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.