Just John, that’s it, that’s the reviewer’s name™’s Reviews
Stats
# of Reviews:
27
Average Review:
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Best-Reviewed Albums:
The Score - Fugees,
Weezer [The Blue Album] - Weezer
Worst-Reviewed Album:
Music for the Masses - Depeche Mode,
A Wizard / A True Star - Todd Rundgren
Best-Reviewed Decades:
2000’s, 1990’s, 1950’s
Worst-Reviewed Decades:
1970’s, 1980’s, 1960’s
Best-Reviewed Genres:
Boom Bap, Emo, Geek Rock, Hip Hop Soul, Neo-Soul, Pop Punk, Power Pop, Reggae
Worst-Reviewed Genres:
Blue-Eyed Soul, Darkwave, Electro-Industrial, Electronic, Experimental Rock, Glam Rock, Neoclassical Darkwave, Space Age Pop, Zolo
Best-Reviewed Scenes:
New Wave of British Heavy Metal,
East Coast Hip Hop,
Greenwich Village Scene
Worst-Reviewed Scenes:
Mod,
Madchester
Best-Reviewed Tags:
crime, heavy, androgynous vocals, apocalyptic, history, infernal, lethargic, minimalistic, sparse, triumphant
Worst-Reviewed Tags:
avant-garde, chaotic, futuristic, manic, mechanical, suite
tHE sCORE - fUGEES
Listen Party: 4/8/25
Released: 1996
Genres: Conscious Hip Hop, Boom Bap, Neo-Soul, Reggae, Hip Hop Soul
Scene: East Coast Hip Hop
Tags: female vocalist, male vocalist, political, crime, conscious, introspective, boastful, urban, nocturnal, sampling, lush, rhythmic, melodic, passionate, drugs, lethargic
Just John, That’s it, that’s the reviewer’s name™
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The Score by The Fugees feels like a movie from the very start. The spoken intro, the Godfather-esque album cover — it’s cinematic in both presentation and mood.
This is one of those albums where I know the big singles very well, but I wasn’t sure I’d heard many of the deeper cuts. Maybe I’ve listened all the way through once or twice before, but if I did, none of the non-singles stuck with me before.
How Many Mics was… okay. It had references to Tracy Chapman and constipation — not sure that combo has ever appeared in popular music before or since.
Ready or Not is still such a great song. It hits with so much emotion — it’s a perfect example of why this album became a classic.
Zealots stood out for me with its doo-wop and reggae influences — that genre-blending is exactly what makes The Fugees so interesting. They move in and out of hip hop, weaving in sounds and styles that challenge what you think this album is.
The sketch in the Chinese restaurant felt pretty weird, and honestly didn’t age particularly well. The exaggerated kung fu movie overdubs just don’t hold up like the music does.
Killing Me Softly is the mega-hit for a reason. It’s a stripped-back reimagining of the Roberta Flack classic, but The Fugees bring it to a new place. No disrespect to Roberta Flack — but Lauryn Hill owns this now.
Wyclef’s cover of No Woman No Cry was surprising - I could’ve sworn this was on one of his solo albums — I don’t really hear Pras or Lauryn Hill on it at all. Still a strong song, just felt a little separate from the rest of the record.
Throughout the album, the political themes were even more prevalent than I expected — race relations, police violence, systemic oppression — it’s all there. It’s much more pointed and political than the big radio singles let on.
And I have to mention Lauryn Hill’s New Jersey accent — it cuts through everything and I like it a lot.
Fittingly, the album closes the way it opens — with spoken credits. It really is structured like a film.
Listening to The Score now brings a bit “What could’ve been” feelings. We got a good solo album from Wyclef and a great solo album from Lauryn Hill, but the group never really got another chance to make music like this together.
Listen Party: 3/21/25
Released: 1994
Genres: Power Pop, Alternative Rock, Geek Rock, Pop Punk, Emo
Tags: melodic, energetic, male vocalist, bittersweet, summer, playful, anthemic, introspective, lonely, passionate, alienation, longing, anxious, breakup, quirky, melancholic, love, heavy, uplifting, sentimental
Just John, That’s it, that’s the reviewer’s name™
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This is the first album in this project where I truly knew every song very well going in. Still, sitting down to listen closely from start to finish gave me a fresh appreciation for how balanced it is and it’s no wonder it helped launch Weezer to super stardom.
