1001 Albums Summary

I was pleasantly surprised at how bluesy and ragged this album is. My knowledge of The Doors history is scant compared to other rock groups, but I being able to hear Morrison's downward trajectory in such a sleazy, drug-addled, raucous way is equal parts chilling and fascinating. My favorite moments were the wild ones, like "Changeling" (that's basically a funk song!), "Love Her Madly," and "L.A. Woman." I got a little bored during the last third, specifically on "Crawling King Snake" and "The WASP." "Riders on the Storm" is a stone-cold classic, one of the coolest songs ever made. Who knows, this might be my indoctrination into The Doors hype… Favs: The Changeling, Love Her Madly, L.A. Woman, Riders on the Storm Least Fav: The WASP Score: 7.5

This is a classic I'm glad to finally be checking off my list! Aside from "Smoke On the Water," I was very unfamiliar with Deep Purple going into this album, and this definitely exceeded my expectations. There's a lot of complexity here, in tandem with the proto-metal badassness. It's crazy to hear how directly this influenced so much of the hard rock and heavy metal that followed. "Highway Star" is a clear favorite for me—such a classic, rock 'n' roll premise but with a proggy, cyclical structure that gives it so much weight. Really enjoyed overall, I'm excited to listen to more Deep Purple and see how this record compares to their catalog overall. Favs: Highway Star, Pictures of Home, Smoke on the Water, Lazy Least Fav: Never Before Score: 7

Another long overdue first listen, and it did not disappoint. I listened to this while lying in bed, scrolling my phone, after midnight, and ended on my back staring up at the ceiling, fully engrossed. I can’t wait to come back to this again and again—the sheer presence of these songs is incredible. From the light research I did while listening, the narrative seems fascinating, but isn't overwritten enough to interfere with the experience. True to the title, this album is just a rabbit hole of ingenious production and sheer emotional blood-letting. Favs: Mr. Self-Destruct, Piggy, March of the Pigs, Closer, A Warm Place, Reptile, The Downward Spiral, Hurt Least Fav: I Do Not Want This Score: 9

The first time an album in this series is one I've heard before. While the Bowie purist in me would probably sneer at someone who said it, I really couldn't judge someone who thinks this is Bowie's best album. What a spectacular send-off from an artist running against the clock. Bowie tackles the encroaching void with such dynamic poetry, interpreting John Ford (the playwright, not the director), fictional languages, and Satanism in tandem with the tightest of jazz backing-bands. Favs: Blackstar, Tis a Pity She Was a Whore, Lazarus, Girl Loves Me, I Can’t Give Everything Away Least Fav: Sue (Or In a Season of Crime) Score: 9.5

I don't really connect with Lorde's music as strongly as other people seem to, but Melodrama is the record of her's I continue to like the most. The production is so intimate, every bass and snare hits with the same directness as Lorde's signature vocals. Her writing isn't always as poetic as it thinks it is ("A couple rebel top gun pilots flying with nowhere to be"), but when it hits ("Every perfect summer's eating me alive"), it HITS. Favs: Green Light, Sober, Homemade Dynamite, The Louvre, Writer in the Dark, Supercut Least Fav: Hard Feelings/Loveless Score: 7

Listening to Elvis’s version of “Tutti Frutti,” the swag gap between him and his non-white “peers” has never been more apparent. Given the short runtime, I was able to play this multiple times today, and while I certainly appreciate the historical significance of Elvis and this particular record, it’s difficult to extrapolate my feelings on his music from what I know about his career and the cultural conditions that made him the biggest star in rock history. Still, he has his moments. His energy can be infectious at times, and every so often, the charisma of his rock-a-doodle drawl is enough to make me feel like a teeny-bopper in the 50s. Fav Tracks: Blue Suede Shoes, I Got a Woman, Blue Moon Least Fav: Tutti Frutti Score: 4.5

One of my strongest early rock music memories is listening to my dad as he explained the complicated lore that made up the title track of 2112. Some 18 years later, and I finally got around to hearing the song/album! As far as prog and 70s rock albums go, this didn’t connect with me as strongly as I would have hoped, but it’s still an incredibly solid record that I’m sure blew peoples’ socks off in 1976. Geddy Lee is one of the most talented vocalists in rock history, and Neal Peart is a fucking beast. All in all, good, but not an album I see myself returning to all that often. Fav Songs: 2112, The Twilight Zone, Lessons Least Fav: A Passage to Bangkok Score: 6.5

Is this my favorite ambient album? No. Is this my favorite Eno album? No. Is this my favorite ambient Eno album? Still no. Is it a classic I fully respect, and literally paved the way for one or my favorite genres to exist? Absolutely. The literature and lore surrounding this album makes me want to enjoy it so much more, but it simply doesn't fascinate me the way the vast majority of ambient albums that have come out since. Zero disrespect to Eno, just a case of my reverence for an album outweighing my individual enjoyment. Fav Songs: 1/1, 1/2 Least Fav: 2/1 Score: 6

Prior to this, my familiarity with the Yeah Yeah Yeahs was just their two biggest hits, “Maps” and “Heads Will Roll.” Thankfully, this album was a truly spectacular and concise crash-course in understanding what made them such a lode-bearing indie band for the aughts. The moodier last third of the album was definitely my favorite, but the punk energy throughout is really scrappy and fun. Karen O’s vocals are so uniquely charismatic, she sounds simultaneously twee and riot grrrl, and sort of reminds of some of female-fronted Asian art-punk acts like Midori. This is an album I could see really growing with me, but for now, I really liked my first listen a lot. Fav Songs: Rich, Date with the Night, Black Tongue, Maps, Y Control Least Fav: No No No Score: 7

