I just wish it didn't end on "Video Tape", which is the weakest track in the link and sounds like Kid A leftovers.

Side A is very strong, with some great staples like No Woman No Cry, and the guitar work in Them Belly Full and Lively Up Yourself is phenomenal. Side B is mostly good with a few less impactful songs too. It ends on a strong note though with "Revolution".

Deeply and profoundly sad, but as far as a listening experience goes, I can only handle in short listens at a time. Not just cause of the emotional content, but because it becomes a tad wearying to listen to straight through. Also suffers from "I don't think I'll ever put this on for enjoyment" syndrome, much like with any Lingua Ignota album. Objectively a good record, just not always what I am in the mood for.

Honestly, not bad!! This was a very interesting blend of western styles of r&b, funk and jazz with Algerian Raï music. Lots of danceable grooves and Khaled's voice is pretty great. The cover of "Imagine" was pretty hoky though ngl. Still, I can see myself coming back to this. :)

Sublime. Rip.. Gone too soon.

This record is a difficult one for me, it goes on for way too long and feels pretty meandering. Still, after multiple re-listens this one started to make more sense. It listens like a victory lap, a man at the height of his creativity and expression. There's lots of fantastic songs here, " I want you ", "Visions of Johanna", "Stuck in Mobile" to name a few. It still remains as not one of my favorites from Mr. Dylan, but I can put it on casually or hear it in bursts and appreciate it for what it is.

Pretty neat! The cover of Jumpin' Jack Flash was pretty novel, and the blending of genres here was pretty bold and interesting especially for the time. I think some of the genre blending wasn't pushed far enough for what I was expecting, but honestly this is a pretty cool little record. I can see how something like this would influence a band like KG&LW down the line.

Obviously, the title track is one of the greatest rock songs ever written and performed. Side B gets all the attention, and rightfully so, due to the immense 17-minute long psych jam. Though side A is also pretty fun and contains some great acid rock cuts like "Are You Happy", "Termination" and "Most Anything You Want", of which the latter has an incredibly bouncy and jaunty bass line that steals the show for me. Really came out enjoying this more than I thought I would, and having the title track be the closer is just the cherry on top.

Sultans of Swing is the obvious standout track, but the rest of the record is pretty good too. Nothing super mind blowing in terms of songs, but the guitar playing and storytelling especially is what ends up shining the most.

Pretty decent 80's-era alt rock, but I get the impression the stories behind the music are ultimately more interesting than the music itself. It's also waaaay too long and could do with a trimming of the fat for sure. Mould and Hart absolutely contributed to the reason why this record kind of doesn't live up to any expecations imo. Even still, I enjoyed it for what it was.

For late 70's post-punk this is pretty good. The addition of the organ/keys is really novel and Mark E Smith is either a fantastic frontman or borderline annoying depending on how you feel at the time lol. Starts off strong, but as the record goes on I wish they would do more to develop their sound more or at least, make the album feel less one-note. STILL, it's a debut and a solid one at that. If anything, makes me curious to hear the rest of their albums eventually.

I've never heard of this artist before, so I was honestly pretty impressed with this one. First off, the orchestration on this album is superb. The strings and other accompanying instruments all blend so well together that the soundscapes are wonderful. The music also has Orchestral rise and falls, softs and louds, that really reach intense moments especially towards the end. Now, this record is one part silly seriousness and one part actual twisted depravity regarding feelings of love. It's hard to know what's a joke and what's a messed up confession. Hannon's vocals really do sell it though, his expressive delivery plus the quality of his croon really hits in a way I wasn't expecting. Seems almost proto-black country new road in places. Now the simple reason why I'm docking points is because of the overall enjoyability factor. Due to the narrative imbaguity I'm not entirely sure how to feel about the singer in these songs, and truth be told I don't know what kind of mood I would need to be in to put this one on in the future! There were also two tracks that kind of passed me by without much of an impression, even on a second listen.. Still, for never hearing this artist before and for all it's bizarre lyricism and odd vibes, I was thoroughly intrigued and entertained, and perhaps I will listen to more of this artist down the line.

Fantastic soul and funk record, with iconic songs and great jams.

I always enjoy hearing rap done in different languages, and here in French it's really interesting and unique. Pleasant vibes all around with a Jazz Rap and Boom Bap style, it would definitely grow more on repeat listens.

This album is very long, but it manages to keep you enthralled for it's whole duration by providing a surprisingly diverse and versatile array of tunes that range from Heavy Alt Metal to Dreamy Alt Pop. It's a vast record with tons of great songs. Sadly, CD 2 loses me just a bit cause I never was a fan of Smashing Pumpkins ballads, at least not ones like these. It does get a bit too dreamy at the end for my tastes, still this album is absolutely worth a listen even if I do prefer Siamese Dream over this.

A rollicking comeback of an album where Jim Morrison sounds equal parts unhinged and enlightened. The instrumentation is flavorful and extremely well-mixed. It is a bit front loaded as an album, but I really think this one is quite a solid entry in the Doors discog.

Drug addled and paranoid, and obsessed with evil people, Bowie's Station to Station is a messy and erratic piece of art that spans Soul, Funk and Art Rock in a way that would make any other artist fail immediately. To Bowie though? There was no way this album would kill him or his career. The songs often lack hooks, the instruments all fight for front row seating, but the glue holding this ship together is David's painful croons and desperate ambition. "Stay" and "Wild is the Wind" are the two final tracks that sit on opposite sides of the same coin, one's a powerful funk rock power jam and the other is some of Bowie's most expressive and pained vocal deliver of all time set to a spacey and forlorn instrumental. Those two tracks sum up this whole album experience perfectly for me. To then go from this to her Berlin Trilogy is just nothing short of miraculous. The only reason I don't rate it higher is because for me: the middle portion of the album is not as powerful as the standard set with the first song. That's all! Definitely a fantastic record.

Two amazing songs and some really over-dramatic power ballads. Nah but seriously, "Bat Out of Hell" and "Paradise" are some insanely awesome Rock Opera tunes, and the whole team of musicians and engineers that came together to make those songs deserve all the flowers cause holy shit. "Hot Summer Night" was pretty good but that little bit of dialogue at the beginning really makes my skin crawl. I think it's the tongue sounds in between the words being said lol. "Revved Up" is fine but damn I wish the whole song was as awesome as the ending to it. All the ballads in this album leave a lot to be desired tbh. "Heaven Can Wait" is really really sleepy, especially coming after The first couple tracks. "Two Out of Three" was a big "oh that song!" moment, but it felt so much longer than it needed to be. "For Crying Out Loud" was a pretty decent closing track but honestly the 8 minute run-time felt a bit too over the top for my comfort. "Paradise" is such an intense song, that following it up with an equally demanding 8 minute long power ballad feels like too much. Still all that being said, despite the low 7/10 rating, I do think this album is pretty good and even fun in a lot of places, it just gets to be a bit much after a while. Probably a great album for a car ride down the highway.

Yeah it's one of the greatest metal records of all time, it's also my favorite metallica album.

One of the greatest pop albums of all time, all the singles are immortal classics, and the deep cuts are also amazing. The personnel within Fleetwood Mac were some of the best songwriters of the modern era for sure.

Raw and rowdy to start, and soon turns into super folksy and very bucholic sounding celtic folk and rock-inspired music. I am very partial to this style of music and I had a pretty good time with it. Did feel a tad too long though.

A freaking great record, as a debut it's phenomenal that something of this caliber just effortlessly gets dropped like that. A lot of it is probably due to the rough life he endured up to this point. Nasty Nas forever man.

This music sounds exactly like being captured by faeries and being subjected to their deadly mischief...in winter. Fraser's vocals are borderline unintelligible but create such an ethereal and otherworldly vibe that even though she's singing in English, it really sounds like something completely alien to my ears. The way the guitars and bass and drums come together to create this swirling and icy and atmospheric haze of sound is mindbending. Outside of the pretty cavernous 80's production style, this sounds way ahead of it's time just in terms of creating soundscapes. A very intriguing and enrapturing album. I definitely feel like it could grow on me more, this is certainly an album that would require a specific mood or vibe to fully enjoy I feel.

Scott Walker's voice is really what draws me in on this record, he's powerful and commanding as he channels Chanson with several Jacque Brel covers and a Bacharach cover or two as well. The arrangements are nice and fitting as well, I think what ultimately sours some of the enjoyment is that the satirical nature of the music isn't landing for me. Some of the songs are kinda gross, and stylistically it just doesn't sound too original or novel for a late 60's album. Even still, it was fine enough even though I probably wouldn't revisit this one.

This is a band I've known about for a bit now, but never really checked out so I didn't really know what to expect. Right off the bat, the vocals are incredibly powerful. Skin's voice is so raw and passionate it completely caught me off guard. To be frank, she's the main draw to this whole album. The lyrics are politically charged and also deal in racism and prejudice against queer folk, seeing as how Skin identifies as a queer woman. This is the most compelling aspect of the music to me. The first handful of tracks are powerful alt metal with driving guitars and slightly funky bass. The songs where the energy really kicks up are the best songs on the album. The more slow burn songs are pretty hit or miss though, as the raw edge of tracks like "Hotel TV" and "Charlie Big Potato" is missing entirely in songs like "We Don't Need" and "Secretly". Although in the song "Good Things" this slow building approach actually pays off with a wild effects-laden breakdown. Sadly though for me, the majority of this album is pretty alright to middling. The instrumentation doesn't go far enough for me to really draw my ears to it. Songs like "Skank Heads" and "Lately" just feel a bit too boilerplate and the back half of the album really stops being memorable altogether and ends on kind of an unspectacular note. I really like Skin's voice and the overall concept of the songwriting, and I think it's super important to prop up black queer artists in music, especially rock music, I just wish the songs at their core were stronger and more memorable.

Smashing together Tom Petty, Bob Dylan, and even a little Rod Stewart, TWOD creates a hazy, swirling orchestra of heartland rock sounds that aptly sound exactly like the title would suggest. The soaring anthems of "Red Eyes" and "Burning" mixed with the contemplative musings of "Under thr Pressure" and "An Ocean" create some incredible soundscapes that truly feel like lost summer days hidden between sleep cycles. A wonderful Album indeed.

