1001 Albums Summary

8/10 Album. Super strong start. First half is phenomenal. Wish the lyrics were a bit more deep but honestly the style of basic emotional lyrics came through to me and did move me several times. Drove me to tear in the car to Piano Joint. Honestly Might be closer to 8.5/10 I mean I damn near added every song.

Super iconic intro, really incredible. Unfortunately used so much for youtube shorts and whatnot that it kind of lost its novelty. VCR was a cute song and very relatable but the hook was not strong enough for me personally. Crystalised is a cool song, love the riff at the start, but is also missing something for me personally. Honestly this seems like the type of band that kind of leaned into a indie edm vibe that is chill. Never really messed around with it. Islands sounds nice too. But overall the takeaway is that the music is too slow or under stimulating. I do like the melancholy of Heart Skipped a Beat. Fantasy is awesome and surreal. Shelter by porter robinson is better. Still Shelter is prob my fav song so far beside intro. Still all that buildup for nothing? I need a scream or like a crazy guitar riff. Basic Space sounds like Human Music from that one rick and morty episode at the start lol. Infinity sounds fine. Hate how it swells just to deflate rather than pop or climax. 'There's a fine line between music that's "atmospheric" and "monotonous." ' and personally im in the latter camp. Night time is a bit more fun. I actually quite like this one and perhaps this is when the album clicked for me. It sounds sort of like Molchat Doma or even some Kino. I'm a fan. Let's see if the rest of the album ever makes me feel like that again. Nope, not that big a fan of Stars. Okay so prob like a 5/10 for me. I understand how this is an iconic album. The blend of minimalist sound with indie rock + electronic and dream pop elements are great. It's an incredibly intimate album and the guitars are artfully picked. The dual lead vocals of Romy and Oliver creates a fun push-and-pull.

A Disappointing Journey Through 60s Rock Mythology After listening to Aftermath in its entirety, I'm left wondering how this album earned its reputation as a classic. While "Paint It Black" is an undeniable masterpiece (dark, hypnotic, and genuinely innovative with its sitar-driven melody) the rest of the album ranges from forgettable filler to outright offensive misogyny. The Good: "Paint It Black" stands alone as the album's only redeeming track. Its apocalyptic lyrics and Eastern-influenced sound create something timeless and genuinely unsettling. It's a song that rightfully earned its place in rock history. "I Am Waiting" was a pleasant surprise with its weird rhythm and Appalachian folk instrumentation. It has a mysterious atmosphere that sets it apart, though it's not something I'd add to a playlist. The Bad: The album is unfortunately defined by its deeply unpleasant attitude toward women. "Stupid Girl" is a bitter, juvenile rant. "Under My Thumb" is even worse: a celebration of emotional domination and dehumanization that's genuinely uncomfortable to listen to. The imagery of women as "squirming dogs" and "pets" is indefensible. "Think" continues this pattern with a childish argument where Jagger badgers a woman to take responsibility for everything, oblivious to his own flaws. "Out of Time" is more of the same dismissive nonsense. The Forgettable: "Flight 505" sounds like background music in a diner, a bland story about a plane crash that goes nowhere. "High and Dry" is a mildly amusing country-blues experiment about a gold-digger getting outsmarted, but it's hardly noteworthy. "Goin' Home" is historically significant as the first extended rock jam, but listening to it is a slog. The 11-minute improvisation meanders. "Lady Jane" has a pleasant Baroque sound but lacks substance. "It's Not Easy" tries to be introspective (Jagger admitting he took his woman for granted) but it just reinforces the era's attitude that women existed to serve men. The Problem: Beyond individual tracks, Aftermath suffers from a broader issue: the Stones were young, privileged white men in 1960s London appropriating African American blues traditions and repurposing them for petty relationship grievances. The weight of the blues (systemic oppression, slavery, Jim Crow) is entirely absent. What should have depth becomes goofy posturing. Final Verdict: Aftermath is an album carried entirely by one brilliant single. The rest is either misogynistic garbage or forgettable filler. The Stones may have been revolutionary for their time, but listening today, the "edgy" rebellion sounds childish and dated. If you want the blues, listen to the Black artists who actually lived it. If you want great rock, skip this and keep "Paint It Black" on your playlist. Rating: 2/10 (7 points for "Paint It Black," 3 for "I Am Waiting," and a collective -8 for everything else)

