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: 9/10

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: 6/10

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: 2/10

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: 5.5/10

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: 8.5/10

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: 9/10

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: 4.5/10

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: 6.5/10

Past Its Expiration Date So I went into Electric Warrior knowing T. Rex was supposed to be like this huge influence on glam rock and everything or whatever. Sure, I could hear that influence here and there, but taking it at face value? It's just not that interesting. The whole sound is very subdued. Still a melodically decently but just an okay voice, nothing to really stand out. And that's my main gripe, a lot about this album feels stale and past expiration. If I had been a teenager when this came out, I'd probably have loved it. But listening now? It's like a bland cracker. ALSO, if you're gonna name yourself T. Rex, one of the coolest dinosaurs ever, and on top of that name your album Electric Warrior, and on top of on top of that put a badass rock silhouette on your cover, I'm going to expect some loud shit. This wasn't that. "Mambo Sun" – Catchy but still sounds very old. I like the melody and the "youuuu" singing in the back. 3-4/10. "Cosmic Dancer" – I love the strings. Definitely a Bowieness to it. Kind of melancholy, gets better as it goes. The reversed riffs are cool. Favorite so far. 5/10. "Jeepster" – Soooo dated. Sounds like The Beach Boys or something. I think it's the bongos. 3/10. "Monolith" – Switches up the vibe. Like the bass. Also old-schooly, gets better as it goes I suppose. 2-3/10. "Lean Woman Blues" – Even older. That "rock scream" is soooo dated. It's fine if not bordering on weird. It's not really blues either. 2-3/10. "Get It On (Bang a Gong)" – Oh I've definitely heard this one. Quite catchy. Pretty basic. Expected more. The chorus sounds more like a bridge than anything. 4/10. "Planet Queen" – Lyrics are a little more interesting. 3/10. "Girl" – More of that Bowie DNA. I like the brass. 3-4/10. "The Motivator" – "Egyptian ruby" :sob: Oh my 70s. Not bad. The moaning is annoying lol. 3-4/10. "Life's a Gas" – Feels like I've heard this somewhere. Sounds like it should belong in an ironic scene in Deadpool or something. 3/10. "Rip Off" – A little cooler. God 70s rock guitar players were bad. At least boring. The jazz part toward the end is good tho. 3-4/10. Final Verdict: This album shares some stuff with Bowie, but it's all somehow less interesting. I don't mind the basic ah lyrics or the basic ah drums, but everything about it is just deeply forgettable. It's the sound of something that was probably incredible in its time but hasn't aged well at all. Rating: 4/10