This record is the first big breakout album of MJ's solo career away from the Jackson 5. Bolstered by The Brothers Johnson and Rufus, the songs are fun and full of life with super danceable jams adorned with popping bass hooks and snappy guitars. MJ's vocals are more restrained than they would be on later releases but that doesn't mean his personality doesn't shine through. "Don't Stop", "Rock With You" and "Get On The Floor" are some of the best tracks on this album that truly represent the best of what Disco had to offer. I wish Side B was as fire as side A though. The title track is superb of course, but the super saddening "She's Out of My Life" halts this dance party rather abruptly, and while on it's own it's a fine track.. I just can't help but feel like it could have been left out. The album ends strong though with some soulful jams and one last disco rager with the aptly titled "Burn This Disco Out". All in all, a swell Disco classic that's always worth a spin.

Deee-lite, the funky group of hipsters from NYC with eclectic backgrounds coming together to make you get off the couch and dance. Japan's Towa Tei, USSR's DJ Dmitry, and Miss Lady Kier from...YOUNGSTOWN OHIO. MY HOMETOWN. Anyway lol This group is known for their smash hit single "Groove is in the heart". Funky guitar and bass and a stellar feature from one humble rapper Q-Tip (!!!), are only some of the reasons why this track is incredible. The beats are incredibly dancey and Kier's vocals absolutely soar over the ingenius display of sampling and beatcraft this side of the 90's. Pulling from super obscure source material, this track is mind-blowing when you break it down. The rest of the album is pretty dang great too. Lots of fun tracks that explore all different sides of dance and pop, from UK Street Soul to Acid House, this whole album is a wonderful time with very little in the way of outright bad tracks. One of my favorite albums being "Cosmic Thing" by The B-52's makes perfect sense as to why I fuck with this album so heavy, it has many of the same vibes that I enjoy from that masterpiece. So glad I gave this one a chance, can't wait to let it grow on me more as time goes on.

Basically having no idea what I'm about to listen to, I wouldn't have guessed that I'd be hearing a seamless blend of Soul, Funk, Folk and Rock in a 1976 album that sounds like it was made in 1994. Like for real. Tracy Chapman's influences can be traced here for sure. What really impressed me honestly were the subtle yet effective instrumental phrasing, on songs like "Join The Boys" with it's very intentional and so very groovy bass part, and on songs like "Like Fire" where the guitar playing is superbly syncopated and polyrhythmic. Then there's the stunning "Love and Affection". With Joan's incredibly subtle and powerful voice, the song builds to a rather satisfying psychedelic guitar solo and instrumental swell that just oozes desire and need. There's only a few instances where I was taken out of this album and that's on songs like "Save Me" where it feels like Joan was a little too close to the microphone and the puff filter wasn't present for that day. Aside from this minor critique I really found myself rather enjoying this record, a lot. Absolutely underrated and worth checking out.

Full stop, one of the greatest live rock albums ever recorded. Sure, there had to be some post-production touch ups and over dubs, but honestly you wouldn't be able to tell aside from the clean as fuck production. Phill and company sound absolutely on fire the entire time. The classics sound phenomenal, Phill is a fantastic frontman with endless charisma and a great live singing voice. The range of tracks performed is wonderful, from heavy metal anthems like "Emerald" to deep love songs with fiery guitar solos on "Still In Love with You". They even cover a Bob Seger song and make it 100% better than the original on "Rosalie". Thin Lizzy were one of the greatest rock acts of the 70's and they are fully responsible for the rise and evolution of Heavy Metal from rock music. Songs like the aforementioned "Emerald" and also "Massacre" predict and foretell of the eventual rise of Power Metal and Stoner Metal with their heavy riffs and blazing guitar solos. Feeling it come from the live setting is all the more proof of this. An easy 9/10 this record kicks ass.

What can I say other than this album is just very funky and groovy... yet very disturbed. It's actually fascinating how this album succeeds at being both very colorful and full of intricate layered instrumentals and overdubs, yet due to the incredibly somber tone of the music when it all comes together, it almost feels like being depressed at a dance party. Which honestly makes a lot of sense considering the background of the music. Sly was more than acutely aware of what the state of the world; especially in America, was like. The summer of love was over, and in it's place was a deep uneasy feeling. Even more so for the marginalized communities and especially for the black communities. This record answers Marvin Gaye's question "What's goin' On?" directly with the album title. Due to the distressing state of the world Sly would delve into drugs and alcohol, and fuel his energy into a laboriously crafted masterpiece of a record. Funky, deep and meaningful, and pained all the same. Underneath the layers of groove is a grim reality. There's a riot goin' on.

Tim Buckley foregoes his folk and singer-songwriter style for a more lecherous and sleazy take on rock n roll. Imbuing the power of Jim Morisson into his vocals and presence, this record reads like Hey-Day Doors music (Which I suppose WAS this era lol). The music itself is pretty adventurous and all over the place. Moving from Rhythm& Blues to Funk Rock and psychedelic jams, Tim himself becomes a creature possessed on "Devil Eyes". I think what ultimately holds me back from really resonating with the music more are the lyrics. For the most part it doesn't bother me as much as any other sleazy rock star singing about lustful encounters, but "Sweet Surrender" being about actively cheating on your partner rubs me the wrong way, despite the song itself rocking pretty hard. So yeah idk, I thought this was pretty good but not what I like Tim Buckley for.

An incredibly produced, sung and performed piece of pop music that defies the standards and conformities of the industry at the time. Sure there was a pop hit or two, but the album went above and beyond when crafting hit songs and classic staples that would keep the charts busy for almost a decade, even now the songs are immortalized in the pop and rock canon. Look no further than "Scenes from an Italian Restaurant" for how ambitious and infectious a seven minute song about divorce and young romance all the while encapsulating busy NYC street life can lead to being one of the biggest songs of his whole career. This thing is packed full of amazing music that goes beyond the clever words and beautiful melodies. The musicianship and crafting of the music itself is just deliciously detailed and vibrant. Really, in just 9 songs Billy Joel has created probably one of the greatest pop and rock albums to come out of the 70's.

Fuck the pedo, Rest in piss.

Thinking I outgrew live Jam Band stuff. I enjoy the Grateful Dead's albums, and they have some very classic stuff for sure. The thing is, beyond the obvious technical ability needed in order to pull off these epic jams and play off each other so well, I just don't really get much out of it. It would be one thing to actually be there probably, or to have experienced something like this in person at one point or another, but just as a listener, I need there to be a certain amount of structure and intention behind what's happening. Which is why the album's best moments are during "Turn On Your Love Light" and "Death Don't Have No Mercy". On the former, the song's presence is felt the entire time even when the band jams out, therefore making this one feel like it has a point to me. The latter song accomplishes it's goal in wrenching out some rather dour emotions about life and mortality while the Dead jam out some rather deftly played blues rock. Otherwise, this thing is too meandering, and too dependent on factors I can't honestly connect to. The feedback track was also unnecessary. That kind of thing would be cool in person after having physically been through that past hour's worth of drug induced hullabaloo, but to me here at work mopping floors and counting inventory, it felt perplexing and rather annoying honestly. So yeah, it's just uh... not my speed.

Al Green is a legendary Soul Singer and this album was his breakout into the mainstream. Right away you have the iconic "Let's Stay Together", an "oh that song" moment for me, it's subtly groovy and infectious with his smooth vocal chops and the lush instrumentation really pulling you in. The rest of the record follows suit with some really nice Southern Soul adorning this thing, as well as a great cover of a Bee Gee's tune with "How Can You Mean a Broken Heart". Now, a certain darkness casts a pallor shade over this record for me, as beforehand going into this I had learned that this charming young man on the front cover was really no different from this lineup of men: Chris Brown, Prince, Ike Turner, yeah.. I've come to learn the "Reverend Al Green" is a creep who preys on vulnerable young women and who has had a history of domestic abuse and scandals, covering it up with a persona that to most people wouldn't cause them to think any other way about him. This is important to me because a song like "Let's Stay Together" in a vacuum is a sweet love song with a tender message, but coming from this man kind of twists it a little for me and is hard to take seriously. As is the case with those other artists previously mentioned, this does affect my overall enjoyment of the record. So while I do think the music within is gorgeous, I do sometimes have trouble separating the art and the artist in this case.

Backdropped by Britain electing Margaret Thatcher, this album feels and sounds like evil The Cure. Surely, the combination of Post-Punk and Industrial Rock creates a rather disturbing and loud orchestra of sounds with hissing guitars and cavernous drums. Jaz's vocals are either demented and distorted like on "Wardance", loud and commanding like on "Requiem" or troubled and manic like on "Primitive". Even the instrumental "Bloodsport" works well to create a pseudo-fascistic theme on what sounds like Football Promo music. The album's biggest flaw to me is it's lack of cohesive ideas. While individually I think each song does great, there's not really a whole lot aside from atmosphere gluing all the tracks together. The dour and gloomy "$.O.36" with it's repetitive instrumentals and far away vocals against a vocal sample of what sounds like some German people talking, doesn't seem to sit quite as flush next to the ultimate track "Primitive" with it's pepped-up tempos and punk veneer. Even still, this record is super easy to put on repeat and the 2005 remaster ESPECIALLY sounds fantastic. The mixes pop and you can really hear every detail in the music. I especially love Youth's bass playing on this record. So even though it's a bit disjointed, it feels like an essential piece of 80's alternative rock history especially for UK music of the time. I imagine my rating for this would go up the more I listen to it. I dig it!

It was fine, but eh, it didn't really move me in one way or another. I'd rather be listening to Bill Calahan or Justin Molina.

Tito Puente was an accomplished musician and band leader of Puerto Rican-American descent, and this record is a good example of the kind of music that he helped make popular in the mainstream of the time. Fusing traditional Chachachá, Mambo, and various other Hispanic styles with a contemporary jazz flair made for an accessible and exciting combination. The music within is about what you would expect to be honest. Flavorful and excitingly rhythmic dance music with plenty of horns, pianos, and various other instruments (A marimba makes an appearance on Hong Kong Mambo), supplemented by gorgeous vocals all sung in Spanish. Several of the tracks are instrumental though, "3-D Mambo" and "Hong Kong Mambo" more specifically. These ones are great of course, I especially love the marimba on HKM because of the unique texture it provides the already spicy track. It's also not an instrument I hear too much of in modern music either. The latter half of the record wanes in excitement just a tad, but the finale "Saca Tu Mujer" is brilliant and ends with a bang. I wouldn't say this record is mindblowing or even exceptionally novel, but it does posses a certain timelessness and it's youthful vigor makes for a rather fun and brisk listen. So yeah I would say if someone is looking for something just a bit different, this album is worth checking out for sure! Certainly a great album to put on whilst working.