A Progressive Rock Masterpiece, but Not Without Its Baggage From what I know, Moving Pictures is widely considered Rush's definitive album. Here was the moment they balanced their progressive rock complexity with tighter, more accessible songwriting. It's an impressive showcase of technical musicianship, with four tracks earning spots on my playlist. "Tom Sawyer" kicks things off with an iconic synth riff and one of the most recognizable drum fills in rock history. The lyrics about a "modern-day warrior" with a mind not for rent capture the band's individualist spirit. It's a classic (and I appreciate the line about not selling your mind to any god or government) but the glorification of the individualist lands a bit off for me. I am thrust to remember how this type of rugged individualism is historically tied to capitalism and white imperialist culture. The song lands somewhere between a 7 and an 8. "Red Barchetta" tells a sci-fi story about a dystopian future where private cars are banned. The guitar breaks are super fun, and the musicianship is exceptional. But the "better vanished time" nostalgia is questionable: better for whom? That kind of longing for a pre-industrial past can veer into reactionary territory. That said, rebellion against a hypersurveillant state has its uses. I'd give it a 5 to 6. "YYZ" is an instrumental built around Toronto's airport Morse code. The riff at 2:50 and the bridge that follows are genuinely exhilarating. These guys really know their music. Added to playlist. 6.5 to 7. "Limelight" is about Neil Peart's discomfort with fame. The lyrics are unusually honest ("I can't pretend a stranger is a long-awaited friend") and the chorus is catchy. It's a well-written reflection on the cost of success, though the song's solution (put up barriers) is individualistic rather than transformative. 5 to 6. "The Camera Eye" is my favorite: a sprawling, 11-minute journey contrasting New York and London. The first half's relentless drive and the second half's wistful atmosphere make it a standout. It pushes boundaries and is genuinely engaging throughout. Great instrumentation, great vocals. It feels like a precursor to Dragonforce. Strong 8 to 9. "Witch Hunt" takes a darker turn, warning against mob mentality and fear-driven prejudice. It's politically charged and still relevant, though not the album's strongest musically. "Vital Signs" closes things out with a reggae-influenced, quirky energy. It's a fun, playful track about individuality and persistence: a perfect palate cleanser. Moving Pictures is a significant album in rock's progression, though it carries the baggage of its cultural context. The technical skill is undeniable, and the storytelling is compelling.

Channel Orange is an incredibly iconic album that was difficult for me to categorize. It's really personal and emotionally raw regarding its feel. But genre-wise, it is an album that blends R&B, soul, funk, and psychedelic music into something I haven't really heard before. What starts as a slow-burning mellow sound with themes of vanity and excess, gradually builds to one of the most honest and ambitious albums I've heard. "Start" is a short instrumental intro. I don't have much to say about it, but it sets the mood nicely. "Thinkin Bout You" I was skeptical about at first tbh. My first thought was literally the Vine "a potato flew around my room" before I realized the Vine was referencing this song. On relisten it resonated w me more, especially as I connected it to my own experiences with relationships. "Do you think about me still?" is my fav lyric. 7/10. "Fertilizer" is a short but kinda funny interlude. The "I'll take bullshit if that's all you got" made me laugh. 3/10. "Sierra Leone" is emotional and sounds heavenly in parts. The bass is incredible. But it's too short, and the topic didn't rlly land with me all that much. As I listened closer to the lyrics, I realized it's about a version of Ocean facing unwanted/unexpected fatherhood. 4/10. "Sweet Life" has an amazing bass line and I love it, the lyrics are pretty cutting too. It critiques wealth and privilege, which I appreciate. But for me, the lyrics just didn't hit hard enough. I could see this rated higher by others but for me: 5/10. "Not Just Money" is a conversational interlude that hits hard honestly. A mom explains to her kid that money isn't just "money": it's happiness, it's the difference between a house and the street. It reminded me of my own family's financial instability growing up. So honestly it's short but rlly powerful to those who find it relatable. "Super Rich Kids" was one of the first songs that really grabbed me. The storytelling is great, reminds me of Kendrick although more metaphorical, also the Earl Sweatshirt verse is awesome, and the song is actually bumpin. Added to my playlist. 8/10. "Pilot Jones" has some amazing lyrics about addiction and codependency. But musically it meanders (at least for me). I think the lack of a rlly strong hook made it feel a bit aimless to me. 4/10. "Crack Rock" is one of my favorites. The beat is crazyy (not to mention him again but yea its something I could hear Kendrick using) and the lyrics are great criticism of the police surveillance state in lower income neighborhoods plagued by addiction. ACAB. The topic of addiction is handled with the weight it deserves. As I researched a bit abt the song, I found out Ocean's grandfather struggled with addiction, which gave the song even more depth. 8-9/10. "Pyramids" is the album's masterpiece. That beat shift (from Daft Punk synth to a groovy guitar second half) is awesomeeee. The symbolism, the complexity, the lyrics and poetry. It's the best song on the album and one I'll be coming back to for sure. 10/10. "Lost" is bouncy and catchy but carries some real heft. It tells a story about addiction and exploitation that hits really hard. Less epic than "Pyramids" but still really good. 9/10. "White" is a chill instrumental interlude. Nice background music. "Monks" is super funky and relatable. I grew up Buddhist, so the stark contrast of mosh pits and Buddhist monks was awesome to hear. Not as tight as "Pyramids" or "Lost," but good for the playlist. 7/10. "Bad Religion" is incredibly emotional, almost brought me to tears at work. It's devastating. As I listened, I found out Ocean wrote this about his first love, a man he met when he was 19. The line "I could never make him love me" hit especially hard. 9/10. "Pink Matter" is romantic and thought provoking. André 3000's verse is great as always. It reminded me of coming back to my girlfriend after a long day, that warm, familiar feeling. The Majin Buu lyrics is also super funny. Could even be considered one of the earliest mainstream albums to reference anime (tbf Kanye did it a few years earlier, and Wu Tang all the way back in the 90s). 8-9/10. "Forrest Gump" I haven't seen Forrest Gump and from what I've heard I probably wouldn't like it anyway, so this one didn't hit for me. 4-5/10. "End" is actually a pretty cool and atmospheric end to the album. Interlude quality, not playlist material for me, but well-made. Channel Orange is a slow burn that took me a few listens to really appreciate. The first half felt distant at first, but by the end I had warmed up to the R&B sound in a way I wasn't expecting. Songs like "Pyramids," "Crack Rock," and "Lost" really show off Frank Ocean's lyrics, musical genius, and ability for deep vulnerability on the mic. Rating: 8.5/10