Electronic Dread Amnesiac is a weird one. Dark, kind of jazzy... fragmented? Like you're wandering through the backrooms... sometimes you find something beautiful, sometimes you just want to get out. It's nostalgic in a way I can't quite explain, after all I've never heard these songs before, but they feel familiar. Like a half-remembered dream. For me it's the electronic textures that really do it. "Packt Like Sardines in a Crushd Tin Box" is a funky little opener. I love the untraditional percussion, really industrial sound. The rhythm isn't quite the usual. Yorke's distorted voice fits perfectly. The synths are interesting, the bassline is cool. I love the electronic aspects. Very nostalgic. 5-6/10. "Pyramid Song" is sprawling and pretty. The piano beginning reminds me of Kendrick's MMatBS. It meanders without a specific rhythm... hypnotic. Sounds very sad. The strings in the back are like birds flying by. But the sadness was all-encompassing without much payoff. 4-6/10. "Pulk/Pull Revolving Doors" was an incredible experience. Musically not a fan, but the experience was something else. Lots of nostalgia. Feels like I'm in the Backrooms here for sure. The wind chimey sounds gave me chills. One of the coolest songs I've heard. Very eerie, like a broken machine. Vocoder voice is always cool. 7-8/10. Not a playlist add despite the high rating, but so cool. "You and Whose Army?" is a quiet fighting back that somehow works really well. I'm more attuned to this than something like "We Will Rock You." I love the piano and then the guitar slow strumming. Beautiful build. 7-8/10. Playlist add. "I Might Be Wrong" has a cool guitar riff. Hypnotic loop. Super rhythmic, gritty guitar and beats. Sounds intimate, sensual. The second guitar riff is so cool, and that synth is nasty. This shit is cooking with fiyah. 8/10. Love the electronic textures. Playlist add. "Knives Out" is a cool melancholy one. Why does this album make me feel so nostalgic? I guess they're that influential. I love the edge of Radiohead. I can feel the emotions with which this song was written. It's great. Had it on loop for a while because I was in a sad mood. 8-9/10. Playlist add. "Morning Bell/Amnesiac" is very eerie and ghostly. Like a Pokémon ghost town. Dreary. The backing vocals are haunting. It's creepy in a good way, slow, takes its time. Berserk ost. Kinda chill. Lyrics are painful. It sounds like he's dreading waking up. The only time the song seems positive is when he's asking to be released. I don't like it. It makes me uncomfortable the longer I listen. To be fair, that's the point. Still not a playlist consideration. 4-5/10. "Dollars and Cents" has a cool vibe with a repeating bassline and strings. Nice moments when Thom's singing becomes more intense, the drums build, and then you're left with the bassline. But the lyrics are ironic. Thom Yorke with the most whiny voice singing for people to be constructive about their blues, brother, how about you be constructive? It's goofy. Name capitalism or bosses, not just "money." Catharsis slop. Thom don't pretend you're punk, once you're big, you should be buying elections or starting a vanguard party, otherwise you're a fraud. Musically cool how it builds. 4-5/10. "Hunting Bears" is an alright instrumental. Cool dialtone-like synth in the back. 3/10. "Like Spinning Plates" sounds like being beamed into a UFO. Otherworldly. The unsettling-ness is fantastic. Anxiety-inducing track and one of my favorites. Cyberpunk, Blade Runner-like moodpiece. The reversing effect is really cool, and knowing Thom learned to sing backwards for this song is incredible. Technically a feat. Completely electronic. Love the layering. 6/10. "Life in a Glasshouse" was a shock... I wasn't expecting a jazz piece. Pretty cool, but I like Radiohead for their electronic sound, not exactly this. The trumpet adds so much, adds to the spiraling paranoia. Good lyrics. Emotional. 7-8/10. Playlist add. Final Verdict: Amnesiac is a polarizing album. When it works, it's incredible—the electronic textures, the experimental production, the haunting atmospheres. But when it doesn't, it's either boring or annoying. The lyrics are sometimes powerful and sometimes goofy. It's an album of highs and lows, a journey through a dark, fragmented mind. Rating: 7/10

Like a Diary that's Surprisingly Deep I went into this album having never heard of Alanis Morissette, so I didn't really know what to expect. I went to listen to her most popular song, and as soon as I heard Ironic I went ohhhhhh that's who we are listening to today. Iconic piece of 90s music for sure. Honestly the production is super 90s and the vocals are the main appeal for me. Alanis has a pretty amazing vocal and emotional range on these songs. What surprised me most tho is how deep some of these songs go. "Perfect" is a well written abt conditional love and the baggage of that. "Forgiven" tackles religious shame rlly well. "Mary Jane" is a real portrait of depression. It's like if Taylor Swift was actually good. "All I Really Want" opens the album great. The vocals are iconic from the get-go, delivered in that breathless style. Really feral vibe. The lyrics are great and the silent pause in the song is genius. 6-7/10. "You Oughta Know" is just fire. The scorn, the anger, the raw vocals, I love the contrast between the whisper-sung verses and the yelling chorus. Instant classic. 8-9/10. "Perfect" has pretty chilling lyrics about conditional love. Deep emotional themes, but simply too slow for me. 4-5/10. "Hand in My Pocket" is a fun optimistic song. Laid back, good themes of self-acceptance. 4-5/10. "Right Through You" has a cool riff. Love the topic. Raw and confrontational. 5-6/10. "Forgiven" is hard. The themes are horrible but so well done. I love how the song swells. 7/10. "You Learn" has great relatable lyrics but it's a bit too polished/radio-friendly for my taste. 5-6/10. "Head Over Feet" has such a cool riff. Love the chorus, heartwarming lyrics. That fuckass harmonica docks half a point. 7-8/10. "Mary Jane" has Alanis's voice on full display. Good themes but very slow. Not quite my tempo. 4-5/10. "Ironic" is fire, but docks a point for being so overplayed. 7-8/10. "Not the Doctor" has a cool chorus riff, but the verses are whatever. 6-7/10. "Wake Up" is my favorite. The riff is so good, the bassline is killer, the lyrics fiyah. 8-9/10. Overall, this is a genuinely great album. I can see why it's iconic. Really emotionally honest, a raw delivery, and its not afraid to be ugly and vulnerable and angry. Not all of it is my vibe (some songs are too slow, some are too radio-friendly) but the highs are really high. Rating: 8.5/10