Their international breakthrough album, it's dark and mystifying with a blend of synthpop and industrial aesthetics. Martin Gore and Dave Gahan really nailed this sound, to the point where this album would provide the blueprint for their music going forward. "Never Let Me Down Again" is the crowning jewel of the record, opening with really interesting synth passages and a haunting melody. The pounding drums echo through your ear, as Dave Gahan croons about trust and uneasy relationships. This theme continues into the next song "The Things You Said", another great song with a similarly dark instrumental and lyrics about betraying trust. Other great songs are the intense "Strangelove" and "Behind The Wheel". The deeper cuts are mostly fine, "Sacred" is pretty haunting, and "Little 15" is pretty unconfortable but that was kind of the point of the song, "Nothing" is a great song as well, right before the atmospheric outro "Pimpf". Overall I found this album to be quite enjoyable and definitely a good one for when you're in a darker mood or driving at night. There was only one dud for me and that was "I want you now". The heavy breathing sounds kinda icked me out. still! I had fun listening to this and definitely see why it's considered a classic of it's kind.

Containing one of the most iconic rock songs of all time, let alone the oughts, this record is often hailed as The Stripes' best album and it's easy to see why. Of course you have their expected brand of minimalist garage rock revival with inventive guitar playing thanks to the wizard Jack White, but in addition to the snappy and surprisingly powerful rock music you also have some more tender moments that reveal a mode 3 Dimensional angle to the songwriting you may not have expected. Meg and Jack were in the middle of their divorce during this time, and it's made immediately obvious. Right down to the imagery on the album cover, the lonely sounding "In the Cold Night" (performed by Meg White), and the various songs deeper in the cut that explore themes of restless feelings, failed expectations, and various other frustrations you could ascribe to a strained relationship. The variety in the track list actually works quite well in favor of the album, avoiding repetition and giving a lot of breathing room for some of the heavier songs to really sink in. "Ball And Biscuit" is a 7 minute long blues rock jam, but you don't feel the length and Jack uses this track's runtime to his advantage, to rock out and give one of his signature guitar solos full of wankery and unorthodox style. "Hardest Button" is probably the most straightforward song compositionally, but it's steady stomping rhythm paired with the bizarre lyrics and power chords make this one instantly sticky and remains a fan favorite for many, myself included. The end of the record is also rather solid, with the manic "You have no faith in medicine" and the super tongue-in-cheek "It's true we love each other" featuring Meg, Jack and Holly Golightly on vocals. This song is rather awkward in it's own cute way, but offers a rather lighthearted conclusion to a complicated relationship between Jack and Meg, and rather than the spiteful and spurned feelings of say; Fleetwood Mac's Rmours, you get a cathartic and multi-angled rock album with lots of food for thought and some of the most iconic rock songs of all time. I recommend!

Phenomenal record! The raw punk energy is immediately felt, Polly Styrene's voice is felt in the echoes of groups like Bikini Kill and Sleater-Kinney, and the band follows behind with loud as fuck guitars and above all else a freakin' SAXOPHONE. It fits in extremely well and adds to roaring cacophany of loud punk music. Sounding incredibly ahead of it's time, I can easily see why this is considered one of the best punk records of all time and how insanely influential it was to artists and bands down the line.

Oh my god, this was DELIGHTFUL. I'm already a sucker for Celtic Rock and Punk, so it's a wonder I've never heard this album before now. I've always been aware of The Pogues but for whatever reason I just never checked them out. I'm glad that's been broken, because holy crap. This album is a lot of fun. Upbeat and eccentric with lots of different approaches to the style, fantastic songwriting and McGowan's voice is perfect for this style. Even the Christmas song near the beginning of the record is done superbly and doesn't at all feel out of place. RIP Shane, you were a hell of a musician and The Pogues are a band I can't wait to dig into more.

Campy as hell; Lux Interior's vocals can best be described as evil Fred Schneider, this record is loud and fun. The guitars sound trashy as fuck, and there's practically zero low-end in the mix, but it really benefits the dark twist on classic rockabilly and garage rock. It does kind of grow stale by the end, but there's some truly amazing songs here. Especially "Sunglasses in the dark" and "Garbageman".

It's fine, a lot of it is pretty typical 60's pop tunes. "California Dreamin'" is the standout tune obviously, but there's really nothing here that gets me out of my seat. The album feels more like a smattering of tunes and not really like a thought out production. Speaking of that, damn is thing in need of a remaster. It's extremely dated sounding and the way some of the vocals are mixed in the different channels is really bad. Just yeah, it's not something I would rush to listen to again. Not bad, just not my thing.

Classic Beck is back again; largely due to the return of The Dust Brothers on production, the very same that were in part responsible for Odelay. Guero sounds like a more tempered version of Odelay. The quirky genre-blending is present, the hip-hop grooves mixed with the dusty and fuzzy guitars and psychedelic undertones and his knack for esoteric lyricism is ever present. Though because his writing has been toned down a bit since his sobering Sea Change, the more low-key moments of this record kinda feel a bit hollow or too spacious where I felt like more could be explored but the risks weren't taken. Still, if you're a fan of Beck this album has plenty to offer. Standouts are the groovy "E-Pro", "Girl" and the catchy "Go it Alone".

Little Richard, rock n' roll pioneer and Bonafide legend with his debut 1957 album Here's Little Richard. Man what a musician. He's got such a vivacious energy about him, putting his whole being into music and performance. Just listen to that voice! "Whop bop a loo bop whop bam boom" bursts this album open at the seams from the get-go, "Tutti Frutti" is an amazingly rowdy number played at a breakneck pace with fierce pianos and a fantastic backing band, this song perfectly sets the stage for the rest of this record. Little Richard's presence is really what makes this album work, and stand out from the rest of the pretty boilerplate rock and pop music of this era. The songs within are all pretty standard. Most of them being renditions of pre-written material, with some originals mixed in as well (These are some of the best ones) so the contents of this record aren't gonna knock you off your socks conceptually. No it's all Richard and there's nothing wrong with that. His voice careens through each track, like a thunderball of energy, making it almost impossible not to smile and sing and dance along. It's brief, but oh so sweet. If it feels like I haven't had much to say about this one, you'd be right. This album's winning formula is in it's simplicity and the effectiveness of Little Richard as an entertainer, any points deducted from this album's score have to do with mixing issues and some of the songs just not being as memorable as some others. They are all great though, by virtue of who is playing them. A must have record for sure, and one that would put anyone in a good mood.

So yeah, the title track is obviously incredible. Inspired by the untimely passing of Buddy Holly, and also a love letter to the 60's, this 8 minute long epic more than worth the price of admission alone. You would be remiss however if you neglected the rest of the record. "Vincent" is an incredibly pretty ballad and Don's soft vocals really shine through and put emphasis on his poetic lyricism. In fact, it's worth noting that aside from "Everybody Loves Me, Baby" most every song here is pretty stripped back and very folksy or ballady. Which is not a bad thing whatsoever. I think McLean's lyricism is pretty awesome, and I found myself enthralled by most of the songs here. There are a couple weaker tracks, mainly the aforementioned "Everybody Loves Me", which sticks out like a massively sore thumb with it's overtly whimsical instrumental and very on the nose lyrics about corrupt politicians. A very apt song that sadly reflects our current debacle in the US, but on this record it doesn't really fit (also sounds like a style parody of Dylan's "Rainy Day Women"). "Sister Fatima" is also a rather underwhelming song, but what really disappointed me was the closing track "Babylon". It just felt rather tame without much of a lyrical statement to help close out an otherwise fascinating album. The penultimate track "The Grave" though? Chills. Evoking imagery of a fallen soldier fighting in a war (most likely alluding to the Vietnam war), the whispered singing and the delicate guitars make this song feel hallowed and sacred. It's extremely haunting and made me stop in my tracks. So yeah, honestly liked this album a lot more than I thought I would. I was certain that "American Pie" was going to overshadow everything else here but I couldn't be more wrong. I just wish it ended stronger. However, the bonus track edition that I have features two incredible bonus songs. First of all, "Mother Nature" is probably the prettiest song about a horny unrequited lover I've ever heard. The lyrics are super poetic "Don't toss me like the covers in the morning", and the jazzy Steely Dan-esque breakdown at the end was mind-blowing. "Aftermath" actually completes the song "Babylon", and makes the ending of the album feel more whole than it did before. It's a great song as well. If we count those two bonus tracks this album is easily a 5/5. So yeah, check it out! I sas pleasantly surprised.

It opens with the lively intro track, with lots of guitars and rousing instrumentation. Perfect way to begin such a bold record, then seamlessly transitions into "with a little help from my friends" which is one of my favorite Ringo songs. It's a lovely piano led tune with extremely singable lyrics, just makes you feel good once you listen. Right after this is the trippy "lucy in the sky", a psychedelic song about... well you would think LSD since the lyrics are very abstract and trippy, but Lennon denied the connection thoroughly. A fun song overall. "It gets better" follows this one, much in the vein of the former track this is a jaunty tune with a feel good message and catchy chorus. I personally couldn't help but scoff at the lyric about beating his wife, but trying to get better and learning to not to it anymore.. considering Lennon's domestic abuse habits.. A little down the tracklist you get "she's leaving home" which is honestly a pretty emotional track about a young girl running away. It's short, but the instrumentation and delivery are wonderful and worth noting. "Benefit of mr kite" is an odd tune about a circus act, and thematically the instrumental is very zany and circusy as well. It's mixed a bit oddly however and kinda makes the tune a bit mushy. Another good example of this is with the song "good morning" as well. "Within you without you" is another Sitar led song, much like the one from Revolver. This tune is more serene and drug induced than the previous track, though still just as interesting to listen to. You've got a couple more cute songs, "when I'm 64" ponders about life as an old person, "lovely rita" is a fun love song about a meter maid. The album closes with a reprise of the intro-track, which leads right into the wonderful "day in a life". A masterful tune that paints such vivid imagery and atmosphere with it's music. The Beatles have made it very clear that they were a force to be reckoned with on Revolver, and here with Sgt. Pepper, they bolster that reputation with a record that knows how to have fun and take risks. A few production duds here and there in the tracklist keep this record from beating revolver, just marginally so. I would still recommend this record to anyone looking for a wholeheartedly fun record to listen to.