“My Name Is Jonas” opens with a subtle fingerpicking before crashing into the crunchy distorted guitars—a great way to launch an album. They’ll follow this quiet - loud - quiet - loud format throughout the album which gives it a lot of texture. I can tell Rivers Cuomo hadn’t yet entered his “I must write the perfect pop rock song” phase—things are still a little rougher and messier, and Weezer is better for it.
“No One Else” feels a bit problematic, but I’m choosing to believe it’s written from the perspective of a possessive boyfriend and isn’t endorsing the behavior. I find Weezer at their best when Rivers stretches up into the higher register, letting some strain and emotion creep in. And across the whole album, the vocal harmonies are a standout - but particularly on “Holiday”.
“Surf Wax America” is corny, but still a fun singalong. It leans into Beach Boys-era kitsch. And I really like the earnestness with which they sing the falsetto breakdown—especially for a song about taking your surfboard to get to work. I can also understand how others might find the whole thing ridiculous though.
It’s impossible to hear “Buddy Holly” without picturing the Happy Days-style music video—Rivers and the band in their matching sweaters, swaying side to side with smoothed out hair. And right after that comes “The Sweater Song,”. I’ve heard this song hundreds (thousands?) of times, but listening closely now, it strikes me how unconventional it is for a hit. It doesn’t follow any pop rock formula, and that makes it even more interesting.
“Say It Ain’t So” is the true standout—a song about addiction and abuse that still stirs an emotional reaction 30 years later.
The Blue Album is just a little rough around the edges in all the right ways—before the polish came in, before the formulas, just Weezer being melodic, loud, a little weird sometimes, and at the top of their game. Now when are we doing Pinkerton?
Red Headed Stranger - Willie Nelson
Listen Party: 4/4/25
Released: 1975
Genres: Outlaw Country, Singer-Songwriter, Contemporary Folk, Western, Old-Time
Tags: concept album, calm, mellow, melancholic, male vocalist, crime, acoustic, lonely, death, pastoral, bittersweet, soft, sombre, sad, passionate, love, minimalistic, introspective, sparse, melodic
Just John, That’s it, that’s the reviewer’s name™
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Red Headed Stranger is exactly the kind of album I was hoping to find in this project. Willie Nelson is someone I’ve always respected as a songwriter, even if I haven’t spent too much time with his catalog. So I came into this one with high hopes.
Time of the Preacher opens the album like an old cowboy song—whining harmonica, hop-along guitar strumming, tambourine that sounds like spurs climbing up on a horse. It’s even more Western than I expected, which says something considering it’s Willie Nelson. The album keeps circling back to this Preacher motif, and I’m sure there’s a larger narrative at play if I spent more time digging into the story.
Willie is a born storyteller, spinning up the myths of the West—real or imagined. I didn’t love the title track, but I appreciated the use of waltz time, which pops up again and again throughout the record.
The instrumental Down Yonder picked up the energy and I enjoyed the old time piano-eey. And I found myself wishing the song about my hometown of Denver got more than 53 seconds of attention. Still, nothing on the album felt out of place.
The highlight for me was Hands on the Wheel—a slow waltz with an emotional pull that stuck with me. I know this song from somewhere, though I can’t say where, but the chorus hooked me. That one went straight into my favorites playlist on Tidal.
I do wish more of the album reached the same heights as Hands on the Wheel. Some of the other tracks blurred together a bit too easily. Still, this was a fun listen, and I’m hoping there’s at least one more Willie Nelson album on the list. If not, I’ll go looking on my own.
The Number of the Beast - Iron Maiden
Listen Party: 3/27/25
Released: 1982
Genres: Heavy Metal
Scene: New Wave of British Heavy Metal
Tags: energetic, male vocalist, anthemic, melodic, heavy, passionate, epic, history, war, violence, death, rebellious, technical, rhythmic, triumphant, infernal, nocturnal, dark, apocalyptic, uplifting
Just John, That’s it, that’s the reviewer’s name™
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I’m not a fan of metal. But even with my general ignorance—or apathy—toward the genre, Iron Maiden has always stood out to me. Something about their image has always felt more fun, more over-the-top, fully embracing the big goofy monsters on their album covers and tshirts. There’s a sense of spectacle here that a lot of their contemporaries seemed to lack - in a genre filled with spectacle.