Fun Background Music Went into this album knowing absolutely nothing about Count Basie or big band jazz. I haven't even heard the name before. Surprisingly, I came out with a pretty listenable record. The whole album reminds me of video games ngl. On another note, it's interesting to think about this music in its historical context. This was dance music before rock and roll took over huh... And the atomic cover is kinda crazy during the peak of the Cold War, kinda funny for a jazz album. Technically, this album is probably amazing (from the limited band experience I have from high school). Great production, incredible musicians, the whole ordeal. But it does have that tendency to fall into background music without any vocals to anchor it. Everything just kind of melds together. I would not be able to tell you about a single number from the album. It's all very cohesive, which is both its strength and its downfall. "The Kid from Red Bank" is a great opener. Instantly makes me think of Cuphead. 5-6/10. "Duet" is way chiller. Love the contrabass. Trumpet duet, got it. Nice background music. 3-4/10. "After Supper" is so chill. This one made me think of Fallout. 4-5/10. "Flight of the Foo Birds" is funny since only one album ago I was listening to the Foo Fighters. Much more energy than the past two. Cool. 4-5/10. "Double-O" is pretty fun. Again like a carnival game or something. 4-5/10. "Teddy the Toad" – these names are taking me out. 3-4/10. "Whirly-Bird" is so fast. Yeah it's fun sax solo I guess. 4-5/10. "Midnite Blue" is a different vibe for sure. I really like this slower style of jazz. And then when it starts picking up a bit, I'm a big fan. 5-6/10. "Splanky" has a sophisticated (?) feel. 4-5/10. "Fantail" – lots of birds on this album. 4-5/10. "Lil' Darlin' is a real change of pace. I really like it. Wraps it up nicely at the end of a wild evening at the club. There's a real softness and delicateness to it, definitely one of the standout tracks. 5-6/10 It's hard to not tap my feet to this album. I respect the craftsmanship, but I probably won't return to it. It was cozy, it was fun, but it all felt the same. If I was in need of some background noise that most people wouldn't mind, this one could be put on. Very enjoyable listen, but I also struggle with picking any one track out. Rating: 5/10

For Gen X Nostalgia I have no idea who Peter Gabriel was supposed to be. On trying to discover it through So, I found a very 80s album... overproduced pop, synth, slap bass, digital reverb etc etc. All very much of the time. And weirdly, the whole thing is so white (?). The gentrification of traditional instruments from other cultures just for reviews to praise Gabriel using "ethnic" tools rubs me the wrong way. You can hear the appropriation of Africana music on "In Your Eyes" for sure. But that's a smaller comment. Overall, I miss some kind of humor. It's all so serious and I don't feel any fun. It's decent 80s popslop. Hyperpalatable. But nothing here is particularly moving. I don't like the sterile feel of it. There aren't even any curse words here. "Red Rain" instantly gave me an understanding of what this album was gonna be. The song itself is pretty energetic, yet melancholic. Pretty good just not for me. Love the drums and synths. Good background song for driving or studying. Bit too repetitive. 6/10. "Sledgehammer" is so stereotypically 80s that it actually kind of hurts. Cheesy is the word. Preys on the nostalgia for 60s black RnB for sure. 5/10. "Don't Give Up" is much slower. Kind of nice but still very 80s. Haunting duet. Love the woman's voice but it's too slow for me. Cool bassline at the end. 5/10. "That Voice Again" is the worst perpetrator of the 80s sound so far. It really has to do with how everyone switched to synth and that type of bass at the same time. Cool hi-hats and drumming though. 4/10. "Mercy Street" is kind of, folkish? very atmospheric. I like the flutes. Probably my favorite so far. Doesn't sound too 80s until the synth comes in. 5-6/10. "Big Time" is catchy but feels more like a product of its era than anything timeless. Flashy production but little to no substance. This song makes me sick. It's so 80s. 4/10. "We Do What We're Told (Milgram's 37)" is a weird interlude. Actually kind of pretty. Makes me nostalgic for something. I enjoy. 5-6/10. "This Is the Picture (Excellent Birds)" ...wtf are these lyrics. What is going on. 3/10. "In Your Eyes"... the chord structure is very familiar. The song itself sounds familiar too. Can hear the appropriation of Africana music for sure. 5/10 Decent variety but nothing here is particularly moving. Sounds very 80s and that's about it. Not anything I would really want to listen to very consistently. Rating: 5.5/10