Starts off incredibly strong with "Beetlebum", one of the greatest 90's britpop songs of all time. It's super saccharine atmosphere just oozes 90's bliss, and the song's outro is phenomenal. Immediately after this though we get the instantly recognizable "Song 2". The "woo hoo" song as others know it as. It's a parody of grunge rock, but it's played so straight that you wouldn't know that Albarn and Coxon were taking the piss out of the genre. The rest of the album is quite a mixed bag, what I find interesting about it though is that despite the inconsistency it definitely shows how versatile Damon and Graham are. They experiment with dancey, psychedelic, noisey and even country-esque styles in these various songs and all are pretty good in their own way. While not every moment stands out like the very beginning, it's cool to hear essentially proto-Gorillaz music as I could definitely see many of these tracks decorating one of their albums down the line. I can see why an album like this would be a little underwhelming compared to their more deeply britpop records from the past, but Albarn was never going to stay tied down to one style of music and approaching Y2K a record like this makes sense. It was their international breakout record for a reason. Definitely a grower for me, but still I rather enjoyed this one and will continue to play it every now and then. Groovy!

Dude can sing, but sadly the songs didn't go over well for me. "Wishing Well" is a cheesy song that I was never really too into, but his cover of Smoky Robinson's "Who's Loving You" is pretty good and really shows his voice off. Considering his ego and how he thought this record was better than Sgt Peppers, it really made me hear this and go... huh? so yeah idk it didn't age well imo.

ELP have always been more symphonic than rock and this live album is proof of this. Covering Mussorgsky's multi suite Pictures at an exhibition, this live record really serves as a testament to how skilled these musicians are. What's most impressive to me is the bass playing and drumming. The organs are superb of course, but hearing electric bass and rock drums played so skillfully to this music was a real treat. The encore track "Nutrocker" shouldn't have worked, but damn like I said the bass and drums really really blew me away. A strange album all things considered but I did come away from this enjoying it.

Incredibly important and influential record for the projected future of experimental, alternative and punk rock later on down the line, this probably the only good thing that Andy Warhol has ever made himself be a part of. Yes, it's not for everybody and it's quite messy, but there's a kind of naive beauty to how raw and earnest this whole project is. Definitely a fantastic record that gets better with age.

Incredibly derivative, Ian Hunter sounds like Bob Dylan and David Bowie combined. That being said, it's a wonderfully produced glam rock album with lush instrumentation and the guitars especially sound good. The songwriting is actually pretty interesting, exploring the downsides of being a rock star in the 70's. There's some satire here and there, but the album really shines on songs like "Hymn for the dudes" and "Ballad of Mott Hoople". "I am Your Cadillac" is an epic song with probably one of the most impressive guitar solos I've heard from this era. The phrasing and progression is incredibly effective and really pulls me in. The album loses points for me in the originality department, but overall I enjoyed it regardless. If you prefer Bowie's more rock-oriented sound, this record would scratch that itch.

The last Bon album is a great sendoff. The songs are tighter, his singing is more refined, and there's more emphasis on structure and quality than before. You can thank "Mutt" Lang for that. While the technical aspects of this record are improvements on their past work, I still prefer the wild and out of control attitude of albums like "Let There Be Rock". Still an essential rock record.

Starts off hauntingly beautiful with the acoustic four song run "My My, Hey Hey", "Thrasher", "Ride My Llama" and "Pocahantas". This run of tunes offers some of Young's most lyrically potent and straightforward songwriting ever. The opening track offering poignant narration on the state of music, and looking to the future, all the while sounding like a funeral dirge. "Pocahantas" and "Sail Away" touch on themes of anti-colonialism and the destruction of Native culture. The stripped back instrumentation really helps shine a light on the lyrics and mood. The second half of the record is more wild and unhinged, with louder rock instrumentation and a more frantic-sounding Neil singing and playing away. "Sedan Delivery" is the most wild of this run of songs. "Powderfinger" is also superbly powerful, with a rollicking guitar that adds fuzz and haze aplenty. The closing track is a louder, full band-backed reprise of the opener. The guitars sound surprisingly sludgey and fuzzed out, the vocals sound more weary and torn up, and all in all this is probably the closest Neil got to making a true and blue punk rock song. A fantastic way to shut out the record. So yeah, this one is great. It offers multiple different styles of Neil Young songwriting and plenty of lyrical prowess. When Crazy Horse comes in for side B, the album lets loose and rocks out to truly leave a one-of-a-kind impression. I dig it.

The Who create a concept record. This LP pays tribute to the 60's Mod scene and Pirate Radio, which both have been on their way out since the album's conception. It's a brilliant compilation of power pop tunes and a healthy mix of tongue-in-cheek product jingles as well. Ranging from Baked Beans, to Deodorant, to a fictional acne medicine, these skits are funny as well as musically gratifying. The best one to me being the Deodorono* skit. The twist at the end of the jingle is fantastic. That's not to say that the main tunes on this record aren't top notch either, oh no in fact this is one of The Who's most well written and most cohesive projects.. well ever! The record opens with the intensely psychedelic; as well as powerful rocking, "Armenia City in The Sky". The song takes cues from Jimi Hendrix in composition, with blaring guitars and effects heavy playing. The chorus is catchy as hell and the instrumental just doesn't stop for this track. Perfectly setting up the expectations for the LP. The next single "Mary's Shaking Hand" is to Simon and Garfunkle what Steeler's Wheel's "stuck in the middle with you" was to Bob Dylan. The song is a pleasantly folky ballad that almost perfectly mimics S&G style folk rock, but just as tastefully as well as tongue-in-cheek. The crown jewel single of this project is definitely "I can see for miles". It's a powerful song with The Who's catchiest hook and Moon's most consistently relentless drumming lines. The guitars wail and twang in the back as Entwhistle provides a massive low-end with his thunderous playing. It's a seriously intense track and a ton of fun to listen to. The album's closer "Rael" is probably the most expertly crafted song in the record, and definitely foreshadows their progression into Rock Opera with "Tommy". The only track on this record that's a bit of a sour note for me is "Silas Stingy". The song's repetitiveness and mocking tone is a bit much and it kind of runs longer than it needs to, but really... in the grand scheme of the record it's pretty easy to overlook. I really really loved this album. It has so much variety without feeling too scattered or directionless, the concept is executed wonderfully, and it certainly is The Who's first example of true greatness to come.

Pretty interesting blend of reggae and dub with punk attitudes and really fascinating vocal styles. I've seen a comparison to Bjork's vocals and I can definitely see it. I think this album is more fascinating in it's overall concept and historical significance in the overall punk-canon than it is in execution, but given I'm in the right mood to listen to this, I can see myself jamming it out on a hot summer day.

Pretty fine for the most part. It's a pretty eclectic batch of rock songs that draw from psychedelia and britpop with a touch of shoegaze, especially in the single "Lazarus". My main gripe is that it's really long, and it kinda fizzles out without much fanfare imo. The closing track got pretty annoying. Still had plenty of good tracks up to the end.

My enjoyment of The Smiths has always been held back for me thanks to Morrissey. His voice isn't that appealing to me and his whole persona comes across as whiny and insufferable. Thankfully on this record Johnny Marr and co save the day by providing extremely groovy and versatile instrumentals that truly carry the meat (lol) of this record. The songwriting does shine here in a few spots, namely in "That joke isn't funny anymore" and "barbarism starts at home", the latter hitting closer to home since I was smacked as a kid. That track also features the most energetic instrumental with a dancey punky beat and slap bass while Marr plays mad tight and angular guitar chords. It's my absolute favorite from this release. So yeah, I came away from this liking it more than I thought I would. You can miss me with the title track though.

A marked improvement over Frank, the songwriting has improved, her voice is incredible of course, and the production is phenomenal. The only song I was iffy on was "Just Friends" cause I wasn't too into the slight dub influence on the instrumental, it felt out of place for her. I also wish the album ended with a stronger batch of songs, but overall this record is pretty awesome.

Legendary album, Biggie's presence is massive in these songs and his brutally honest stories of street and gang life are profoundly immersive. Theres a few awkward bars and interludes here keeping this from being rated higher, and one or two tracks aren't as memorable as the high points here, but this is still pretty freakin' good.

There's something to be said for a band to be able to make an 80 minute long album and not have it feel like it's dragging through the finish line. This record is expansive, bold, and honestly pretty refreshing for a band that has become so overplayed in the annals of rock, that even their best songs get very wearisome. It starts incredibly, "Custard Pie" is a herky jerky rocker with an off kilter beat and very odd guitar playing. Plant wails about wanting to cream a lady (classy) but that doesn't really matter so much as it just kicks off the record with a bang (lol). "The Rover" is really where things start to get serious though. Probably one of the purest examples of Led Zep busting through with just a straight up incredible rock song. "In My Time of Dying" starts slow, but once it kicks into gear this thing becomes one of the best instrumental jams the band has ever crafted. "Houses of The Holy" rounds out side A with another solid rock track. Side B is where the album really digs into the bizarre. "Trampled Under Foot" is surprisingly funky and kind of throws you off guard before the monumentous "Kashmir" struts in. This song has always been intimidating in nature. The powerful strings sounding like an imperial march provide the backing to an expansive 9 minute long song that you just wind up lost in. To be frank, I've kinda grown weary of this song and I'm ready for it to be over by the time the 5 minute mark comes in. Even still, it's presence cannot be denied. Side C has "In The Light" which continues the mystifying nature of the previous song, but I couldn't get into this one as much as I would've liked. "Bron-Yr-Aur" provides a wonderful breath of fresh air with a beautiful acoustic interlude that doesn't sound too unlike what Iommi does on Black Sabbath albums. It's wonderfully played and sounds gorgeous, I could have that on repeat no problem. "Down By The Seaside" is a fun and lighthearted song that's a bit Eagles-esque with it's pop-tinged country rock vibe and then Zep bring it in at the end to transform it into their hard rock style. An underrated track for sure. "Ten Years Gone" is the perfect capstone to this side of the record, as it's a heartfelt dirge about Plant's ex lover whom he had to leave behind due to his demanding career. The guitar-work on this song is the perfect accompaniment to the heartfelt lyrics and passionate singing. Side D sadly is where the record starts to fall off for me. " Night Flight" and "Wanton Song" are both pretty good rockers but the kitschy "Boogie With Stu" and the incredibly loose "Black Country Woman" feel like throwaway tracks to pad out the length of the record, and "Sick Again" is just not very memorable as a closer. It's easy to see why this album is so highly regarded. True, my Zep fatigue has kind of affected my overall enjoyment of the album I would say, but as far as double albums go there's no denying how much of an achievement this album is and it definitely deserves it's place as one of the most celebrated rock albums.