The album kicks off with Invaders, which, if not for the sheer number of guitars, almost sounds like an Aquabats song—fast, frantic, and theatrical. Children of the Damned slows things down and leans into something a bit more serious, but it still feels like a B-horror movie from the ’80s.
Bruce Dickinson’s vocals are undeniably impressive, soaring over everything, but even he gets a little lost in the mix of infinity guitars. The musicianship is top-tier and exactly what I would expect from this era of metal—big riffs, intricate solos, and harmonized guitars.
Lyrically, there’s a lot going on here: epic battles, sex work, literal face melting, Satan (naturally), and the exploitation of Indigenous Americans. It’s a wide range of themes. The Vincent Price-esque voiceovers scattered throughout only add to the album’s cinematic qualities, mirroring the horror action slasher movies popular at the same time.
At only eight tracks and 40 minutes, the album is surprisingly quick listen—but I see that as a positive. It never overstays its welcome. I had fun listening, but I can only have so much fun before it starts to feel too one-note or exhausting. Considering Iron Maiden has released like 40 more albums, I know there’s plenty more to explore if I ever want to, but The Number of the Beast gives me enough without dragging things out.
Gangland brings in a swinging, galloping rhythm that keeps the energy up all the way through to the finish. Hallowed Be Thy Name is a great closer—the tolling bells letting us know time is almost up. This one stood out the most to me, but honestly, this album might be the most even I’ve reviewed so far. No real duds, no real mind-blowing standouts—just consistently solid, high-energy fun.
The only other metal band I’ve really spent much time with is Blind Guardian, and their influence from Iron Maiden is obvious. The medieval imagery, the harmonized guitars, the cinematic voiceovers…
If Iron Maiden is having fun with this, not taking themselves too seriously, and their fans are in on it, then I’m having fun too. If this is actually super serious and I completely missed the point… then I sincerely apologize to any Iron Maiden fans I may have offended.
Listen Party: 3/24/25
Released: 1965
Genres: Pop Rock, Folk Rock, Psychedelic Pop, Folk Pop, British Rhythm & Blues
Tags: melodic, love, male vocalist, bittersweet, romantic, autumn, mellow, melancholic, eclectic, sentimental, introspective, longing, happy, warm, spring
Just John, That’s it, that’s the reviewer’s name™
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Overall, I like The Beatles. I was expecting this album to be an easy 4.5 or maybe even a 5.
The stereo mixing on Drive My Car is the first thing that sticks out—right away, this album feels bigger and layered. The harmonies are getting more complex, the instruments they’re using are more unique, and George’s solo has a raw quality that gives it a very retro vibe.
Some tracks feel like a natural evolution (Norwegian Wood already sounds like it belongs on a later Beatles album), while others hold onto their earlier pop sound (You Won’t See Me is straightforward and simple). I imagine there were a lot of conversations about whether to stick to the formula or push beyond it, and this album captures that tension.
The middle section is hit-or-miss. Think for Yourself was a high point, while The Word grated on me with its droning harmonies. Michelle and What Goes On didn’t do much for me either—this stretch of the album feels like a bit of a valley after such a strong start. It starts to recover with Girl, though the chorus (“oh girl [sucks in through teeth] girl”) feels odd. Looking Through You is where it fully finds its footing again.
The final stretch is the strongest. In My Life is one of my all-time favorite Beatles songs, and If I Needed Someone is a high note. Overall, I like where the band is heading here, but the album has its weaker moments—especially in the middle.
Listen Party: 3/17/25
Released: 1988
Genres: Singer-Songwriter, Folk Rock, Folk Pop, Acoustic Rock, Heartland Rock
Tags: conscious, female vocalist, political, love, melancholic, sentimental, melodic, acoustic, passionate, androgynous vocals, protest, bittersweet, philosophical
Just John, That’s it, that’s the reviewer’s name™
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Tracy Chapman opens with “Talkin’ ‘Bout a Revolution,” a song I first knew from a Reel Big Fish cover—which, it turns out, doesn’t even come close to the original. Right away, Chapman’s voice cuts through everything and is totally unmistakable. The gospel-sounding organ in the background adds a nice touch that sets the tone for the rest of the album.