Crazy how arguably the greatest punk album ever made isn't even really that punk. The way The Clash incorporate so many disparate influences is gleefully inspired. The splashes of ska, rockabilly, reggae, and R&B interact with the band's punk roots in a style that simultaneously manages to be irresistibly catchy and satisfyingly raw. Every song here is worthy for consideration as someone's favorite, and while I do tend to get just the littlest bit weary around the last fourth, I still couldn't imagine giving this masterpiece anything less than 5 Stars. Fav Songs: London Calling, Brand New Cadillac, Hateful, Rudie Can't Fail, Spanish Bombs, Lost in the Supermarket, Clampdown, Wrong 'Em Boyo, The Card Cheat, Train In Vain (Stand By Me) Least Fav: The Right Profile Score: 9.5

As someone who thoroughly dislikes Phil Collins's and Peter Gabriel's 80s and 90s pop output, I've never given Genesis much serious consideration. This album, however, was a great introduction to the band's earlier sound. With Rush's 2112 still fresh in my mind, this album really felt more in line with the kind of prog I generally prefer: more melodic, less story-based, and somewhat baroque. The English folkiness can get a little much sometimes, but once I started reading along to the lyrics as the songs were playing, I had a much easier time. Need a bit more time to connect with these songs overall, though, just because Gabriel’s lyrics are so tricky to parse sometimes. Fav Songs: Dancing with the Moonlit Knight, I Know What I Like (In Your Wardrobe), Firth of Fifth, After the Ordeal Least Fav: More Fool Me Score: 8

I don't know, man—I love 80s dance music! I found this to be a fun and thoroughly intriguing first listen; the second half is especially stacked. After doing a bit of research, I realized that I definitely missed quite a bit of the social commentary on songs like "It Couldn't Happen Here" and "Shopping," so I'm excited to re-listen and see if my appreciation changes. The production is obviously dated (distractingly so, at times), but I think the experience ultimately adds up to an accessible synth pop album with plenty of heart. Fav Tracks: One More Chance, What Have I Done to Deserve This?, It's a Sin, I Want to Wake Up, King's Cross Least Fav: It Couldn't Happen Here Score: 7

This is an album I've become quite familiar with only in the past couple of months, having just re-listened to it on a flight from Colorado to L.A. After checking out the rest of Eno's 70s solo work, I can say that there's a definite reason why this one is regarded so highly. Songs like "St. Elmo's Fire" and "I'll Come Running" are his oblique-pop perfected; "Sombre Reptiles" and "In Dark Trees" capture his penchant for imagistic soundscapes; and the title track predicates the ambient bliss he'd soon become known for. Some poor sequencing does lend to me losing steam during the back-half (I'm always surprised when the record continues after "Becalmed"), but this is still an exceptional LP I can only see myself loving more and more as time goes on. Fav Songs: Sky Saw, St. Elmo's Fire, The Big Ship, I'll Come Running, Another Green World, Golden Hours, Becalmed Least Fav: Over Fire Island Score: 9

There’s something special about a classic that happens by accident. The lore surrounding this doomed band and their final album is one of misspellings, mistakes, and compromises—it’s amazing to see how the years have re-examined it into a masterpiece of the 60s. For my money, this is an excellent, albeit quintessential, piece of psych-pop. These songs don't always do enough to stand apart from the crowd, but it's easy to see how the classicism and proto-progginess of their songwriting impacted later bands. "Time of the Season," though—that song comes out of nowhere, and I love it! Fav Songs: Care of Cell 44, Beechwood Park, Hung up on a Dream, Friends of Mine, Time of the Season Least Fav: Butcher's Tale (Western Front 1914) Score: 7

For someone who only knew Hawkwind as the band Lemmy was in before Motörhead, this was not the easiest introduction. Still, I found myself slowly getting caught up in the sheer spectacle of this album, and really enjoyed the grooves once they got going. The sci-fi spoken word shit is awful, but I honestly thought that most of the 10+ minute jam sessions earned their length by riffing pretty amazingly. I obviously wish it was shorter, and I'd be lying if I said that having to sit through a 90-minute runtime didn't sour my experience. It's difficult, though, since the performance is so seamless and interconnected—I can't really imagine myself wanting to go back to individual tracks on their own either. Overall, I'm glad I heard this, but it didn't leave enough of an impact for me to need to hear it again anytime soon. Fav Tracks: Born to Go, Down Through the Night, Lord of Light, Orgone Accumulator, 7 by 7 Least Fav: (Insert any of the interludes) Score: 5.5

Wow, the energy on this is absolutely, impeccably palpable! After yesterday's 90-minute album, 35 minutes was a breath of fresh air. I love hearing the way King interacts with the audience, and the enraptured way they hang on his every word. Reminds me of James Brown's "Live at the Apollo," but I honestly might prefer this one! Hearing the audience yell every time King rips his guitar is so addictive. This was my first listen, and I feel like I could hear this every day without getting sick of it. The blues are one of those genres that everyone knows and respects, but getting into the music itself can be difficult and often requires putting up with poor sound quality. This is such a refreshing break in the norm, and serves as a both talisman of the genre's purism as well as a celebration of its impact at the time. Fav Songs: Everyday I Have the Blues, How Blue Can You Get?, Worry Worry, You Done Lost Your Good Thing Now, Help the Poor Least Fav: Please Love Me Score: 8