Great Early Punk Energy Machine Gun Etiquette is a super fun, high energy punk album that completely surprised me. I went in not knowing ANYTHING about The Damned and came out with 7 out of 11 songs added to my playlists. It definitely is loud, in your face, and full of fun. The band blends classic punk with gothic and epic/theatrical themes. That alone makes them stand out from other 70s/80s rock bands (but there is a whole more here than just that). And honestly, I love the distinct sound. "Love Song" is the perfect opener. That bass is actually pretty nasty. It's energetic, fun, and they don't take themselves too seriously. The lyrics are silly. 7/10. "Machine Gun Etiquette" is fun but repetitive. Super short too (the whole album is only 36 minutes which is crazy). I can appreciate the energy but it's not really a playlist add for me. 4-5/10. "I Just Can't Be Happy Today" is amazing. The synth came out of nowhere and I love the vibe. As someone who loves punk, this one hit hard. "Illegal to dance / Forbidden to cry". You do what you're told / You never ask why" - America, this is America. The themes are right up my alley. 8/10. "Melody Lee" is another banger. I was afraid it was gonna turn into some lame piano piece and then BOOM the guitar and drums come in. Love the punk sound. Then the vocalist goes "AND GO" it becomes even more fun. 8/10. "Anti Pope" has amazing lyrics. Anti religion, based. Still, I got a sour taste when the band used trans people as the butt of a joke... definitely showed it's age. But the critique of religion is sharp. Musically I'm still deciding if I like it, keeping it at 6/10. "These Hands" is interesting. Completely different from their usual sound. Reminded me of Joaquin Phoenix's Joker. The laughter and clownish music make it a bit much for me personally. 5/10. "Plan 9 Channel 7" is my favorite on the album. Holy shit it's awesome. The guitar is edgy and dark, the background synth makes it feel epic. I didn't know Maila had a crush on James Dean, she's an icon btw. The vocals at the end are incredible. 9/10, maybe even 10/10. "Noise Noise Noise" is fun, cheesy, but energizing. Musically not my favorite but the energy carries it so well. The chanting at the end is sooo fun. 7-8/10. "Looking At You" feels a bit repetitive and cheesy. The scale climbing isn't great. 5 mins is also too long for what it is. 4/10. "Liar" is good, catchy, funny, punchy. The bass line is incredible. 7/10. "Smash It Up" is fun but not musically landing for me. 5/10. Machine Gun Etiquette is a solid punk record with way more range than I expected. The gothic moments like "Plan 9 Channel 7" really show what The Damned could do when they got experimental. I'd love to check out more of their stuff since I'm a big fan of punk and this band just makes me want to hear more. Rating: 8/10

A Beautiful Voice Trapped in a Three-Hour Slog Look, I see the value in this record. Ella Fitzgerald has an absolutely gorgeous voice and the arrangements are undeniably well-crafted. I get why people love this. But honestly? This type of music bores the ever-loving shit out of me. It's fantastic background music. Perfect for a fancy dinner or a cocktail house party. But as an album to actively sit down and listen to? It's a goddamn slog. Most of these songs sound the same and are about love. After about 10 tracks, you get the whole picture. The biggest issue is the length. Three and a half hours of old-timey jazz standards is a unique experience, but is it a good experience? Is it worthy of listening before death? For me, not really. I've got about 40 minutes of tolerance for most music recorded before 1965. This record had me checking the tracklist every few songs wondering how much time was left. To be fair, I wish I could like music like this. But I can't. It's just not my vibe. What I value in albums is a story and a point of view. I like openers and closers that act as strong bookends, variety in the tracklist, a cohesive sound, and experimental moments that make the record stand out. This is an anthology, not a carefully constructed album with personality. It would have been a 5 or 6 if it ended after a third of the runtime, but over three hours of the same vibe is just too much. Rating: 4.5/10