“Fast Car” is the song I’ve heard more than any other in this project so far, and it still hits hard—even after it was brought back into the spotlight by Luke Combs’ cover a few years ago. After those first two tracks, there’s a bit of a fall off, but there’s still plenty to appreciate. The haunting delivery on “Behind the Wall” is one of the most powerful moments here, tackling domestic violence and police inaction with just her voice. Some songs, like “Baby Can I Hold You,” feel a little dated now, which holds the album back from being perfect in my opinion.
There’s a bit of reggae in “She’s Got Her Ticket,” and the lyric “Love is hate, war is peace, no is yes” sounds straight out of a dystopian novel. Chapman might open the album talking about a revolution coming, but most of what she’s singing about is still fairly relevant nearly 40 years after the fact.
Listen Party: 3/19/25
Released: 2004
Genres: Post-Punk Revival, Pop Rock, New Wave, Synthpop, Big Music
Tags: male vocalist, melodic, energetic, bittersweet, anthemic, anxious, romantic, romantic, rhythmic, passionate, introspective, sexual, melancholic, urban, love, longing
Just John, That’s it, that’s the reviewer’s name™
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Hot Fuss is one of the first albums in this project where I already knew most of the songs. That said, I tried not to let nostalgia or familiarity get in the way or influence the rating too much. I’ve heard these tracks in stores, commercials, and everywhere else for the past two decades, but sitting down to actually listen from front to back gave me an appreciation for just how many hits come from this one record - it’s kind of wild that they didn’t come from two or three separate records like they did in my memory.
“Mr. Brightside” is still good, even if it’s been played to death, “Smile Like You Mean It” feels like a bit of a dip in the momentum after such a strong start. “Somebody Told Me” was the first single or the first song from The Killers I ever heard, but it hasn’t aged quite as well—especially against some of the other mega hits from this album. “All These Things That I’ve Done” holds up way better, and I always loved the gospel build up.
The Euro-pop intro of “On Top” feels like a leftover from late-‘90s, but it quickly finds its footing in The Killersverse. “Everything Will Be Alright” was a standout for me this time around, and honestly would’ve made a better album closer.
The Killers are a weird band to place—Mormons from Vegas who somehow became a UK obsession—but Hot Fuss still mostly holds its own.
First Band on the Moon - The Cardigans
Listen Party: 4/16/25
Released: 1996
Genres: Indie Pop, Pop Rock, Indie Rock, Twee Pop, Neo-Acoustic, Lounge, Art Pop, Cocktail Nation
Tags: female vocalist, playful, bittersweet, longing, melodic, sentimental, sarcastic, love, sensual, introspective, sexual, eclectic, dark, energetic, quirky
Just John, That’s it, that’s the reviewer’s name™
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Your New Cuckoo opens the album with a disco/rock fusion sound that feels retro-futuristic. Given the Swedish pedigree and the shadow of ABBA, this blend of slick grooves and pop rock isn’t a surprise—but it’s fun. It sets the tone for the album.
Been It feels like a sunny, radio-ready pop hit. Nina Persson’s light, airy, and sometimes coy vocals, usually not my go-to style, are surprisingly effective when paired with the grungy rock backdrop the Cardigans provide.
Then another theremin! That now makes at least three on this list.
Hearing Lovefool in the full context of the album is interesting. No surprise here - it’s still my favorite track. The disco beat, the sparse synth hooks, the longing in the vocals. I have vivid memories of the ultra-saturated Kodachrome music video, the dreamy fake sailing backdrop, and its placement in the Romeo + Juliet soundtrack with Leonardo DiCaprio. I’ll also take this chance to promote the New Found Glory feat. Adam Lazzara cover of the song, which I enjoy.
The surprise highlight for me might be their cover of Iron Man by Black Sabbath. It’s a bold and unexpected choice. On paper it doesn’t fit the Cardigans’ aesthetic at all, but they flip it completely. The result is soft, jazzy, whimsical, version capped off with some surprising scatting. I would love to know how that cover came about; who pitched it and how it got through the process.
Unfortunately, My Favourite Game isn’t on this album. I still queued it up afterwards and it’s my favorite track of theirs. But we’re not here to review that.