I've never seen the movie, but this soundtrack is an absolute vibe. Surprisingly lyrical guitar playing, even though 90% of this album is instrumental I can definitely imagine what kind of lyrics might accompany the music. As a standalone Listening experience this was surprisingly immersive, would provide an awesome background to a late night drive, or perhaps a casual gaming session. Honestly pretty tight!

Something about the mid 2000's and Pop Punk in the cultural zeitgeist just helped make this decade one of the best for rock music for me. You had artists like Jimmy Eat World and Fall Out Boy cracking the mainstream with Paramore not far behind, and then you had My Chemical Romance and Green Day proving that punk rock could be artistic as well as rebellious and loud. American Idiot comes hot off the heels of the first George Dubbya term and boy has it got a lot to say. It's right in the name. This album is a rock opera of disillusionment and disenfranchised suburbanite youth bucking against a system that's making it increasingly clear that they aren't meant for greatness; or hell, comfortable living. I could delve into the various themes and characters, and the loose plot that follows the songs, but I think as of now that would be a waste of time. There's a freaking Broadway production of this album, and so many other more eloquent writers have dissected this record that I feel like I couldn't offer anything new to it really. What I will say though, is that this album shouldn't have worked as well as it did. You've got your loud and punky anthems with the title track and "Holiday", an ode to loneliness with "Boulevard of Broken Dreams", and several multi-suite tracks with "Jesus Of Suburbia", the "Are We The Waiting/St. Jimmy/Give Me Novacaine/She's a Rebel" medley and the penultimate "Homecoming". These songs really put proof to paper that even though Green Day built their career so far on the foundations of four chord skate punk and hardcore roots, that they could take those influences and stretch them into grandiose territory to make something that's epic and multigenerational. Now not every song on this record is as incredible as the highlights, I particularly feel kinda lukewarm on "Extraordinary Girl" and even though "Whatsername" is a cute song, as a closer it's rather underwhelming following "Homecoming". Oh and I didn't even MENTION the heart crushing ballad of "Wake Me Up". A song that; similar to "Chop Suey!" by SOAD, has been memed to death that the original emotional intention and impact has been so watered down. This powerful anthem to the memory of BJA's father passing away; coinciding with the tragedy of 9/11, is a generational cry of SOS. The weight of this song still carries heavy in today's world as it seems every month something horrible is happening in addition to the personal struggles we all face. It's pretty exhausting physically and emotionally and this song has aged wonderfully because of it. So yeah, this is a pretty damn fucking important record not just for the rock canon of the oughts and Green Day's career, but also for the jilted youth of America that keep returning to this music and singing it's songs of restlessness. BJA is no Bob Dylan or Woodie Guthrie, but he sure embodies that rebellious spirit that's not afraid to call out the harmful administrations and societies that continue to pursue harm and control. I'll be blasting this record till I die I'm afraid.

Cocteau Twins music is never going to click the first time you listen to it. This is now my fourth listen of Heaven or Las Vegas and it's finally starting to make sense. The shimmering guitar made ethereal by severe effects pedal usage, the steady and plucky bass supplementing the sparse rhythms, and Fraser's haunting and beautiful vocalizations all coalesce into otherwordly and out of time music that absolutely feels like you're existing within the album cover. The title track especially is so euphoric and extraterrestrial in sound that it is for certain the greatest dream pop song ever crafted. The latter half of the record gradually unwinds and turns down the shimmer just a tad, but for the closing track the drama turns up and flowers into an incredible final moment. For only 37 minutes of runtime, this record certainly does not feel like it, in the best way. As with Treasure, this album is only going to keep growing on me as I spin it.

A really great record, though I prefer Music From Big Pink

Imagine is one of the worst songs ever made and the rest of this album is pretty mediocre imo. One of the most overrated albums. I cannot take this dude's lyrics seriously at all, and the songs suffer from mind numbing repetition and annoying hooks. Oh Yoko is kind of sweet, but knowing how he treated her just makes it feel hollow in it's sentiment. yeah idk I don't care for it at all really.

One Queen's better records in terms of album structure and flow. Their signature operatic style mixed with hard rock and progressive aesthetics works wonders on this wonderful LP.

Dark, groovy and mysterious, this soundtrack is truly one of the greatest examples of a film score standing alone from it's attributed movie. Mayfield's a virtuoso of many talents and his contributions to this record are impeccable. Down to his falsetto, the anti-drug lyricism, and funky guitars and bass. This record is a 70's funk time capsule in the best way possible. The title track and "No Thing on Me" are the highlights for me. A very good listen.

(light 7 out of 10) Venom as a band have more in common with Lordi than Celtic Frost or Mayhem, but that doesn't mean this isn't THAT corny or unserious. The band plays pretty gnarly sounding heavy and speed metal, the title track for instance is a declaration to metal's existence as a genre and is catchy as fuck. Other highlights for me are the slayer-adjacent "Raise the Dead" and the epic closer "Don't Burn The Witch" (even though it ends on a kind of confusing note). The main thing holding this record back for me is the production and sound. The guitars frankly, sound awful. When the bass guitar does make it's presence known it's pretty deep and rumbly (like the bass solo on Countess Bathory), but for the most part there's not a whole lot of low-end filling out the sound. The vocals are pretty much what you'd expect, but I prefer the overblown camp of say, Anvil, to this. It's just kind of grating after a while. Also the song "Teacher's Pet" just kind of sucks also lol. So yeah it's not perfect whatsoever, but it's pretty entertaining in pockets and I can definitely appreciate the importance of this band and this record in the greater picture of metal music, I just prefer what stemmed from this.

When I think Jeff Beck, I think of his time in The Yardbirds and his virtuosity at Jazz Rock and Fusion guitar playing. Naturally, before he would transition into that style he had to bust out of his Blues-based rock music. I always preferred Jeff's more boundary-pushing guitar playing personally, but I get why; especially for musicians, his blues material would be looked at so fondly. This album is a tight 40 minutes worth of Beck and Rod Stewart with several other session musicians (including Ron Wood and Keith Moon) banging out some decent classic blues rock. Stewart sounds great on this record, his signature smoky rasp works wonderfully over this raw tracks, especially on the barn-burner "Blues Deluxe". Jeff's presence on this album is actually quite overshadowed by Stewart IMO. Sure his solos rip, but Rod just commands such attention whenever he sings. All in all though, this is a fine record if you like British Blues and the like. It's not something I would actively seek out as much but it was a nice listen.

(Light to Mid 8/10) Super good record! The songwriting is superb, this thing is packed with awesome melodies and hooks, the guitar playing especially is surprisingly intricate and full of personality. "Miracle Man", "Allison" and "(The Angels Wanna Wear My) Red Shoes" are the highlights for me. Especially "Allison", it's soft rock perfection, the guitar on this song is the secret weapon to this song's effectiveness. I didn't expect to like that one as much as I did. Honestly, there's never really a super weak moment for me on this album aside from "Mystery Dance". It's a tongue-in-cheek rockabilly song that's short enough not to be terribly annoying. I just think it sticks out in the track list in kind of an awkward way. Other than that song though I thoroughly enjoy every song here and I will be coming back to this album next time I need good music for a good time.

(Strong 7.8/10) Fats Domino is one of the founding fathers of Rock N' Roll, helping popularize it, and also getting more attention from white audiences as well with his monster rendition of "Blueberry Hill". This Is Fats Domino! is a small little album, but a fairly decent one full of Rhythm and Blues and early rock tunes that sort of feel like vignettes of what popular music would become later on. The opener is the wildly successful "Blueberry Hill", with a strong melody and backing band playing along, this song is super sticky and a lot of fun to sing and listen along to. By far the best song of the bunch! "Honey Chile" is a very similar type of catchy pop song with a very fun hook and infectious rhythm. The rest of the record I really do not have much to say about. Each song has a very simple and predictable method to it, and a lot of the material comes across as rather meat-and-potatoes. I can't really fault it though, when you can see how far this kind of music has come, one can't help but feel this early stuff just kind of feels very basic. That's not all bad though, plenty of the tunes here are plenty catchy and come with memorable melodies and lines. Whether it be the pleasant "La-La" or the bluesey "You Done Me Wrong", there's something to hang on to with each track. Now, Domino isn't the strongest vocalist in my opinion. A lot of his charm is felt by actually watching him play. His voice is a bit too monotone for my tastes. Where he excels though is in the piano playing. This is none more apparent than on "Fat Man's Hop" which is an instrumental in this version of the album I'm listening to. His piano playing is strong and nimble as he provides skilled rollicking piano grooves not just in this song, but throughout the record. The album is plenty charming and quaint for it's time, and Fats is a pretty important figure in the grand scheme of rock n roll, I just don't always gravitate to this album.

(Light 7/10) The title track is fantastic of course, and the rest of the record just kinda follows suit. It's fine music to have on in the background, but doesn't really do much to "wow" me. Certainly a talented group of session musicians, I just wish there was more to it.

(strong 8/10) Holy shit. This thing started out pretty unassuming for me. The intro track was pretty and spacey, and then the rock piled on with "Come Together", but as soon as the cycling and repetitious "I Think I'm In Love" started growing and growing, I was fully latched in. This album is lonely and isolated in mood, much like space. Though it's not quiet and somber, it's oftentimes loud and suffocating. The instrumentals are either shoving in your face loud combos of guitars, strings, synths and bass, or they're lulling you into a temporary reprieve with dreamy zero gravity ballads. Jason Pierce's vocals are soft and measured, acutely providing the songs with context when needed, in such a delicate way as to not completely ruin the immersion that the record tries so very hard to accomplish. This thing truly is mind-blowing in that regard. The amount of detail in everything is stunning. Everything is so purposeful that if anything about the songs on here would change, the balance would be tipped too far and the experience would be ruined. The album is capped off with a monumental 17 minute long song that fades in with dreamy space rock, and gradually shifts into noise and free jazz before touching down with what we began with, reassuring and calm, perfectly wrapping up this 70 minute adventure. I had no clue that this album was going to turn into one of my all-time favorite breakup albums but here we are. It's got a little bit of everything. This is the Yin to Duster's Yang as far as space rock albums go. Holy crap, I will definitely come back to this one as soon as I can.