Cool Thrash That's Impressive but Exhausting ...And Justice for All is a pretty ambitious metal album. It tackles a lot of themes: systemic injustice, war, corruption, and personal trauma. I went in knowing Metallica's big hits (Enter Sandman, Master of Puppets) and came out... honestly? A bit tired. It's 65 minutes of relentless, technically impressive metal that, for me, gets monotonous. "Blackened" kicks things off with a killer riff. Lyrically it's about nuclear winter and environmental destruction (MAD, climate change). Which nearing the climax of the cold war is pretty cool to hear. I added it to my main playlist. 7/10. The title track "...And Justice for All" has awesome lyrics about the corruption of the American legal system. "Justice is raped" ahem overturn of Roe V. Wade. But at 10 minutes, it drags musically. Great lyrics (8.5/10) but the music is a 5.5/6, so it evens out to 6.5/10: secondary playlist. "Eye of the Beholder" has an interesting critique of the illusion of freedom all while illustrating the surveillance state. But it gives strong libertarian vibes, which drags it down for me (libertarians are just closeted conservatives/reactionaries lol). The critique falls a bit flat. 4/10. "One" is a classic for a reason. The anti-war message about a soldier trapped in his own body is sick, the riffs are amazing, and it's edgy in a way I really like. 9/10. "The Shortest Straw" is about McCarthyism and the Red Scare... I think. (witch hunts destroying innocent people). The riffs are solid but Hetfield's voice fatigue at this point in the album is real. Barely squeaks out a 7/10. "Harvester of Sorrow" is a bit too heavy and stumbling. It gets oppressive in a bad way... "darkness-slop." His voice really wears thin here. 4/10. "The Frayed Ends of Sanity" is intense but more darkness-slop. It's about schizophrenia and paranoia, which is cool conceptually, but I'm just tired of the voice. 5/10. "To Live Is to Die" is a nice change of pace. It's mostly instrumental, and mostly built from Cliff Burton's riffs after his death, and the spoken word section is actually quite beautiful. Hetfield's narration is a nice break from his usual vocal style. It's long but I can see the passion. 6/10. "Dyers Eve" is the angry closer. a pissed off letter to the singers parents about being sheltered and unprepared for life, only for them to die. I relate to this one on some levels. It's intense but the voice fatigue is real. 5.5/10, secondary playlist. Overall, I don't hate it or love it. The political critiques (MAD, environmental destruction, legal corruption, McCarthyism) are right up my alley, but the relentless thrash and Hetfield's overbearing vocals make it exhausting. It's impressive, but I'm not sure I'd revisit it often. Rating: 6/10

Fun, Energetic, and Forgettable Another Music In A Different Kitchen is a fun, energetic slice of early British punk that I'd never heard before. It's short, sweet, and entertaining. Great smutty pop-punk with some genuinely catchy moments. But honestly? I feel like I'm grateful to early punk rock for everything that came after it, but I don't really like it that much. "Fast Cars" is an awesome, breakneck opener. Fun, energetic, short. Great energy, wouldn't say the lyrics are witty tho. 6-7/10, added to playlist. "No Reply" is a catchy song, but a bit too repetitive for me. 4/10. "You Tear Me Up" is pretty fun but for me take it or leave it. 4/10. "Get On Our Own" has a stellar guitar solo that pushed it to 7.5/10. I like it. It's fun, simple, and raunchy. Added to playlist. Altho a bit repetitive, the guitar solo BANGS. "Love Battery" is raunchy but musically too repetitive. Not that big a fan. 3.5/10. "Sixteen" is interesting melodically but that's about it. 3/10. Weakest song on the album. Kind of dark, but meandering. "I Don't Mind" is catchy and I hear the Green Day influence. I give it a 6.5/10, in my playlist. "Fiction Romance" sounds different and the lyrics are good, but too repetitive. 3/10. "Autonomy" is good. Love the riff. The chorus feels like it drops almost into a minor key (I'm prob wrong, music theory who?) it's great. 7.5/10, added to playlist. I really love that melancholic, minimalist vibe. "I Need" is funny, musically and lyrically. But it's a bit one-note. 3.5/10. "Moving Away from the Pulsebeat" has a great riff but is just too long. I do like that it's almost an instrumental. The guitarists and drummer don't disappoint. The end is awesome, and if it held that energy the whole time it'd be in my playlist. 4.5/10. The album is enjoyable enough. There's nothing to be upset about here, but nothing to be excited about either. The songs sound similar throughout, the recording quality feels too lo-fi, and it lacks the punch you'd expect from punk. It's happy punk without the Green Day political edge, just good, smutty fun. On a real note tho, they really will put any old British album on this list, huh? Overall Rating: 5/10