Every time I remember how quickly this album was made (allegedly six weeks), it simultaneously makes zero and 100% sense. How could riffs this good, this timeless, arrive so effortlessly? But also, could something this primal, dark, and exciting ever come from overthinking? Who knows—and who fucking cares! Songs like "War Pigs," "Iron Man," and the title track are pure guitar-driven crack, with "Planet Caravan" providing a relaxing respite before "Electric Funeral" dives into proto-doom metal. I do find that the last three tracks drag somewhat compared to the first half, but... c'mon, man. This is a stone-cold classic. RIP Ozzy. Fav Tracks: War Pigs / Luke's Wall, Paranoid, Planet Caravan, Iron Man, Electric Funeral Least Fav: Rat Salad Score: 8.5

As someone who truly loves hip-hop and has researched the history of how it came to be, I wish I enjoyed these sorts of early rap LPs more than I do. There's no denying the historical importance of a song like "Planet Rock," but I find that this is one of those albums where the Wikipedia article is more interesting than the music itself. I can't even say I respect Afrika Bambaataa, considering the awfulness that's come out about him over the years. The fusion of disco, funk, and early electronica is certainly novel in bursts—not to mention ingenious for the time—but calling this poorly-aged would be an understatement. Still, if I found this vinyl for a good price, I'd probably pick it up just for posterity's sake. Fav Songs: Planet Rock, Go Go Pop Least Fav: Who You Funkin' with? Score: 3.5

I remember watching Portlandia with my mom as a kid, and her telling me that Carrie Brownstein was also in a really cool band. All these years later, and I'm finally giving Sleater-Kinney their due diligence! This was an extremely compelling indie-punk record; the emotionality that comes through these tracks is immense, and it's wild to see how directly this continues to influence so many modern bands. The twin vocals are such a unique flourish, and I especially love the vibrato and the rawness it adds. A lot here to love, definitely a great first impression of the band. Fav Songs: Dig Me Out, One More Hour, It’s Enough, Little Babies, Dance Song '97 Least Fav: Heart Factory Score: 7.5

This was the first album I'd never even heard of since starting this series. I found this to be a pleasant and unassuming singer-songwriter record, with a few excellent tracks ("Marlene on the Wall" is a new favorite). I wish I had more to say, but Vega's songwriting is pretty cut-and-dry. I can't see anyone hating these songs, but I really can't picture myself ever listening to the entire album again. Fav Tracks: Marlene on the Wall, Small Blue Thing, Undertow, The Queen and the Soldier Least Fav: Knight Moves Score: 5.5

My feelings on this album remind me of what I wrote for Brian Eno's Ambient 1... The inarguable, monolithic status of this record is endlessly fascinating to an amateur rock historian like myself. Hearing stories of a 20 year-old Jimi Hendrix hopping onstage at the Blaise Club in 1966 and melting Paul McCartney, Eric Clapton, David Gilmour, and Brian Jones' faces is one of my favorite things to imagine. That being said, while I still love "Are You Experienced," it's not one of those classic albums that has really and truly connected with my taste. Personally, I find that these songs end up feeling a little same-y, no matter how many times I listen and relisten. "Electric Ladyland" will always be my Hendrix masterpiece, but this album is still an artifact whose worth will eternally outlive any individual opinions on the matter. So with that, I give it the lowest tier of 5 Stars (for my personal criteria). Fav Tracks: Purple Haze, Hey Joe, May This Be Love, The Wind Cries Mary, Third Stone from the Sun, 51st Anniversary, Red House Least Fav: Fire Score: 8.5

I recognized this album from a suggestion my mom gave me years and years ago when I said I was trying to get into more 80s music... I should've listened back then! While it's far from the most innovative or unprecedented pop album of its time, I really enjoyed how theatrical and funky it was. The lyrics were mostly very charming, but at times strayed into unforgivable corniness. Overall, very enjoyable, but never quite achieved anything impactful or singularly memorable. Fav Tracks: Show Me, Poison Arrow, The Look of Love, Pt. 1, Date Stamp Least Fav: Valentine's Day Score: 6

A classic I've never heard until now! The lore surrounding this album is legendary, and I had a ton of fun diving into the many different affairs, coincidences, and jam sessions that resulted in this beast of a southern-rock opus. This is one of the most solid blues-rock albums I've ever heard, but I definitely found the double-disc runtime to be gratuitous. For listeners in 1970, however, this was definitely a purchase worth making. There definitely is something magical in the air here with what Clapton and his Dominos were able to conjure. Duane Allman is a clear star, and this record serves as an incredible testament to his prolific and collaborative brilliance. Too long, but phenomenal blues-rock. Fav Tracks: I Looked Away, Bell Bottom Blues, Keep On Growing, I Am Yours, Anyday, Why Does Love Got to Be So Sad?, Layla Least Fav: Key to the Highway Score: 7.5