Divorced Dad Music (?) I went into this album knowing absolutely nothing about R.E.M. Never heard of them. What I found was... well, it's music for dads. I know people love R.E.M., but I think they must be an acquired taste, because I just don't get it. The whole album is mid-tempo, stays in one gear, and doesn't really hit any peaks or valleys. The songs kind of blur together, all sounding pretty similar. There's not much upbeat energy and it just drags on. The only thing that really stands out is Michael Stipe's voice... it's unique and memorable. But overall, it's just tiring. "Drive" was pretty cool. Lyrics are nothing special. Kind of boring. 4-5/10. "Try Not to Breathe" sounds a bit folky. Weirdly upbeat song for somebody dying. Kind of boring for a while. I like the guitar singing a bit. 4/10. "The Sidewinder Sleeps Tonite" is much more uplifting and poppy. It's fine. A bit funky. Organ is pretty prominent. Weird little lyrics. Don't hate it but it's so repetitive and doesn't really build. 5/10. "Everybody Hurts" is so boring. So cheesy, like from a really white movie. Strings coming in is nice. It's literally just fine. 4/10. "New Orleans Instrumental No. 1" is a weird little interlude. Not bad. Chill. 3/10. "Sweetness Follows" – I like the themes of this song. Very relatable as someone whose family fell apart after dad died. Very somber. Decent but still pretty boring. 5/10. "Monty Got a Raw Deal" – Purely acoustic guitar for the first part. Then drums and synth/harmonica comes in. It's alright. Don't hate it. Kind of folky. 4/10. "Ignoreland" – I like this. The lyrics are pretty sharp. Still kind of only blames one side whenever both are equally complicit. Take a social democrat stance, not really punk lol. Definitely the most energetic track. Still it sounds just fine and not actually getting me that excited. Really do love the Reaganomics critiques tho. 5/10. "Star Me Kitten" – Whispered melancholic bs huh. Very minimal. So slow. It's fine. 3-4/10. "Man on the Moon" – Pretty catchy. Almost a country feel to this. Very acoustic. Kind of upbeat. Pretty basic. 4-5-6/10 depends on mood. Still just kind of okay. "Nightswimming" – Kind of sounds like Bo Burnham lol. Prob the piano. Pretty sad lyrics. Pretty cool song. Very melancholy and nostalgic. 5/10. "Find the River" – Melody instantly seems familiar. I've probably heard this somewhere. 5-6/10. This album is well-made, I can't deny that. There's a lot of care put into the mixing, arrangements, and songwriting, and I respect the craftsmanship. But I'm never coming back to this. It's not bad, just not what I was expecting. The guitars feel kinda thin, like they could have filled out the sound more. A lot to admire, but nothing that makes me want to listen again. Rating: 5/10