(Light 8/10) At only 18 years old, Fiona Apple creates not only a wonderfully produced album, but also an incredibly mature and wise-beyond-her-years collection of songs. "Criminal" is indeed a classic, but also "Sleep To Dream" and "The First Taste" are other examples of just how powerful of an artist she was at such a young age. A very good record, I feel like the more I listen and dig into the lyrics my score will go up, for now though I am very pleased with my first listen-through (not my first Fiona album though) and will look forward to playing this one again.

(Light 7/10) Maybe AnCo are one of those artists I'm just never really gonna click with. That being said, this album is fairly enjoyable. Absolutely must hear with headphones on, any other way is not optimal as you don't quite get the same kind of immersion this music requires. The first half of the record is the strongest, with more discernible hooks and pleasant sonic textures that; despite the repetitious cyclical nature of the songs, do add up to something overall enjoyable. Unfortunately for me though after the song "Bluish" the album kinda enters unmemorable/annoying territory. I was not a huge fan of "Lion" or "Brother Sport" as much and "No More Running" felt very catatonic to me. I think this album is just waiting for a "right place, right time" kind of "a ha!" moment to finally click, but as with other AnCo albums I've tried before, this one felt like a lot of things happening all at once that sometimes by accident form enjoyable songs or moments. Absolutely peculiar album.

(Light 8/10) Dark, depressing and thoroughly toxic, this album explores many different angles of bad relationships and the breakups that result. It's a fascinating record with some genius songwriting and especially if you appreciate inventive guitar playing. A rather underrated 90's grunge-adjacent record that got overshadowed by the Seattle scene.

(Light 7/10) Honestly a lot more fun than I was expecting, I'm not a huge fan of the surf-punk stuff ngl, but the songs like "Two Tub Man", and the super tongue-in-cheek "Master Race Rock" where they really rock out utilize some truly killer guitar solos (plus the bass in MRR is really fucking good). So yeah, mostly a great time, but I can do without the surfy stuff.

(light 7/10) Pretty good! I mean, for an imperialist zionist that is. idk, ever since learning about Nick Cave, I can't really feel anything about his music outside of recognizing it's technically a well-written and well-produced album. idk.

(light 8/10) Dark and intriguing, with very subtle instrumentation that also manages to be a little chaotic in places, despite the overall quiet sound. BPB's vocal range is gravelly and tired-sounding, perfect for the desolate songs and interesting lyricism. It ends without much fanfare, but while you're listening you can't help but feel sucked in and paying attention to everything. A sleeper hit of an album for me, it's gonna have to go through repeated listening cycles for me to fully grasp it. As of now though, I'm a fan.

(Light 8/10) Thelonius Monk, one of the world's greatest jazz composers and pianists, with his third album Brilliant Corners. Brilliant Corners is one part mindblowing masterpiece, and one part improvisational Hard Bop goodness. The opening title track took about 12 takes to get right. The composition was so intricate and complex, the feat of recording such a track is one to be celebrated. The song itself is impeccable. For a music nerd and or a musician, this song is amazing to behold. The time signature changes, the intricate layering and melding of each respective musician, it's absolutely wonderful. The hard work absolutely paid off in spades for this recording. The rest of the album is pretty good too, though nothing as insane or ambitious as the first track. "Ba-Lue Bolivar Ba-Lues-Are" is the longest song here, clocking in at over 13 minutes. It certainly feels like your good old jazz jam. With each musician having their time in the spotlight across this track's runtime, it's definitely a great song to get lost in. Side B contains a few more tracks, the lovely "Pannonica", the beautiful solo piano ballad "I Surrender, Dear" and the rousing "Bemsha Swing" which contains some of the best drumwork on this album. Now, while these tunes are rather good, the overall quality in comparison to the first track is night and day in my opinion. Which isn't necessarily a bad thing mind you, it just leaves me wanting more from this record. I feel in some of the later tracks, the ideas could have been explored just a bit more, or expanded on even. I totally understand that by the time this record was done being recorded, these musicians probably didn't want to touch their respective instruments for a long time. I hear the recording sessions were very arduous. So all that being said, I think this is a solid offering from the Jazz Great. Is it the most exciting or revolutionary jazz album in the grand scheme of things? Outside of the title track I would argue no, but it absolutely deserves to be in one's collection if not just for "Brilliant Corners" and hearing some of the jazz world's master musicians come together to make an entertaining jazz record.

(Light 8/10) A marked improvement over Pure Heroine, an already mature-beyond-her years Lorde improves on her minimalist alt-pop formula with help from Jack Antonoff, creating a very compelling piece of work that plays very wholistically from Track One to Eleven. While a few songs were a tad derivative of her peers; E.G. Lana and Taylor, overall Lorde's lyricism and storytelling make up for any similarities in the aesthetic I've noticed. This is one of those records you can't shuffle, very good listen.

(10/10) What a perfect little record. Proof that you don't need to try too hard to make something truly timeless with unlimited replay value. The secret is the simplicity. The songs are all rather short with very sticky hooks and a taste for quality guitar structure and brilliant solos. Casablancas' voice is the perfect blend of "I couldn't care less" and "I need you to listen to me". Truly, one of the greatest debut albums of all time.

(Decent 7/10) As with most records like this that have 3 or more major songwriters and singers all sharing a spotlight together, you're gonna have a rather unbalanced effort that feels like some members are gonna have less time up front than others. Then there's the issue of sometimes the songs that your favorite of the 3 sings are just not the best ones. That was overall my experience with Trio. I love all the vocalists here but Ronstadt was my all time favorite as I grew up with her music, and just hearing her sometimes and on some of the more underwhelming tracks was a bit sad for me lol. All that being said though, this is a very nice record and when all three of these amazing ladies come together for the harmonies, it's golden country magic. The songs are for the most part all really nice too. Dolly is the clear standout here by far, all the best songs have her front and center. It's a great little LP that really only made sense for a collaboration like this to occur. For the outlaws we have The Highwomen, and for the softer country souls we have Trio.

(Decent 6/10) I don't like being that guy, but this is basically Iggy Pop but 2004. The production is pretty good, but I really couldn't find myself to feel compelled by the vocals or the songwriting for the most part. The times this record shines for me is when it tows the line between sasscore and noise rock, "Kiss Like Lizards" for instance. The album also takes lots of cues from 60's garage psych and the second half of the record really digs deep into it. Which would be neat, but honestly I can't help but feel like this sounds like Jet but messier and noisier. There's aspects to this record I find interesting but overall it really failed to captivate me beyond the first handful of songs.

(Light 8/10) Highly influential and important piece of hip hop history. Not my favorite from them but it's got plenty of bops.

(strong 6/10) Fairly pleasant, though not too memorable to my ears. I'm kind of surprised his other more acclaimed records are not in this book. I would much rather check out Zero Hour than this one.

(Light 8/10) Pac shows he is well and capable to create an album that is not only full of bangers, but that is also deep and profound. Turning the lens inward, he waxes poetic about his mental struggles, his upbringing, and his life in general. This record contains some truly phenomenal tracks in it that make for one hell of a beginning and middle of the record. "So Many Tears" and "Dear Mama" being the first two that come to mind. The 90's style production can be a bit corny sometimes but it's all part of the charm. The record does lose steam towards the end though, but the songs are still good on their own. "Outlaw" ends Things on a bit of a somber note though, as it seems to portray that the cycle of gang living moves on through the generations. Even still, great album. Definifely one of Pac's best.

(light 8/10) In some ways this is better than Born to Run but overall what it excels in Songwriting chops, it falters a bit in consistency. This album is sad. It's pretty similar to The Killers' Pressure Machine album where it explores small town living. Unlike Born to Run or Mellencamp-type Heartland Rock where they sort of celebrate the small town lifestyle, this album tears it apart. This record is full of regret and missed opportunities. Being trapped in a cycle of poverty and exploitation of the working class, no song better illustrates this than the insanely powerful ballad "Racing In The Street". It took a second listen to truly feel the weight of those lyrics. It's these epic songs like the aforementioned "Racing In The Street", the title track that closes out the album, and "Something In The Night" where the lyrics and the arrangements really shine bright. The mix is fantastic, the instruments are lush and full of life, and a tired and shaken Springsteen moans and belts out powerful vocals atop these wonderful songs. The album's inconsistency appears with the more hard-rock oriented songs. The instrumental to "Raised a Cain" is fiery and exciting, but the lyrics and especially the hook to the song don't really do it for me. "Candy's Room" felt like it could have been explored a bit more, and "Factory" just felt like a leftover, even though the lyrical themes do add a lot to the narrative. It's just so short it could have been left on the cutting room floor. The song "Prove it All Night" is the best of the more hard rock flavored tracks with an incredible guitar and saxophone solo to help bring it on home, before the wonderful closer that is "Darkness on The Edge of Town". Overall I do really like this record, I think over time I'll come to like this a lot better, the high points are REALLY high, and the overall vibe and thematic exploration of the album is superb. Just wish some of the deeper cuts went harder.

(Strong 6/10) Sounding like Smith's songs that never grew to fruition, this thing is a hella mixed bag. "Everyday Is Like Sunday" is a great bop, "Suedehead" was pretty good and "I don't care if you forget about me" had a really disorienting guitar part that I absolutely loved. "Margaret On The Guillotine" was also a hilariously dark way to end the record. Sadly, there was just a lot of other songs that I straight up don't care for. Mainly cause I find Morissey himself to be outright irritating. So when he has a good hook or clever song idea, I'm right there. When it's stuff like "Bengali" and "Angel Angel" I really am just waiting for it to be over.

(Decent 7/10) A pretty nice album by these guys, I think I prefer 5th Dimension but this one isn't bad at all.

(Light 9/10) The original Amy Winehouse; both in career and life (sadly), this record is pure pop perfection. Dusty's vocals are strong and powerful, she brings so much life and energy to a lot of these tracks. "Mama Said" on paper is a rather Kitschy 60's pop song but Dusty elevates it past it's antiquated feel and makes it a rousing opening number. "You Don't Own Me" is a feminist anthem, delivered with such self-assuredness that it's no wonder this song is a favorite among Drag performers. "When The Love Light" is such a goddam infectious love song, it goes straight into my favorite love songs list without a second thought. The rest of this album just keeps delivering for me. It's easy to listen to, the songs are all made better thanks to Dusty, it's just exactly what I look for in this kind of pop music. Superb album, and I'm so glad I found a copy on vinyl <3

(Light 9/10) Very good indeed. The instrumentals all rock in their own jangly way, and Morrisey actually delivers wonderful lyricism and snarky humor mixed with tasteful pop and rock melodies. It's pretty fantastic.