God, pop music used to be so good. This might not be Prince's most daring album, or his most comprehensive, but it rightfully earns its place as his most definitive. His singular blend of pop-R&B-funk-disco-dance-soul is perfectly distilled into nine of the coolest, catchiest, and original tracks to come out of the 80s. Fav Tracks: Let's Go Crazy, Take Me With U, The Beautiful Ones, Computer Blue, When Doves Cry, I Would Die 4 U, Purple Rain Least Fav: Darling Nikki Score: 9.5

When I had my big 60s Dylan phase a couple years ago, I skimmed this album but never sat through it from start to finish. What an exceptional live record, capturing an innovator at the peak of his powers. The shifts in audio quality are such an important remnant of the bootleg-ness, though I wish we were able to hear more of Dylan's interactions with the audience (Where's Judas??!!). As a Blonde on Blonde and Highway 61 obsessive, I couldn't ask for a better tracklist. Obviously, due to the sheer length, I doubt I'll be returning to this in full anytime soon, but that doesn't diminish how impressive and important of a historical document it is for American music. Fav Tracks: Vision of Johanna (Live), Desolation Row (Live), Mr. Tambourine Man (Live), Tell Me, Momma (Live), Leopard-Skin Pill-Box Hat (Live), Ballad of a Thin Man (Live), Like a Rolling Stone (Live) Least Fav: Just Like a Woman (Live) Score: 8

Surprisingly an album I've heard before! The pre-Pet-Sounds Beach Boys material is such a mixed bag, but this album is one of the few that I've not only heard in full, but return to every once and a while. As far as the band's surf-rock goes, this is top tier. Brian's production sounds so warm, and they pack so much sweet stuff into 29 minutes. Of course it's corny ("Don't Hurt My Little Sister"), of course it's inane ("When I Grow Up"), but I like it. Fav Tracks: Do You Wanna Dance?, Good to My Baby, Help Me, Rhonda, I'm So Young, She Knows Me Too Well Least Fav: Don't Hurt My Little Sister Score: 6

I have been a vocal hater of Queen for years. I find their hits annoying, and their theatrical approach always rang so hollow to me. I was dreading this album, expecting 45 minutes of "Bohemian Rhapsody"... Boy, what a pleasant surprise! This blew me away, mostly from a compositional standpoint. There's a lot similarities with prog rock here, more than anything else, and Brian May's guitar solos are actually far more emotional than schlocky. Freddie Mercury is obviously the standout, and I was very impressed by his range and dynamic vocal shifts. Obviously he's famous for his theatricality and powerhouse talent, but I feel like I finally saw a different side of his charisma with this record. Overall, it'll take a few re-listens before I'm comfortable calling this a favorite, but it absolutely impressed me. Fav Tracks: Death On Two Legs, Lazing on a Sunday Afternoon, '39, Good Company Least Fav: I'm In Love With My Car Score: 7.5

If I'm not careful, Fiona Apple's music always makes me zone out (something about slow piano and jazzy vocals). When I make the concerted effort to give her her due diligence, however, I'm never disappointed. This album is such a fully-formed creation; it's staggering to think this was her debut. It certainly feels very 90s, but with such an ethereal coat of paint. Moments like the random Arabic scale at the end of "Criminal" or the bossa rhythms of "The First Taste" really elevate Apple beyond her peers of the era. And don't even get me started on the lyrics—her brand of songwriting is just so emotive and passionate. The fact that she was SEVENTEEN while making this??!! Truly, utterly unbelievable. Fav Tracks: Sleep to Dream, Shadowboxer, Criminal, The First Taste, Never Is a Promise Least Fav: Pale September Score: 9

This is another instance of an album/artist I’d never heard of before. From what I read, it seems like this was a flash-in-pan record that the British music press wrongly predicted to stand the test of time. That said, I rather enjoyed it. This is the sort of thing I wish I’d discovered in high school. As a slightly matured person and listener, these songs amount to a decently charming but ultimately unexciting collection of homespun indie tropes. A few songs really stood out, but 64 minutes is far too indulgent for me to want to relisten anytime soon. Fav Tracks: The Shining, Bewilder, Camping Next to Water, Once Around the Block, Magic in the Air Least Fav: Body Rap Score: 6

Before I ever heard Grace, I heard about how much it meant to people. When I finally sat down to listen, I was a little slow to the take. The more times I've played it, however, the more the magic has settled in. Jeff's voice is absolutely angelic, truly a once-in-a-generation talent. Even without the tragic lore of this being his first and only album, this is a rare sort of record that manages to capture something timeless while still being distinctly a product of alternative 90s music. Perhaps my only hot take about this album is that the "Hallelujah" cover has never really blown me away. I think it's good, but I've never felt the magic so many people seem to feel for this version. RIP Jeff Buckley. Fav Tracks: Mojo Pin, Grace, So Real, Lover You Should've Come Over, Corpus Christi Carol, Forget Her Least Fav: Lilac Wine Score: 9

This was a bit of a throwaway album for me in the grand scheme of this project. Perhaps that's because I was in the middle of moving apartments, but this one simply provided some nice background music, and little else. That said, I definitely enjoyed it more than I didn't, but as far as funk and disco go, I feel like "Le Freak" is the only track here that's actually worthy of much notoriety. "Savoir Faire" was a personal fav, though, I am a sucker for a pretty instrumental. Fav Tracks: Le Freak, Savoir Faire, I Want Your Love Least Fav: Chic Cheer Score: 5