Taco Bell for Punk I was pretty excited for this one since I grew up with a few Offspring songs... definitely some nostalgia here. And honestly? It delivered exactly what I expected. Fast, fun, dumb. Someone compared them to Taco Bell for punk and I couldn't agree more. It's not gourmet, not gonna change your life, but sometimes you just want something greasy that hits the spot. The highs are really high, the lows are just kinda there. "Self Esteem" is genuinely great: one of those songs that actually says something real about male vulnerability in a way that wasn't really being talked about in the 90s. "Bad Habit" is pure fun. But there's also filler that blends together. A lot of filler imo. On another note, "Come Out and Play" is a snapshot of alternative rock's approach to social issues: well-intentioned but deeply superficial. A suburban band trying to comment on gang violence without understanding the systemic issues. Catchy as hell though, can't deny that. "Time to Relax" - Funny little intro. Sets the tone. NR. "Nitro (Youth Energy)" - Pretty fun punk opener. Good energy and lyrics are a vibe. A little one note to me though. Chorus is repeated too often. Super fast song, it's like an appetizer. 5-6/10. "Bad Habit" - This song is so funny. I love the satire of punk. Such a fun riff. Can't be mad at this song. So catchy and energetic. Especially the yeah yeahs. "You stupid, dumb shit, goddamn, motherf*cker" is so fucking awesome. 7-8/10. "Gotta Get Away" - Riff is fun. Climbing arpeggio and then flare. The chorus is hella catchy too. I like the lyrics. 6-7/10. "Genocide" - This one is a bit simple. Lyrics are fine. "And if in time we can see the errors of our ways, would anyone change it anyhow?" I really like this lyric. I think no. And it's because it's systemic. Cool. 5-6/10. "Something to Believe In" - Not that big of a fan of this chorus. I like the theme a lot. People ought to throw all that garbage out and make something their own. 4-5/10. "Come Out and Play" - Oh yeah this one is fucking catchy. Hmmm the lyrics didn't age well though. It's such a snapshot of '90s alternative rock: catchy and well-intentioned in anti-violence, but so deeply flawed. The reduction of complex socioeconomic crisis into basic tropes gives me an ick. Written from an extreme outsider standpoint. "You gotta keep 'em separated" is just... yikes. This song reminds me that in the grand picture, this band is the equivalent of Friends the TV show. It is not counterculture. It is not punk. 6/10 for the catchiness, but the lyrics kinda ruin it. "Self Esteem" - I fucking love this song. The one-sided relationship and staying in it is an awesome topic. It really upturns a lot of cultural tropes. Male vulnerability was not talked about at all at this point. The admission of powerlessness is powerful for that reason. Spun with a funny, painful, relatable confessional way. That's what punk is all about babyyy. The riff is iconic and great. Very dynamic song. 9-10/10. "It'll Be a Long Time" - Ugh another relic of the 90s. This deep disillusionment with Cold War geopolitics where "superpowers" pull the strings and ordinary citizens pay the price is such bullshit. Of course the aggressor US is never named. Of course the US citizen equalizes the harm between the largely peasant country and the world's largest arms manufacturer. It's fine. Just fine. 4-5/10. "Killboy Powerhead" - Traditional punk. Too one note for me. It's fast and aggressive but also really short. 4-5/10. "What Happened to You?" - This song is fine. Also kind of anti-punk? Weird musically as well. Bouncy. 3-4/10. "So Alone" - This one is also kind of one note. Theme is cool. Kind of builds towards the end. Sort of. 3-4/10. "Not the One" - I actually like the lyrics of this one. We were born into this but have to deal with all this shit. Pretty good stuff if not too catchy musically. 5-6/10. "Smash" - Pretty fun song. I really like the slowed-down portion. The first 3 mins I'll give a 5-6/10. Cool riff after the narrator says goodbye. A good minute or two of silence... never mind like 4 mins actually. Ah we get the latin/arabic inspired riff of "Come Out and Play" at the end. 5-6/10. So.... Smash is a pretty fun, energetic album that doesn't really ask you to think too hard. The highs are genuinely great: "Self Esteem" is an all-timer, "Bad Habit" is a blast, but there's also a lot of filler that just kind of blends together. It's punk for people who don't want to think about what punk means. It gets an extra point for nostalgia basically. Rating: 7.5/10

