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

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, Broken Heart, No God Only Religion, Cop Shoot Cop Least Fav: The Individual Score: 9

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

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

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

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

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