Prior to this, my only familiarity with Stereolab was a healthy appreciation for "Dots and Loops." I've read before about how that album became the band's most well-known largely due to how different it was from their previous work, so this was a fun listening experience. There really is such a specificity to this band and their sound. It's simultaneously pastiche-y while feeling incredibly original, and while I'm certain I've heard something like it all before, whenever these songs are on, I lose all memory of possible comps. That said, while their chanteuse-electronica is difficult to dislike, sometimes it overstays its welcome. With the inherent simplicity of these tracks, their individual elements need to be exceptionally strong to maintain interest, and while they are (for the most part), some of these tracks could have really benefited from a "Radio Mix" runtime. Fav Tracks: Cybele's Reverie, Spark Plug, Olv 26, The Noise of Carpet, Emperor Tomato Ketchup, Slow Fast Hazel Least Fav: Metronomic Underground Score: 7

As classics go, this is one where my enjoyment has definitely been enhanced by learning more about this album's influence and innovation. This is, simply put, THE blueprint. Every band that's ever been the least bit cool in any way after 1967, probably got it from the Velvet Underground. Musically, I really love how eclectic and lo-fi these songs sound. You get soothing chamber pop ("Sunday Morning"), catchy pastiches ("I'm Waiting for the Man," "Run Run Run"), dramatic slow builds ("All Tomorrow's Parties," "Heroin"), and full-blown experimental insanity ("Venus in Furs," "European Son"). Is it an album I'm always in the mood for? Not necessarily. Is it my favorite Velvet Underground album? Probably not. Am I able to conceive of a single flaw it might have? Not even a little bit. Fav Tracks: Sunday Morning, I'm Waiting for the Man, Femme Fatale, Venus In Furs, Run Run Run, All Tomorrow's Parties, Heroin, There She Goes Again, I'll Be Your Mirror Least Fav: European Son Score: 10

I struggle to articulate how thoroughly this album disagrees with my taste. I’d never call it talentless, or even unoriginal, but the lack of finesse is simply sickening to me. This is such a garish, puke-colored pastiche of jock-jam machismo and drug-addled psych-pop. I’ve always written off RHCP, and having to sit through 74 minutes of this album was the greatest possible validation my dislike could have ever had. Is it abysmal? Fineeeee, I guess not, if we’re being objective. “Breaking the Girl” and "Under the Bridge" are pretty great, but nearly every time a song started turning in a direction I liked, some stupid, spicy-white bullshit came along to ruin the fun. This is music for middle-aged, foul-mouthed beach bums living in Malibu and dodging the sex offender registry. Fav Tracks: Breaking the Girl, I Could Have Lied, Under the Bridge Least Fav: Suck My Kiss Score: 2.5

In my Neil Young renaissance earlier this year, I found that while Harvest was an album contained many of my favorite songs he's ever made (Out on the Weekend, Words, Alabama), the overall album experience didn't quite resonate with me fully. I really dislike the two orchestral tracks, "Man Needs a Maid" and "There's a World," and couldn't even really say why. Something about the mood of those songs really irks me, and just doesn't fit in well with the pastoral grubbiness I like about the rest of the album. That being said, when it's good, it's GOOD. "Out on the Weekend" is one of my favorite songs of all time; "Heart of Gold" is timeless; "Old Man" is a little overrated, but still great; "Alabama" is astounding; and "Words" closes the album on such an epic and sprawling high note. Fav Tracks: Out on the Weekend, Heart of Gold, Alabama, Words (Between the Lines of Age) Least Fav: There's a World Score: 7.5

Only knowing Soft Cell for "Tainted Love," I was thoroughly surprised to discover just how weird, risqué, and bonkers this album really is. Marc Almond really gets theatrical at times, transforming what would otherwise be forgettable synth-pop tracks into some weird little gems. It doesn't all pay off, though: songs like "Sex Dwarf" are a bridge too far. Altogether, a fairly messy, occasionally brilliant, experiment of an 80s-pop album. Fav Tracks: Tainted Love, Entertain Me, Say Hello, Wave Goodbye Least Fav: Secret Life Score: 6

Try as I might, I just can’t give a shit about this. Harmless, quintessential rock pastiches that didn’t impress or offend. Nearly every single song went in one ear and out the other, and without any pre-existing knowledge of Paul Weller—or the fact that this album was apparently a return-to-form for his career—I just found nothing here to sink my teeth into. The back-half was slightly better, but the only song here I'd say I truly enjoyed was "Moon On Your Pyjamas." Fav Tracks: Wild Wood, All the Pictures on the Wall, Country, Moon on Your Pyjamas Least Fav: The Weaver Score: 3.5

I’ve never had much interest in Britpop, and the entire craze/feuds that surrounded it in the 90s—I’ll always know Damon Albarn as the guy from Gorillaz. That being said, finally getting around to this album was honestly a real treat. This is such a clever and dynamic slice of 90s music, equal parts pop and alternative. There songs in so many different flavors, from psychedelia to Eurodance. Some of the commentary feels a little shallow by modern standards (things have certainly gotten worse than watching the tube and BBQing), but the ennui of late-stage capitalism is still wholly relatable. This will certainly be a new mainstay in my “albums for everyday life” rotation. Fav Tracks: Girls and Boys, Tracy Jacks, End of a Century, Parklife, Badhead, To the End, London Loves, Clover Over Dover, Jubilee Least Fav: Far Out Score: 7