Beautiful and Painful As with most albums on this list, I went into it knowing absolutely nothing about the artist. What I found was... heavy. Really heavy. This is not an album you put on to have a good time. It's an album you sit with, and it kinda demands your full undivided attention. Unfortunately, I was listening to this at work, and so it was extra difficult to get through. The album deals with the death of Nick Cave's son, and you can feel that grief in every single track. As someone who's also lost a close family member, I can appreciate the weight of what he's doing here. But man, this album is a just grief encapsulated, and grief is a swamp. The music is mostly ambient, sparse, and a bit repetitive. Some songs are genuinely gorgeous: "Bright Horses" and "Galleon Ship" are highlights. But most of it just kind of blends together into a hazy, sad background noise. I respect it, but I don't think I'll be coming back to this. "Spinning Song" - Very dreamy song with a spinning keyboard in the back. Almost ambient. Hypnotic. Very sad. This first song really encapsulates some early feelings of grief or rather how it always seems to come back. Like a spiral that keeps going on different levels. 5-6/10. "Bright Horses" - In some ways my favorite song on the album. This song's theme of reality vs a fiction that helps you cope digs deeply at the human condition. The background vocals are haunting and gorgeous. The breathing strings add. Very cinematic song. Is this disillusionment or blind self-deceit? 7-8/10. "Waiting for You" - In some ways the most emotional song from the singer here. Very simple in its composing, piano led with strings and synth. The repeated "waiting for you" is really heavy but also musically not convincing. It's a rather nasally delivery. 4-5/10. "Night Raid" - There is a rather liminal feel to this song. The description of hotel's grand fountain and the ambient percussion. "Just a sigh released from a dying star" is a great lyric. 5-6/10. "Sun Forest" - The song starts very ambient, almost shimmering backdrop of music. Then the piano comes in. The synth is nice with a flute-y sound. The choir is gorgeous. I actually think the singing of Nick Cave here is a detriment to the song. "As the past pulls away and the future begins" is a perfect description to how time keeps moving in the face of grief. Overall a bit boring. 4-5/10. "Galleon Ship" - Sounds incredibly alien. Very dreamy feel. And then the piano comes in and washes over everything along with backing choir. 8/10. "Ghosteen Speaks" - Mostly atmospheric background. Very sparse musically. Kind of boring. 3-4/10. "Leviathan" - Another rather sparse song. Pretty hypnotic sound. Almost like a mantra? Still pretty boring. 2-3/10. "Ghosteen" - A continuation of the rather ambient electronic feel songs. Builds layers. Very long. Boring for the first 4 mins. I mean there is somewhat of a prettiness here. But you really have to listen. 3-4/10. "Fireflies" - Also a pretty ambient boring song. 2-3/10. "Hollywood" - Pretty hypnotic and drawn out. Kind of like a movie. Weird lyrics. When the singing comes in its pretty cool. The synths at some parts make it sound like a sci-fi soundtrack. "The kid drops his spade and bucket and climbs into the sun" is pretty fucking harrowing. I actually really like the poetry here. The mustard seed Buddha story is a classic and I love how it is used here. 5-6/10. Final Verdict: Ghosteen is a beautiful and painful album that I respect more than I enjoy. The poetry is incredible at times, the emotions are raw and real, and the themes are handled well. But the music itself is often too sparse, too ambient, too slow. It's the kind of album you have to be in the right mood for, and that mood is probably "sitting alone in a dark room thinking about death." I'm glad I listened to it, but it's probably not something I'll revisit. Rating: 6/10

Funky and Furious I've never heard the name Fela Kuti, never heard the sound. And honestly? This was one of those recommendations that I instantly liked and appreciated. Not my typical genre at all, but the sheer energy brought to music on this album is infectious. The story behind it is insane. This album led to the army attacking Fela's compound, beating him up, and killing his mother. If an album can do that, it truly needs to be heard. Always love a native anti-capitalist artist. "Zombie" starts as a really funky jazz afrobeat piece. Then the vocals come in with that call and response style. Not something I'd listen to regularly, but I still really like it. Top tier, and I really vibe with the message. The keyboard is so fun. The sax at the end plays the motif of an army march, a nod at who zombie is referring to. 7-8/10. "Mr. Follow Follow" is supeerrr groovy. Less bombastic than Zombie but still a hypnotic groooove. The bass is awesome. There's a strong prevailing melody theme that keeps repeating. It's smooth and pretty much impossible not to move to. The way the chorus says "follow follow" is addicting. UGHHH this is so good. 8/10. "Observation Is No Crime" is a little jazzier, with a slower beat. A mix of bongo drums and horns. Not quite as catchy as the last two. 6-7/10. "Mistake" is a slower piece. Much more jazzy. The organ keyboard is awesome. . The lyrics are probably the most biting out of all. 7-8/10. Zombie is an incredible album that still holds relevance to this day. It can resonate with people from all over the world. I wish the 1001 Albums list featured more albums like this, I'd rather listen to this than generic Britpop. It's a record that feels alive, dangerous, and necessary. Not something I'd throw on every day, but I'm genuinely glad I heard it. Rating: 7/10