A Drag Through Nasal Hell Look, I get it. Bob Dylan is a legendary singer or whatever. The man can write, I'll admit. But Jesus Christ, give the harmonica a break. This is a 1.5 hour (1.5!!!!) long album of nasal drone, shitty harmonica, and songs that all blend together into one long, forgettable mess. The first half is just Bob. Just him, his guitar, and that godforsaken harmonica. I couldn't help but giggle whenever his harmonica started to squeal. Truly sonically unbearable. I heard somebody say his vocals were like a slowly deflating balloon, and I couldn't agree more. The harmonica is so screeching and loud compared to everything else oh my god. "It's All Over Now, Baby Blue" was the only song that gave me any positive feelings. The rest? Droning, boring, etc. The second set picks up a bit with an actual band behind him, but honestly, Dylan is even worse in a band. Rock doesn't match his voice or style, and the sound recording is horrible (again WHY do we have a live album in the 1001). It's a historical document, sure, but listening to it in 2026 is just painful. The songs all still sound the same. TBH, sometimes the only thing that told me when one song ended and another one started was the audience clapping. Rating: 2.5/10

Forgettable, and Filled with Derivatives, but not Unlistenable I went into this album knowing basically nothing about Paul Revere & The Raiders. I'd heard the name in passing and after I read their Wikipedia page it really sounded like they were some sort of gimmicky, fake rock band. Turns out, they were exactly that. The album is 15 songs and just 41 minutes long, so if it's trash, at least it won't be a whole hour wasted. "Kicks" is fun and pretty passable. The anti-drug message is sung with a straight face by a band dressed as Revolutionary War re-enactors, which is really fuckin funny. 3.5/10. "There's Always Tomorrow" has decent harmonies, but the drummer singing is... a choice. The sitar-sounding guitar is overdone. 3/10. "Little Girl in the 4th Row" is super slow and kind of creepy. The title hasn't aged well. 1.5/10. "Ballad of a Useless Man" has that 60s psychedelic organ sound, but it's just bland. 2/10. "(I'm Not Your) Steppin' Stone" is probably the best track here. It's not bad, but it sounds like any 60s hit song. The gospel freak-out in the middle is fun. 4/10. "There She Goes" harmless bubblegum with ok harmonies. 2/10. "All I Really Need Is You" is actually decent. Decent harmonies, an interesting off-beat rhythm, and Latin horns near the end. A standout. 4/10. "Get It On" is exactly what you'd expect: 60s guitar, organ, etc. Complete filler. 3/10. "Louie, Go Home" pure 60s junk. 2/10. "Take a Look at Yourself" has a great guitar riff. (As you can tell my energy just drops even tho the album is only 40 mins) 3/10. Overall, this is a perfectly fine album. It's listenable and even has some value in a second listen, but I don't think I'll ever listen to it again. How this made the list is a mystery. This era is crazy overrepresented. Rating: 3.5/10

Concept Album That Never Really Grabbed Me I went into this album knowing basically only one thing about Willie Nelson: he likes to smoke weed. Beyond that, I knew he was a country celeberity, and country music is not my taste at all. From what I got. Red Headed Stranger is a story album about a preacher (?) who murders his wife and her lover, then goes on the run. The storytelling is economical (I'm a big fan of this term, learned it today) and you can appreciate the art even if the music doesn't click. But for me, every song just kind of melded right into the next. "Time of the Preacher" is a good opener, sets the stage. 4/10. "I Couldn't Believe It Was True" actually can stir some emotions. Relatable in some ways. That sting of being broken up with. 5-6/10. "Time of the Preacher Theme" sounds identical to the first track. Basically a repeat. 4/10. "Medley: Blue Rock Montana / Red Headed Stranger" is great. Very quiet song for being about murder lol. 6-7/10. "Blue Eyes Crying in the Rain" is pretty good but honestly only got a bit of emotion out of me. Strong-er entry. 6-7/10. "Red Headed Stranger" is the most emotional and lyrically strong track. Apparently Willie didn't write it tho, but it's really good. The piano adds something the other songs lack. 7-8/10. "Just As I Am" an instrumental, sounds like a lullaby. 3/10. "Denver" is too short for anything really. 4/10. "Over the Waves" just instrumental filler. 2/10 "Down Yonder" sounds like straight saloon music. 4/10. "Can I Sleep in Your Arms" is a 5/10. I like Willie's voice and the strumming is nice background music, but I just need a little more. "Remember Me" is a 5/10. Nice melody, solid, but needs a little more to stand out. "Hand on the Wheel" is pleasant and has a good message. One of the more musically interesting tracks (swinging rhythm, warm). 5-6/10. "Bandera" is actually kind of gorgeous and struck a real emotional note with me. Going in my secondary playlist. 8.5/10. This must have been before Willie found weed. The album is way too stripped-down for me. I appreciated the concept and story more than the music itself. I'm sure there are other Willie albums more to my taste, but I won't be returning to this one. Rating: 5/10