This is one of those albums I've seen on Best Of lists and "If You Like..." recommendations for years, so I was very excited to finally try it out. Going in, I had zero expectations, so discovering that this was such a vast multiverse in and of itself was captivating. I love the way that older rock motifs and allusions are constantly incorporated throughout, and the dramatic crescendo-type tracks are simply awe-inspiring. It definitely gets a little over-indulgent at times (there's no just reason for "Cop Shoot Cop" to be 17 minutes), but this still really connected with me and will undoubtedly end up being a personal favorite that only continues to grow on me. Fav Tracks: Ladies and gentlemen we are floating in space, Come Together, I Think I'm in Love, All of My Thoughts, Electricity, Broken Heart, No God Only Religion, Cool Waves, Cop Shoot Cop Least Fav: The Individual Score: 9

In the wake of Dolly’s tragic passing this album definitely hit with a particular sweetness. Combining the powers of three multi-generational country songstresses, this does an exceptional job of seamlessly blending their artistic voices. If I’d never heard of any of them, I could easily be convinced they started as a band before going solo! While a track-list of mostly covers and traditionals does a good job of uniting the ladies under a common banner of country quintessence, it does lack energetic variety (almost every song is a sad, slow ballad). Parton definitely steals the show (her soprano stands out even in harmony), and I read an anecdote that Ronstadt and Harris were initially uncomfortable having her sing backing vocals. Like much of Dolly Parton’s discography, this is an record whose worth transcends hierarchical rankings. This is more of a benevolent talisman than some sort of bold artistic statement; a celebration of country at its purest and most melodramatic. Fav Tracks: The Pain of Loving You, Making Plans, To Know Him Is to Love Him, Wildflowers, My Dear Companion, Farther Along Least Fav: I’ve Had Enough Score: 8

The fact that THIS is the Lana album that made it onto this list is incredibly bizarre. I’ve met fans who forget this record even exists. That said, “Chemtrails…” is still a solid Lana album, but it definitely lacks some of her singular magic. I enjoy the fact that these songs flip her usual “sad-girl” formula on its head, maintaining her characteristically languid production while focusing more on the pros and cons of finally achieving contentment. In practice, though, nearly every song ends up a slow-moving ballad with limited emotional impact. I truly love Lana, but this album would not even be in the Top 5 of what I would choose to represent her discography. Fav Tracks: White Dress, Chemtrails Over the Country Club, Wild at Heart, Not All Who Wander Are Lost, Dancing Till We Die Least Fav: Breaking Up Slowly Score: 6

Talking Heads are a band I famously took a long time to warm up to, and I think part of the reason was that every time I decided to give them a try, I'd start with this album. Something about the band's early minimalism just went in one ear out the other. But! Having discovered a love for Talking Heads through the rest of their discography, this album has been reframed for me as a perfect time capsule of the band's early sound. Despite differing so heavily from producer Tony Bongiovi (who unfortunately dulls these songs quite a bit from behind the boards) they were still able to work in so many quirks and sonic risks. Byrne is perhaps the most misanthropic he's ever been on this one, literally complaining about human emotions. Fav Tracks: Uh-Oh, Love Comes to Town, New Feeling, No Compassion, Happy Day, The Book I Read, Don't Worry About the Government, First Week / Last Week.... Carefree, Psycho Killer, Pulled Up Least Fav: Tentative Decisions Score: 8

Only recognizing Mike Ladd from his feature on billy woods’ 2022 album “Aethiopes,” I had to triple-take that this was the same artist. As a die-hard fan of experimental and alternative hip-hop (though this project hasn’t really given me the chance to express that yet), I’d never listened to Ladd’s music and can honestly say I’m a little embarrassed that this website was my introduction to him. That said, this was a fantastically grim and dynamic album that thoroughly captures the best of Definitive Jux-era rap music. The wide array of Middle Eastern samples and globalist ideals feel prophetic of the attitudes that would soon run rampant in the United States following 9/11. More than anything, though, this album feels like the Dickensian version of “Deltron 3030.” The production is the clear standout, as Ladd’s monotone delivery can sometimes fade into the periphery. A very solid rap album, and one that definitely deserves to be talked about in the same breath as “Amethyst Rock Star” and “The Cold Vein.” Fav Tracks: Airwave Hysteria, Planet 10, No. 1 St., To the Moon’s Contractor, The Animist, Red Eye to Jupiter (Starship N***a), Wipe Out on the Wave of Armageddon Least Fav: Welcome to the Afterfuture Score: 8

As impossible as it is for me to choose a favorite Neil Young album, this might be my selection for his most definitive work to date. In nine songs, you get not only a conceptually rich and sonically dynamic live album, but a perfect microcosm of his career up that point. Side A is the melancholic, slightly cryptic, slightly sardonic strummer; Side B is proto-grunge, pure Crazy Horse wildness. Some of these songs are beautiful enough to bring a tear to your eye (“Thrasher”), others are silly enough to make you laugh out loud (“Welfare Mothers”), and some do both (“Powderfinger”). Fav Tracks: My My Hey Hey (Out of the Blue), Thrasher, Sail Away, Powderfinger, Welfare Mothers, Sedan Delivery, Hey Hey, My My (Into the Black) Least Fav: Pocahontas Score: 9.5