Uneven, Influential, and Kinda Boring This is some of the most vanilla, middle-of-the-road music I've heard. I can definitely hear its influence on rock ( the proto-grunge, alt-country, all that) but the songs themselves are a mixed bag. Some are boring, some are stupid, some are actually pretty good. Overall the album itself is just fine. It was enjoyable enough but I've already forgotten it. "Cinnamon Girl" - Kind of standard bubblegum rock. Proto-grunge, hard rock with country and garage influences. Songwriting is pretty good. 4-5/10. "Everybody Knows This Is Nowhere" - Very folky, true Country Rock. Backing vocals work well, the "la la la" is catchy but goofy. Nice twang. 4-5/10. "Round & Round" - Waltz melancholy. Familiar melody. Boring but kinda pure. 3-4/10. "Down by the River" - Definitely heard this before. Guitar solos are middle school talent show level. Goes on forever. 5-6/10. "The Losing End" - Pretty melancholy. Sounds like a Russian folk song. Not a fan of the whining tones. Straight up Country with only a bit of Rock. 5-6/10. "Running Dry" - Dreary dark sound. The violin is lovely. Recording quality is weirdly bad. Chord progression sets the mood very well. 5-6/10. "Cowgirl in the Sand" - Broody, moody start. Great closer. Groovy, hypnotic, dreamy. The lyrics ("It's the woman in you that makes you want to play this game") reek of 1969's casual sexism. 6-7/10. I would describe this album as uneven. The longer tracks are nice, Crazy Horse provides some enjoyable but not outstanding instrumentation, and Young's voice is a bit "take it or leave it." Not essential and I would not have added this to my 1001 list. Rating: 6/10

Mid and British... Not for Me Went into this one knowing I wasn't into British pop, and this album didn't change my mind. The voice is a bit grating. I can totally see how this can be really enjoyable for some people, but it's just not my style. The songs are catchy and punchy... they do their job, but I find a lot of it boring. "From the opening track, they commit to this sound of blurry rock and roll and essentially hold that same note until the end of the album." Well-put fellow reviewer. "Rock 'n' Roll Star" - 5/10 "Shakermaker" - 4-5/10 "Live Forever" - 5-6/10 "Up in the Sky" - 4-5/10 "Columbia" - 4-5/10 "Supersonic" - 4-5/10 "Bring It On Down" - 6-7/10. Actually the only one I kind of like because it leans more into the rock side of things. "Cigarettes & Alcohol" - 5/10 "Digsy's Dinner" - 4-5/10 "Slide Away" - 5/10. Very wall of sound-ish. "Married With Children" - 5-6/10 Final Verdict: I find this album mid. Don't like Liam's voice. This album doesn't even have the hits. It's a solid 6/10 for me... not terrible, not great, just kinda there. Rating: 6/10

Slight Step Down from Zombie Back with Fela Kuti ayyyyy. I rated Zombie a 7/10 even though it was objectively much better... revolutionary, historically important, and most importantly an amazing sound, just not playlistable. This one is more or less the same vibe. The songs do not feel like the 12-minute epics that they are. As always, that's the magic of Fela Kuti. But this one feels more loose than the intentional musical statement that was Zombie. "Let's Start" - Fela starts with an high energy banger. Very good as usual. I think it's not quite on par with "Zombie." 6-7/10. "Black Man's Cry" - The horn breakdown is so fun. This one is funkier and jazzier than the last but more restrained overall. When the second half of the track loses the horns, it imo is not as good. I also noticed that there aren't a lot of English lyrics on these tracks, which leads them to be a bit less impactful for me. 6-7/10. "Ye Ye De Smell" - I think this one is a bit weaker than the last two. Very drum forward. I like the second half of the song more. The drum solo is soooo cool. 6/10. "Egbe Mi O (Carry Me I Want to Die)" – Wow this one is so funky. The title is so sad but it's played out like an anthem. The horns are great throughout. I really like the singing and then the choir of audience coming in. That's awesome. I'm surprised they were able to hit the notes lmaoo. 6-7/10. "Ginger Baker & Tony Allen Drum Solo" (Bonus Track) - Wow really cool. I never expected to enjoy a drum solo like this, especially on that lasts over 10 minutes!!! Very impressive. 6/10. I'd never thought I would hear a solid live album on this list but Fela pulls it off! He is a genius and as always incredible. The Ginger Baker collab adds an interesting dynamic, and the drum solo is cool. But compared to Zombie, it's a bit looser and less politically sharp. Still a great listen, just not as essential. Rating: 6.5/10