(light 8/10) One half stripped acoustic, one half Folk Rock jamboree. It's every side of Dylan in a superb live performance. "Like a Rolling Stone" especially benefits from this live setting.

(Strong 7/10) A pretty succinct album for Sonic Youth, but of their early years this makes it their most accessible. The first handful of tracks are the "catchiest" if you wanna call them that. I especially love the atmosphere of "Shadow of a doubt". The Middle of the album enters more experimental territory with noisier explorations of guitar and bass drone and sonic manipulation. The coup-de-grace of the album is the heavy as balls "Expressway Thru yr skull". A coalescence of noise and drone in a 9 minute epic that puts a solid capstone on this album's experience thus far. My deluxe edition also has "Bubblegum" which is a nice palette cleanser of some more straightforward slacker rock with a noise edge. Overall it's not my favorite SY album but it definitely hits and for 1986 nothing else was really sounding like this.

(Decent to Strong 7/10) It's one that's going to have to sit with me more and grow as I offer it repeated listens, but for now it's a very nice indie rock and pop experience that for an Elliott Smith album, is very upbeat comparitively. Hearing him get kind of funky on "L.A." was certainly interesting haha.

(Light 8/10) Overall really interesting and mind-expanding stuff from this one-off group from the late 60's. Definitely going to have to hear this one more down the line but I liked what I heard!!

(Light 7/10) Not as bad as people are saying, but I definitely understand the sentiment that if this band weren't related to The Minutemen then they would have been forgotten 80's college rock fodder. The best aspects of this record for me are the bass playing, a lot of the times the bassist is doing really impressive stuff. Sadly the songs at the core of it all either feel unfinished or overall non-substantive. This one is certainly odd, that's for sure. Especially considering it's inclusion in the 1001 albums book. Again, I do not DISLIKE it, it's got a kind of charm to it in the same way a fledgling garage band made up of art students recording their first album has, I'm just missing why this British compendium of "essential listens" deemed this entry worthy.

(strong 7/10) A pretty intriguing and challenging piece of work from art rock extraordinaire Peter Gabriel. The themes on this album are a bit unsettling, which match the album cover perfectly. The sonic palette is unique, with plenty of musical virtuosos lending their chops to this album. Tony Levin appears with his Chapman Stick, Kate Bush lends her voice to the backing vocals, Robert Fripp appears as well contributing guitars, the list goes on! I think the high points are really high, "No Self Control" and "Intruder" are a great one-two of inventive rock music with bizarre lyrics. "Family Snapshot" is rather underrated and "Games Without Frontiers" is probably the strangest song on the album, especially so since it was a single for this record. I think the album kind of slows down a lot after that aforementioned track, "Not One Of Us", "Lead a Normal Life" and "Biko" leave just a bit to be desired for me at the moment, but there's no denying that this album has a lot to give and I believe on more revisits I'll start to like it more.

(strong 8/10) super summery vibes with super nice instrumentals and wayne coyne sounds so nice on this record, I like it a lot

(Light 7/10) Very mellow, with a lot of subtleties in the instrumentation that don't immediately jump out at you. Unlike "Superfly" or even his debut, this album is more of a calm mood or a lazy afternoon rather than an overly energetic or powerfully euphoric listen. It was very pleasant and nice, but not something I would remember him for.

(Decent 7/10) Getting the opportunity to perform some unreleased Woody Guthrie songs that were written but never recorded, Billy Bragg with the aid of Wilco set out to help bring to life some of his lost legacy, and it works! Billy and Tweedy trade off songs (with one song featuring the wonderful Natalie Merchant of 10k Maniacs fame), and for the 50 minutes run-time this album manages to sound fresh and engaging throughout. It really evokes the type of folk rock and Americana that artists like Mac Demarco, Kurt Vile or Bill Calahan would employ in the 2010's, but 20 years earlier. While the second half of the album sort of fades into the background a bit, the front half has some of the best songs of the bunch and overall I think this album is pretty good. A very well performed tribute.

(decent 6/10) If you like this sort of dark, intense noir-jazz with an avant garde edge then this album would appeal to you. I don't see myself coming back to listen to it for any reason really.

(Light 9/10) Leonard Cohen, Canadian-born poet and songwriter, world traveler and free spirit. Learning about this man is about as fascinating as his music. His first album is truly wonderous, his words sear into your brain as the music lends a helping hand in portraying the moods and atmospheres held within the words. Right off the bat I need to say that I wasn't a huge fan of the production choices made on some of these songs. Upon learning that it wasn't Leonard's fault and most of it was unfortunately beyond his control, I began to understand but still felt disappointed that his words were marred by some weird decisions (most notably on the songs Winter Lady and Sisters of Mercy). John Simons apparently had a different idea for the songs should sound, and the two were constantly at odds in the recording studio. As a result, the overall feel of the record is a tad disjointed, but I believe the lyrics and messaging of the songs above all else make up for the spotty production. "Suzanne" is an amazing song. Largely inspired by his real world friend of the same name, the song draws parallels to his friends worldly wisdom and comfort, to those of spiritual origin, namely Jesus Christ. The gently picked guitars and Cohen's voice work extremely well in this fashion and the song's sprawling nature is super easy to get lost in, and it's only track one. "Master Song" is a super intriguing tale, intentionally kept vague, about three persons. The Narrator, The Woman and The Master. Many meanings can be drawn from this song, but in my interpretation it sounds like The Narrator's relationship with The Woman becomes complicated as The Master (one whom The Narrator once shared a friendship or even a mentorship with) began using the knowledge gleaned from him to draw away The Narrator's lover (The Woman) and they begin a relationship behind his back, and when the relationship fails The Woman returns to The Narrator, whom he scorns after learning of their secret. That's just how I interpreted it though. Either way, the song is immense and very grim in style and presentation. The lyrics enigmatically portray the situation, and the very choice selection of words really makes you think. "Winter Lady" is a rather short song, presumably about a one night stand, and the feelings observed by such an encounter. This is the first observation of the production being a bit weird as harpsichord notes are plucked during a portion of the song, and they really pull you out of the lyrics and kinda shock you out of the song in my eyes. It's a fine tune, but pales compared to the previous two. Luckily "The Stranger Song" provides more profound cynicism as the subject of the song finds herself in constant fleeting relationships as the men that come and go are described as card dealers, and the song bounces back and forth between perspectives. It's rather dry song emotionally as one can't help but feel a certain kind of sadness followed by a stark reality that love and life is often this way. It's painfully realistic especially if one can relate to it. I love the sentiment behind "Sisters of Mercy" and the tale behind how the song was written, it's just that there's this weird clanking and random soundplay going on during the song that really buries Cohen's voice in the mix. It's unfortunate because the lyrics are so sweet and pure, describing his encounter with a couple of hitchhikers he helped from a snowstorm. He said it's one of the only songs he's written in one sitting too. The album's highlight for me is the song "So Long, Marianne". Lyrically describes a failing relationship between himself and real person Marianne Ilhen. The lyrics are wonderfully sentimental and despite the overstated production, still manage to create one of the most heartfelt moments in the entire record. The backing vocals during the choruses are an especially nice touch. To keep this review from spiraling out of control, I'll just say the rest of the album is especially great as well and even gets philosophical during "Stories of the streets" and "Teachers", before closing with the slightly humorous "One of us cannot be wrong". In which Cohen describes Nico, and his flame that her carried for her. It ends with chilling whistling as a pained Cohen can be heard writhing and shouting in the distance, creating a very lighthearted but still shocking way to end the record. And,....yeah that's Songs of Leonard Cohen. An album that seriously moved me in it's profundity and musical ability to turn great poetry into great music. I highly recommend it, beyond a shadow of a doubt.

(Light 7/10) To be quite frank, I never got into Arcade Fire, and every time I try and listen to them it feels like I'm 10 years late to the party. Win Butler's voice doesn't super appeal to me, half the time he sounds pretty uninteresting, and the songs themselves never really seem to rise to the expectations that were set with the band's acclaim. This record though, I can see the appeal. It's pretty sprawling (lol), with a hearty runtime of 63 minutes, it's no slouch. The record starts off with a pretty impressive bang, the three-song run of the title track, "Ready to Start" and "Modern Man" is pretty great. It's fairly predictable in it's style of indie rock, but the melodies are solid and the production is pretty great too. "Rococo" is the first song I'm really not that interested by, but following this we have a pretty steady stream of fine cuts. "Empty Room" is energetic and sung by Régine Chassagne (of whom I wished was featured more on this record), "City With no Children" is pretty haunting and the "Half Light" tracks further add to this vibe. For me the standout song was "Suburban War". It's got the strongest hook and the best group of sounds coming together to create a pretty great midpoint banger. "Month of May" was kind of weak though, a tad bit repetitive for me. The back half of this record starts wearing thin for me JUST a little bit, from "Wasted Hours" to "Sprawl 1" blended together for me and I kinda started disassociating a little. Fortunately "Sprawl 2" is a great closing track, bringing out the synths for a bit of a synthpop rocker that closes out the record's concept pretty nicely. The true final song is a reprise of the opening track which does leave the record off with more of that haunting and nostalgic melancholy I think they were trying to go for here. So yeah really, I totally see why this album is highly regarded amongst Arcade Fire fans, and by some even more so than their debut. I think the length ultimately wears down the album, but upon relistens I can see myself coming around to this more and maybe the deeper back half cuts will grow on me more too. For now, though, I dig it pretty alright.