Despite hearing for years about how Led Zeppelin's sophomore album blew their first out of the water, I'd honestly never seen much of a difference. This listen, however, changed that. These songs are just as bluesy and hypnotic as their debut, but with so much more finesse and intensity. "Whole Lotta Love" is the epitome of this: an infectious dose of hard rock that dissolves into a psychedelic soundscape before regaining its shape. Plant and Page's lyrics are still fairly rudimentary when compared to later works (they mostly just talk about fucking), but the compositions are so much more mind-melting it doesn't even matter. Fav Tracks: Whole Lotta Love, What Is and What Should Never Be, Thank You, Ramble On, Bring It On Home Least Fav: Moby Dick Score: 9

After so many years, perhaps the thing which impresses me most about this album is how well-paced it is. For a double LP (and extra 45) of material, these songs are perfectly sequenced and never overstay their welcome. Every jam session is as long as it should be, every refrain arrives just when you need it, and the energy oscillates perfectly between fun, sadness, and romance. Sure, it probably helps that I knew nearly every song by heart—but that just speaks to the sheer timelessness of what Stevie accomplished here. I can clearly recall the first times I heard “Sir Duke,” “I Wish,” “Have a Talk With God,” and “Isn’t She Lovely,” and deeper songs like “Ghetto Village Land” and “Black Man” were shown to me by my dad as a means of learning how thematic music could be. Several “deep cuts” really stand out too: I love the jazz fusion on “Contusion,” the sudden breakdown in “Ordinary Pain,” the Latin outro of “Another Star,” and the improvisational fun of “Ebony Eyes.” The sheer, unrelenting love that pours through this record is unquantifiable. Easily one of the greatest albums ever made, but you knew that already. Fav Tracks: Love’s In Need of Love Today, Have a Talk With God, Contusion, Sir Duke, I Wish, Knocks Me Off My Feet, Ordinary Pain, Isn’t She Lovely, Joy Inside My Tears, Black Man, Ngiculela-Es Una Historia-I Am Singing, As, Another Star, Saturn, Ebony Eyes Least Fav: Summer Soft Score: 10

Qualitatively, this is a fine hard rock album with catchy hooks, fun energy, and solid riffs. Subjectively, it falls so damn far from the purview of what I enjoy. The faux-machismo that AC/DC represent is just so tacky to me. While nothing here actively pissed me off, I spent nearly the entire runtime wishing I was listening to something else. I’d never call it a bad album, but I won’t be surprised if I never listen to this again in my lifetime. Fav Tracks: Highway to Hell, Touch Too Much, If You Want Blood (You’ve Got It), Night Prowler Least Fav: Walk All Over You Score: 5

The way Aretha Franklin’s “I Never Loved a Man…” provided an instant blueprint for other female soul singers to follow, SZA’s “Ctrl” gave 2010s R&B a new status quo. Intimate, diaristic, and catchy—this album is trap-soul made with actual soul. While not exactly a poet, SZA’s lyrics manage to capture the realities of love in the internet age without a hint of insincerity or pandering. I just adore this album, and while I fear she may never top it, I’d love to be proven wrong. Fav Tracks: Supermodel, Doves in the Wind, Drew Barrymore, Go Gina, Garden (Say It Like Dat), Anything, Normal Girl, 20 Something Least Fav: Pretty Little Birds Score: 9

For as annoying as prog (and specifically prog fans) can get, the best albums in the genre really do accomplish something special. Fragile feels like a continuation of what the band managed on Close to the Edge, but with a more accessible sheen. Tracks like “Roundabout” and “Heart of the Sunrise” offer mindblowing trips in the 9-10 minute range, which are probably far less intimidating than the 20-minute compositions one often associates with prog. The addition of Rick Wakeman on keyboard adds an exciting new flair, and while the structure is a little self-indulgent (five solo tracks, four full-band tracks), I don’t think it does anything to taint the overall experience. Fav Tracks: Roundabout, We Have Heaven, South Side of the Sky, The Fish (Schindleria Praematurus), Heart of the Sunrise Least Fav: Five Per Cent for Nothing Score: 8

Instead of the sophomore slump, we need to invent a colloquialism for those instances when an artist finally achieves mainstream success, then makes a follow-up all about how disillusioned they've become (i.e: Pinkerton, Room on Fire, etc.) In Utero is exactly that: the sound of a band (but mostly a Kurt) at their wit's end as they careen down the road of commercial success. Kurt's songwriting is no less catchy than on Nevermind, but Steve Albini's stark production leaves ample room for ferocity and grit. Because of this, In Utero feels like an exposed nerve ending: raw, inflammatory, and beyond saving. Fav Tracks: Serve the Servants, Heart-Shaped Box, Frances Farmer Will Have Her Revenge on Seattle, Dumb, Pennyroyal Tea, All Apologies Least Fav: Milk It Score: 9

One of those rare albums that feels as though it just materialized out of the aether. No matter how many threads you pull, or how many influences you track, the sheer austerity and bleakness of this was an unprecedented shift in the attitudes of alternative music. Simply put, Joy Division innovated darkness—not invented, but they basically gave an entire generation of rock artists a palette with which to express their misanthropic urges. All that said, I do find myself always (slightly) underwhelmed whenever I decide to revisit this album. Several songs (“Insight,” “Day of the Lords”) feel too skeletal, and for a record with such a slim runtime, it can drag at times. I’m nitpicking, however. The majority of the album is phenomenal: “Disorder” is in contention for best songs ever made, and the punk energy of “Interzone” and the angst-ridden riffage on “Shadowplay” are definite high points. RIP Ian Curtis, and shoutout New Order. Fav Tracks: Disorder, New Dawn Fades, She’s Lost Control, Shadowplay, Interzone, I Remember Nothing Least Fav: Day of the Lords Score: 8