THIS IS HER DEBUT???!!! I went into this album knowing Cyndi Lauper as the "Girls Just Want to Have Fun" lady. What I found surprised the hell out of me. She's crazy and I love it. This album overall seems to capture a more realistic 80s vibe than the other overhyped stuff of this era. "Money Changes Everything" has a great synth-rock sound. Punchy, but the chorus is a bit too simple melodically and the chord progression is super basic. Lauper's voice isn't totally convincing here. 6/10. "Girls Just Want to Have Fun" is iconic. Incredible musically and the history behind it is too. It must've been something fresh for the 80s. Unfortunately, this song has been played so much that even for a fan it gets tiring. Solid 8-9 if it was my first time, but drops to a 7 and into my secondary playlist. "When You Were Mine" I love the melancholic feeling of this song, it's gorgeous. The music is the best. The whistle singing is awesome. The synth coming in is great. This song kicks ass, and it has great range of emotion rather than being just punchy or sad. 9.5/10. "Time After Time" is amazing. I really like the double vocals in the chorus and the intimate sound of it. Great vulnerability and emotional build. The 80s synth is some of my favorite sound. The guitar riff is gorgeous. The faint percussion feels like a ticking clock and fits the theme. The bass is awesome, kinda like a rubber band. 9.5/10. "She Bop" imo has a drum that's wayy too loud. It almost stops the song. Love the topic though, even now you'll never hear a masturbation song charting. The double entendres make me smile loll. The riff is fun, the bass is great, and the choir chorus (just Lauper singing I hope He will understand) is so good. Very quirky. 8/10. "All Through the Night" has a gorgeous synth and a stunnin chorus. For some reason it made me want to cry? The synth loop works... very dreamy. The melody of Lauper's voice works so well here. Very intimate, vulnerable, ethereal. The solo is kinda silly though. 8.5-9/10. "Witness" has a funny, eerie synth loop that rlly reminds me of "Wonderful Christmastime." The rhythm is definitely pulsing... feels like my heart beating in my ears. Interesting bass layering. A bit too funky for me, but not bad. 6/10. "I'll Kiss You" has such a fucking funky beat, it made me giggle. Almost like a Pokemon gym leader theme. Very funky. The chorus is funky too. Very eccentric, a little too much, but funny and unhinged. The solo at the end is interesting. 6.5/10. "He's So Unusual" is a cute interlude. The old-timey sound makes you listen close to try to hear the lyrics, and then the transition into the next song is like the crack of a whip, literally whips you awake. Creative use of an interlude. 6/10. "Yeah Yeah" has an awesome sax (or whatever reed). The backup vocals are great, very high energy, really fun composition, great rock, very danceable. I just wish it had an actual chorus.... "yeah yeah" is kinda lame to sing along to. Also... I WANT SUSHI?? 7/10. This album is seriously awesome and I love it. Cyndi is so talented, I'm wondering how she isn't bigger. Her themes throughout this album are pretty radical even by early 80s standards. Big Fan Rating: 9/10