(Light 8/10) Admittedly I never got on the Adele hype train, the lead singles off of this record were EVERYWHERE on pop radio in 2012 and my music tastes back then were much more limited than they are today. I was so tired of these singles and I just wrote her off as a "here and gone" kinda one trick pony that I would hopefully forget about and move on. Well, 25 came around and Hello had it's time in the sun, and for me the song was kind of a meme and at this point in my time I wasn't ready to give her a chance yet. Fast forward to her release of 30 this year, my taste in pop and singer/songwriter has grown considerably, and as fortune would have it I absolutely adored it. So hey why not.. it's been long enough. I returned to her Breakthrough album 21 in hopes that I would get it. Boy did I! It opens up with her biggest single, Rolling in the deep. A monumentous song with dramatic vocals, a powerful hook and such pain-soaked lyrics that Alanis Morisette would give a thumbs up to. By far the best song on the record for sure, but hey the next track is incredible as well. Rumour Has It is a stomping rollicking sass-monster of a song with superb backing instrumentation and a hook that won't leave your head. This one-two punch of a beginning is hard to beat when considering album flow. The 3rd track Turning Tables does essentially what the title hints at, and brings the record to a 180⁰ and slows it down a bit with a piano ballad that is quite effective but honestly kinda here-and-gone. I much prefer Don't You Remember as it is way more catchy and has a better energy behind it. This album is very well constructed, Set Fire to The Rain makes Rolling look like child's play in terms of grandiosity. The album reaches it's emotional peak right in here in the middle, as Adele's most lavish and grand performance takes hold. It's build up and release is perfection and makes for a serious highlight to the album. The mood does take a gradual downward slope from here on out, but don't discount tracks like He Won't Go and One and Only. While not as grand instrumentally, the lyrics and craftsmanship in the songs themselves are more than satisfying and provide a great latter half. The only questionable choice in my opinion is the cover here. Her rendition of Lovesong by The Cure is actually pretty nice, but in terms of inclusion on the album it seems kinda out of place.. it really could be omitted. The final song is also a massive hit and it's the melancholy, yet optimistic Someone Like You. A stripped back ballad, just piano and her voice, but it is wonderful. A great example of how great her voice is, how she's able to carry emotion on top of being a stellar vocalist, and it rounds out the album just fine. A solid finish and a satisfying ending. Overall, I enjoyed this a lot more than expected, and I feel years from not being over-exposed did the trick and helped me understand just why she's a huge deal. It's a record full of personal struggles and love-sick emotions. A break-up album to contend with the classic break-up albums. If it weren't for the oddly-placed cover song, this record could be a higher score for me. Still, I do highly recommend this.

(Light 9/10) I already knew 80% of this album before listening to it, thanks in part to their incredible greatest hits compilation "Chronicle 1". This album functions as both a greatest hits listen and a covers album. Featuring 4 fantastic covers of blues and R&B staples (such as the monumental cover of I Heard It Thru the Grapevine), and some of their most popular and instantly recognizable original hits. "Up Around the Bend", "Travelin' Band", "Run Through The Jungle" and more. It's a stellar rock album that still holds up very well today.

(Strong 8/10) "I've got Nirvana in my head, makes me wanna go fuck shit up" -Juliana Hatfield

(Light 7/10) Yeah it's pretty good! Fairly straightforward in style and execution. Obviously the standout tracks are "Our Lips are Sealed" and "We Got The Beat". The former is a super glossy little rock number with a great bass part and a very catchy hook. "We Got The Beat" is instantly recognizable and fun to rock along to. The rest of the album is pretty fair though. You've got a rather moody song with "This Town", alluding to the seedy nature of L.A. "Automatic" feels like something A Flock of Seagulls has written or would write (with a little DEVO in there for good measure). This record has one foot in late 70's new wave and one foot in what would develop into Pop Punk music. For me though, this sound is a bit too safe where I prefer my punk-adjacent pop music to be a bit more daring and raw.

(Decent to strong 8/10) This thing tickles my brain in ways it hasn't been tickled in a long time. The 3 song run from "Pacific 202" to "8080808080" sends me to another plane of existence where the only thing that matters is acid house and squelching synth loops.

(10/10) One of the greatest hard rock albums of all time, every song hits and it's just HIT after HIT after HIT. Perfect album sequencing too. Just M'UAH.

(10/10) some of the most lush and beautiful music I've ever heard. The arrangements are fantastic and there's so much passion and life in these songs. Highly recommend.

(Light 8/10) Starts off incredibly strong with "Bridge Over Troubled Water", this original version of the song is so deep and powerful, it knocks my socks off right away. "The Boxer" is also an incredibly powerful song, with it's skillful finger picked guitars and haunting refrains. "Cecilia" is a cheeky little tune that along with "Baby Driver" break up the seriousness of the overall lyrical themes of the album. "The only living boy in New York" is also a rather great tune, having never heard it before now, it's the last great song on the album. After this the final leg of the record leaves something to be desired. "Why Don't You Write Me" and the closer "Song for The Asking" don't leave much of an overall impression for me and "Bye Bye Love" is a live song that has the audience noise turned way up in the mix because apparently they likened the crowd to their own type of percussion. I just think it really breaks me out of the spell and it's super distracting to me as a listener. So yeah, while I don't much care for how the album ends, there's no denying just how amazing the first leg of the record is, the songwriting is superb and the production for the most part is just incredible. Certainly a great record.

(Strong 8/10) A rather dense but gratifying listen. It has the potential to grow on me more with repeated listens. For now, I appreciate the eclectic instrumentation and the summery vibe.

(Decent 9/10) Bruce Dickinson's debut with Iron Maiden is iconic, their signature sound becoming instantly established with heavy riffs, galloping bass, and Bruce's epic and powerful vocals. "Number of The Beast", "Run to The Hills", "Hallowed Be Thy Name" and more. This record truly stands as one of the greatest metal records of all time, and one of the greatest second comings of any band that starts over with a new frontman.

(Light 8/10) It's grown off of me since my first time hearing it, the A side of the record weirdly feels unfinished to me. The songs are very short and vignette-like to the point where it feels like a tease. Side B is very good though and the ambient/electronic experiments are wonderful mood-pieces. Yeah, of the Berlin trilogy this may not be my favorite but it's still great.

(Light 5/10) I don't know. This didn't do much for me. It really felt less than the sum of it's parts. I hardly felt Tony Allen's presence which was disappointing for me, and maybe it's because I'm not British but thematically I couldn't really connect with any of the songs. Damon's presence on the record felt too overwhelming too and the comparisons to Gorillaz music doesn't really help as I felt that these songs were lacking the flair or quirkiness that Gorillaz tends to have. This honestly felt more like a slog than a 37 minute album should feel like. I did find the final track to be pretty enjoyable though, that final jam was pretty nice. But yeah, idk this one went right over my head.

(Light to decent 8/10) Wow, that was pretty great. Immediately opening up with one of the most harrowing breakup songs of all time, this album is heavy. It's an emotionally complex record that will leave you questioning if love is even worth it at all, and Cohen's vocal delivery really sells you on that tired and beaten down feeling of it all as well. Definitely a bit exhausting tbh, but there's no doubt this LP wonderfully written and powerful.

(Decent 7/10) A classic record no doubt, with plenty of hits and that classic G-Funk vibe that's synonymous with summertime and west coast culture.

(Strong 8/10) An exemplary showing of G-Funk and Gangsta Rap by one of the finest to do it. A hell of a debut. Essential listening.

(Light 9/10) Fucking amazing.

(Light 8/10) Count Basie was a Jazz and Big Band master pianist of his time, helping pioneer it's popularity and establish it's legacy all the same. This record in turn was the masterstroke of his career, and what many consider to be his peak work. Now this album isn't just his doing, at the helm of the arrangements was the wonderful Neal Hefti. So really, this is both a Neal and a Basie album in tandem. The record is chock full of bombastic swing and big band flavored jazz music, right off the bat with "Kid from Red Bank". A fun and energetic track with wonderful walking bass from Eddie Jones (whom kills it on this entire record), and flashy piano soloing from Basie himself. It's a great start indeed. Moving right along we have the fantastic "Duet", and the slightly sophisticated sounding "After Supper". Already portraying a wide range of moods and proficiency from just the first three tracks. "Flight of The Foo Birds" and "Double-O" are probably in my opinion when things really start to spice up. Not just in terms of the playing, but the songwriting as well. The songs get stronger hooks, bigger overall impact of sound, and this is when the front cover really starts to make sense. The horn sections command your attention as in between these blasts of sonics, you will have your sax soloing, piano, and even crashing drum solos. It's an effective formula that keeps you on the edge of your seat. My favorite tracks here are "Whirly-Bird" and "Fantail". I used to work in a sandwich shop that played nothing but old timey jazz and vocal standards to set the mood, and I would frequently hear these songs played in the mix. Wonderfully sticky melodies and the atmosphere of these songs just brings me back to those simpler times of my adolescence. So personally I really click with those ones. The overall relative simplicity of this style of music does lend itself to being a bit more straightforward than some other jazz classics, and I do think some of the slower songs lack a but of impact compared to some others, but this album really does hit really well. It's a rather short but satisfying listen and a good time capsule of late 50's dance music. I dig it!

(Decent to strong 9/10) The production on this album is the first thing that stands out to me. The mix is incredible and the way the drums hit and the bass pops on tracks like "Monks" and "Pink Matter" give me such chills. This record is also sequenced amazingly, starting off immediately with "Thinkin bout you" sets the whole tone of the album. While the beginning half is summery and effervescent in tone and atmosphere, after the sketchy "Crack Rock" things get a bit darker and then we transition into the monumental "Pyramids". An 11-minute odyssey with a deep groove and a subtle-yet-effective beat switch that keeps this song fresh for it's runtime. "Lost" immediately following this up keeps the momentum rolling with the danciest and brightest instrumental on the LP, making sure you don't stop moving. The album winds down with some deeply soulful tracks invoking feelings of depression and intolerance and really setting in stone what this album had been alluding to the whole time with the song "Forrest Gump". Confessing his feelings to a man who doesn't feel the same, the album's finale feels forlorn and given up. A sad end to a rollercoaster of a summer. This album and subsequently Frank Ocean as an artist are on par with the likes of D'Angelo in the sense that all of the time and effort put into the production, the sonic details, the lyricism and the mood, is entirely worth the long spans of time between albums. The fact this is a debut record of all things just makes this feel like one of those miraculous wonders of art that couldn't be replicated. A fantastic record, and a must listen.

(10/10) A life changing album. Words do not describe what's within.

(Light to decent 7/10) A pretty fun Britpop record, and yes indeed it is VERY British. Unlike Albarn's future project "The Good The Bad and The Queen" which I felt was too British for my American-ass to properly appreciate, I felt like I could bop along to this album better. The instrumentals are jaunty and unique, especially for this era of the 90's. The album does tend to lull in the middle, but thankfully after "To The End" it picks back up and the amazing "This is a Low" closes out the record proper with an anthemic slow rocker.