This might just be the best Aretha album, or at the very least, the best I've heard. The emotionality of these songs is just so infectious, you can literally feel the soul dripping off every syllable. While the covers on this record aren't quite as definitive as say, "Respect," they still provide a uniquely Franklin-ized flavor. As far as soul albums go, you truly can't get much better than late 60s Aretha. Fav Tracks: Chain of Fools, People Get Ready, Niki Hoeky, (You Make Me Feel Like) A Natural Woman, Good to Me As I Am to You, Come Back Baby, Ain't No Way Least Fav: Groovin' Score: 9

Despite loving the Velvets and Bowie, I’d never actually sat down and listened to this album in full. In the spectrum of 70s glam rock, “Transformer” is odd—while more sophisticated than something like “Electric Warrior” or “Hunky Dory,” it largely lacks those records’ flair and finesse. Reed strips these songs down to their sketchiest state, and while that approach works wonders for something like “Walk on the Wild Side,” at times it can feel as though you’re listening to unfinished VU demos (several songs are literally just that). I still like it, but I wouldn’t say that this holds a candle to any of Reed’s Velvet Underground records. Shoutout David Bowie (as always) and Mick Ronson, as well as “Perfect Day” and “Walk on the Wild Side.” Fav Tracks: Vicious, Perfect Day, Walk on the Wild Side, Make Up, Satellite of Love, I’m So Free, Goodnight Ladies Least Fav: New York Telephone Conversation Score: 7

I feel like an idiot. For years, I’ve put off listening to this album for no particular reason. I think at one point I’d heard it was the Smiths’ worst work, and for whatever reason, it remained the only Smiths album I never spun. What a fool I’ve been! While it might just be recency bias talking, I think this is my second favorite Smiths record. For a band whose small discography is defined by an equally small sonic palette, hearing keyboards and saxophones is really quite refreshing. Lyrically, Mozz isn’t necessarily at his best (“Girlfriend in a Coma”), but his random growls and unusually cheeky demeanor more than make up for it. I do think that if the band had managed to continue, the 80s pop stuff on this album would have devolved into vapidity. As is, though? This album is a new favorite simply because it’s the least Smithsy album the Smiths ever put out. Fav Tracks: A Rush and a Push and the Land is Ours, Death of a Disco Dancer, Girlfriend in a Coma, Stop Me If You Think You've Heard This One Before, Death at One’s Elbow, I Won’t Share You Least Fav: Paint a Vulgar Picture Score: 7.5

Having fully immersed myself into the world of Cocteau Twins fandom, their most iconic album would no longer be my pick for their best. That said, it’s still perfect. “Heaven or Las Vegas” is the lushest and most bokeh-esque the trio has ever sounded, with every note adding another comet to the cosmic whorl. It’s a stunning combination of pop appeal and alternative ambition, miraculously turning these dense, inscrutable soundscapes into 3-minute pop tracks. For an album with no official lyrics-sheet, it sure is catchy. While the back-half does lose me a little bit (again, splitting hairs here), I cannot fathom of a world without the luster this album provides. Fav Tracks: Cherry-Coloured Funk, Iceblink Luck, Fifty-Fifty Clown, Heaven or Las Vegas, I Wear Your Ring, Fotzepolitic, Frou-Frou Foxes In Midsummer Fires Least Fav: Road, River and Rail Score: 9.5

This being my first time hearing this album, I listened to it and enjoyed what I thought was some charming 90s jangle pop. When I realized that this came out in 1983 — a year before The Smiths, a full decade before slacker-rock — my appreciation grew tenfold. Apparently fans lovably call this album “Mumble” due to the fact that nothing Michael Stipe says makes any sense (or is even intelligible), but I think that obfuscation applies to the entire record. It’s hazy in a such a timeless, psychedelic way. The sonics and instrumentation encompass the breadth of post-punk, alt rock, and hardcore, while the actual song structures embrace the heartfelt immediacy of pop. It’s rare for an album deemed revolutionary in its era to feel genuinely quirky 40 years on, and yet Murmur totally does. I thoroughly enjoyed this, and can’t wait to re-listen as soon as I finish writing this blurb. Fav Tracks: Radio Free Europe, Pilgrimage, Laughing, Moral Kiosk, Catapult, Sitting Still, Shaking Through, We Walk Least Fav: West of the Fields Score: 9

While I think that the music press of the 60s and 70s definitely oversold John Lennon’s messianic importance over the years, this first solo effort is truly exceptional. It’s not that these songs are more naked and emotional than anything John did with The Beatles, but rather that they feel so much more honest. For an artist who suffered almost chronically from a performative kind of imposter syndrome, his songwriting here is candid and bare. He’s not trying to be Bob Dylan, he’s not trying to upstage Paul, he’s not contemplating suicide whilst on acid—he just really, really misses his mom. He can still get a little insufferable (“Working Class Hero”), but there’s no denying that this is one of the strongest bodies of work the world’s most infamous songwriter ever released. Fav Tracks: Mother, Hold On, I Found Out, Isolation, Remember, Love, God Least Fav: Working Class Hero Score: 8.5