Haunting Masterpiece Going into Grace, I had heard very little of Jeff Buckley. I've heard the name in passing before, but nothing more. No face and no sound attached. Well, I am now certain that it was one of the most beautiful and gut-wrenching albums I have ever heard. I researched a bit abt this album b4 listening and knowing of Buckley's death, just three years after this album, made every melancholy sound that much heavier. "Mojo Pin" starts the album in a way that gives me goosebumps. The humming and guitar strumming are magnificent. There is something about how the song evolves throughout the verses, in an ascending spiral pattern, building and holding tension. It is interesting what kind of implications a white man singing about a black woman in the 90s might have, but this song is beautiful regardless. 8.5/10. "Grace" is the masterpiece of the album. The synth in the background sounds ethereal, almost folk-ish, and then Buckley's voice turns it melancholy and eerie. The song almost has a waltz swing to it, the bass is loud and I love it, and those violins in the bridge are just fucking awesome. One of my new favorite songs. 10/10. "Last Goodbye" has nice picking and a classic rock feel. Pretty upbeat, and I really like the chorus, the way it drops I mean. Buckley's voice is doing something special here, even if the song isn't my favorite. 7.5/10. "Lilac Wine" is intimate and really pretty. I love how the tempo changes up and down. A bit too minimal, but still really good. 7/10. "So Real" sounds eerie at first, then the guitar riff comes in and it's positive, then it goes back to eerie. The solo is rlly interesting, there's almost something evil in the song. The explosive finale is cathartic. A really interesting piece. 7.5/10. "Hallelujah" I am skipping. I cannot do that. Ignore it's existence. "Lover, You Should've Come Over" is heartbreaking from the first organ note. I did get some weird vibes in the lyrics at this point. That "sometimes a man gets carried away" line is a bit... narcissistic? I don't love it, it speaks to male privilege but in an oblivious way. Still that's just a small part for me. The song cuts so deep that sometimes I don't even want to listen to it. 8.5/10. "Corpus Christi Carol" is hauntingly pretty. I love the dulcimer, and I'm a sucker for medieval stories and Arthurian legend. The imagery of the bleeding knight and the weeping maiden is peak. 8/10. "Eternal Life" sounds like The Chain at the start lol. Cool guitars, a hard rock sound, nice grunge. Buckley's anger doesn't quite show through, but I love the bass and the strings in the second half. 7.5-8/10. "Dream Brother" has almost Japanese traditional start? The gradual guitar is nice, the drums are really nice, and the bridge is so good. It builds but holds the tension... I'd love a release, but it's strong. 7.5-8/10. "Forget Her" is simpler but melancholy and sad in a way I really like. It makes me want to cry at times. The build to full swing is gorgeous: the bass, the synth. 8-8.5/10. Lyrics are easily the weakest part of this album, imo. They sound self-centered and somewhat immature, maybe even 5/10, while everything else is 9-10/10. But when the music and vocals are this good, it does not matter much. Rating: 9-9.5/10

Having finished Jeff Buckley's Grace right before this, Rufus Wainwright being the next listen comes across incredibly ironic. He has a track dedicated to Buckley on this album ("Memphis Skyline"). And on top of that, he has his version of "Hallelujah," just like Jeff. Overall, Want Two is a really ambitious project that combines opera, baroque, waltzes, pop, and anything else you can imagine. This guy is definitely creative and puts tremendous effort into his projects. Although I haven't heard of him before this album, I can vaguely hear Radiohead and Jeff Buckley in this. However, it's not to a derivative level or anything. Agnus Dei is an a crazyy opener for this album. This beautiful and unearthly track gave me chills several times through its run. The swell is gigantic, tsunami-like. Otherworldly music is one of my favorite vibes and this track hit the spot perfectly. 9-10/10. The One You Love is a very fun transition from opera to a pop single lmao. Nevertheless, lyrics are deep and the baroque vibe is fantastic. It sounds like The Police with that nostalgic melody, and the Flight of the Bumblebee-esque piano and choir were very nice. 8-9/10. Peach Trees reminded me of Radiohead's Creep at the beginning. It has that dissonant feel "under the peach trees." It made me feel like crying for a while and then lost me halfway. Beach Boys sound in the second half? 6.5-7/10. Little Sister is THE baroque track. Musically it's not my vibe but the lyrics are great. Interesting ending. Very clever. 5/10. The Art Teacher reminded me of Imogen Heap somehow. The French horn sound was very beautiful but the track itself is quite forgettable. It's just piano alternating two chords all the time. 5-6/10. Hometown Waltz is swinging. I like waltz vibes. Melody is catchy but not enough for me. 6/10. This Love Affair is sad and has an interesting theme, but the sparseness is... sparse. 6/10. Gay Messiah is actually very good. The guitar and choir combination is brilliant and the lyrics are hilarious, but very sad, taking into account all the current events and state of the world. 7/10. Memphis Skyline is a sad piano song. Musically, it wasn't doing much for me until I found out it was the song dedicated to Jeff Buckley. That changed my perspective and suddenly it became very emotional. 8/10. Waiting for a Dream has an interesting sound but I'm not a fan of it. 4/10. Crumb by Crumb is eerie and eccentric, nothing notable. 5/10. Old Whore's Diet is a very weird track. The vibe change is incredible. It starts in a pretty rough way but the ending is absolutely beautiful. 6-7/10. One of the prettiest albums I've ever heard, but it was a letdown in the second half. It has great, unique tracks but many of them weren't doing much for me. The variety is impressive . Almost each track is in another genre, but the inconsistency was holding it back. Rating: 7.5/10

Aggressively Mid What a frustrating album. Sometimes I would get into the instruments and then Howe Gelb starts singing and it just kills everything. The concept is there at least: desert rock, melancholy, some interesting production. The talk-singing comes across as gimmicky and it seems like the singer can't really sing at all. Maaaaaan. The female vocalist who shows up sometimes is sooooo underused tho, she can actually hold a note and has a really cute voice. Reminds me of Ed from cowboy bebop. To be frank, on a relisten it is better. But you can only polish a turd so much lol. "Overture" - Instrumental thing. Sets a mood, I guess. "(Well) Dusted (For the Millenium)" – NEAR enjoyable. Almost gets there but not quite. 4-5/10 "Punishing Sun" – Fine I guess. 4/10 (Tucson version was decent). "X-tra Wide" – Fine. 2-3/10 "1972" – Short interlude, not much to say. N/R "Temptation of Egg" – Love the female singer on this. Especially when she says "Goomy." Honestly don't hate it but it is just a bit too quirky for me. 5/10 "Raw" – NEAR enjoyable. Almost works. The lyrics are actually pretty good and the whisper talk works with a simple piano. 4/10 "Wolfy" – Fine. One of the more interesting instrumentally. 3-4/10 "Shiver" – Probably one of the best track on the album bc he dropped the sultry talk whisper finally. 5/10. "Dirty From the Rain" – Forgettable. 2-3/10 "Astonished (In Memphis)" – Enjoyable, but like a 4-5/10. Tucson version is better, 5-6/10. "No Reply" – Best so far, actually pretty good when the synths come in. 6/10. "Satellite" – Much more my groove. Slimy, grimy alt-rock. The band does an amazing job on this one. Gelb rushes and drags through it and it's annoying, but the instrumentals carry it. 6-7/10. "Bottom Line Man" – Forgettable. 2-3/10 "Way to End the Day" – Forgettable. 2-3/10 "Shrine" – Has like 30 seconds of silence, wtf. 2/10 "Rock Opera" - One of the bonus tracks, pretty decent lyrics. A little more energy than usual. 4/10 "Hard on Things" - Another bonus track, this one is forgettable. 2-3/10 "Francoise" - Even more forgettable. 2/10 "Chore of Enchantment" - Nothing enchanting. 2-3/10 "Seldom Matters Again" - All of these bonus songs bloat tf out of this album. This one isn't horrible. 3/10 "Music Arcade" - One of the more interesting bonus tracks, musically. Interesting bass. Almost 7 mins is criminal though. 3-4/10. "Catapult" - Nice start and bassline. Boring for the rest. 3/10 "Dilemma" - More punky than their usual stuff leading to it being better. God he can't sing. With a half decent vocalist it would actually be good. 4-5/10 "Bad (Not Good)" - My reaction to this song was "finally". The song itself is forgettable. Well it does have a bit more energy than the others ig. 2-3/10 Anyways, this album thinks it's way cooler than it is. It's not absolutely worthless, it's just not good either. Disappointing. Rating: 4/10

Good Background Music So I went into this album already knowing and liking "Everlong" and "The Pretender" from Foo Fighter's other albums, but I'd never heard their debut. To be fair I never sat down to listen to a Foo Fighters album period. The story behind this thing is pretty cool. Dave Grohl recorded this all by himself after Nirvana ended, basically a therapy session. You can hear that energy in some places but overall, this album is just nice background music. It's almost impressive how mid all of it is. Like there isn't anything below a 4 for me because I like rock, but nothing above a 7. Occasionally a song will start with a cool riff, but then after about a minute it doesn't go anywhere. It doesn't help that Grohl's vocals can kind of kill the momentum. The main problem with most of the album is that there isn't really much to grip onto. It just plays and you enjoy it, but it doesn't get you excited. "This Is a Call" – Fun simple start. Very 90s alt rock. Such a well-established sound that it just sounds like baseline rock. Nothingburger, very middle-of-the-road poppy grunge. 6/10. "I'll Stick Around" – Great energy, especially when the chorus hits. Really like when he starts singing "I'll stick around." 6/10. "Big Me" – Nice and chill. I like the line "Beg me to talk about it." Not offensive, decent background music. 5/10. "Alone + Easy Target" – Nice riff, fun, catchy. Still repetitive. 5-6/10. "Good Grief" – The best on the album. Almost has a J-Rock feel to it, sounds fresh and different. Like an anime opening. 7/10. "Floaty" – Super strong beginning, that start is good. And then BANG the rock starts. Unfortunately the vocals really hold it back. Could have been a 6 but alas. 5/10. "Weenie Beenie" – Fine. Just generic. 4/10. "Oh George" – Riding the fence between melancholy and not. Wish it went somewhere. Kind of meanders. 5/10. "For All the Cows" – Farm rock lol. Fun contrast but not anything I like. 4/10. "X-Static" – Pretty decent. I like the more melancholy ones. 5/10. "Watershed" – Not bad, just fine. 4/10. "Exhausted" – Melody is actually kind of nice def one of the better ones. 6-7/10. The album is just kind of generic alternative rock. But I don't mind it. Despite being nothing special, the album is very consistent, which I enjoyed. It's not a terrible impressive record in any way, shape, or form, but I liked it. Rating: 6/10