A few of the transitions on the album, especially from Great Divide into Choke, are pretty jarring. It felt like an intentional left-turn, but I’m not sure what the intent was.
Overall, I came in with pretty high hopes. The Cardigans’ hits I knew already gave me a lot of excitement to go deeper, and while First Band on the Moon is an easy, enjoyable listen, it didn’t blow me away like I hoped. Still, the highs like Lovefool, Iron Man, and the overall blend of disco-pop with rock made it a fun listen.
At Mister Kelly’s - Sarah Vaughan
Listen Party: 4/14/25
Released: 1957
Genres: Vocal Jazz, Standards
Tags: female vocalist, melodic, urban, longing, humorous, mellow, ballad, sensual, improvisation, nocturnal
Just John, That’s it, that’s the reviewer’s name™
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Another live record? I didn’t realize how many there might be. Then again, jazz might be the genre most suited for a live album to make the cut.
I like that the album opens with a little behind-the-scenes moment—someone announcing to the audience that they’re recording. It gives the whole thing a feeling of intimacy - a peek behind the curtain.
I’d never heard of Sarah Vaughan before this, but her voice is remarkable. She has incredible control, range, and texture. I also really like the mix on this album—Vaughan is front and center, but the drums, bass and piano still come through clearly, giving the performance a well rounded feel.
At the end of Willow Weep for Me, you can hear a mic fall, followed by the audience laughing. Then there’s a miscue between Vaughan and the band, which she handles with humor and grace, closing the song with a smile you can actually hear in her voice. It’s a great moment that captures the spontaneity of live jazz.
I was also surprised to hear the word lollapalooza in Thou Swell—I thought that was just a nonsense name made up for the festival. Show’s what I know.
There’s more vocal improvisation later, especially on How High the Moon, where she doesn’t seem to know all the lyrics. It was charming the first time, but by the second time, I found myself wishing she’d just learned the words. Probably a good idea to nail those down before pressing record on a live album, but maybe that’s just what the jazz is all about.
This is a really easy record to listen to - a great one to have on while eating a lazy Sunday breakfast or winding down at the end of a day. I’d also highly recommend this as an accessible Jazz record for people that don’t want to dive into instrumental jazz just yet - it still has some pop sensibilities with plenty of improvisation.
MTV Unplugged in New York - Nirvana
Listen Party: 4/3/25
Released: 1994
Genres: Acoustic Rock, Alternative Rock, Grunge, Folk Rock
Tags: acoustic, male vocalist, melodic, melancholic, passionate, introspective, sombre, lonely, pessimistic, alienation, depressive, raw, bittersweet, anxious, lethargic, longing, mellow, death, apathetic, nocturnal
Just John, That’s it, that’s the reviewer’s name™
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MTV Unplugged in New York was a surprise - I wasn’t expecting a live album on this list. I guess it’s probably one of the most (the most?) iconic live records of the ’90s. It’s also my first time listening to Nirvana after reading Rebel Girl by Kathleen Hanna. In the book, she shares many stories of the blossoming music scene in the Puget Sound, including many stories about Kurt and Nirvana, so I’m appreciating it with a bit more context of where they came from this time around.
Anyone who grew up in the ’90s is probably pretty familiar with Nirvana, so there’s that sense of nostalgia throughout. Some of the tracks, like About a Girl, are great and feel like a perfect fit for the unplugged format. Others, like Come As You Are, don’t quite hit the same mark for me - probably because this version has been played to death. I did enjoy the unexpected Jesus Doesn’t Want Me for a Sunbeam cover, with its accordion and totally different feel.
I didn’t realize how many of these songs I didn’t recognize, though. It was a little surprising, especially since I thought I had this album at some point either through college intranet music “sharing”. Lake of Fire and Plateau definitely brought me back to some nostalgia I was harboring from somewhere, with Kurt’s voice pulling in that raw, rural twang that you don’t hear on many other Nirvana songs.
All Apologies was probably the standout for me. It translates so well to the unplugged setting.
Overall, it’s an enjoyable nostalgic listen with some surprises, but I was never a huge Nirvana fan to begin with so that’s holding them back here a bit. I’ve been, and will likely continue to be, a passive consumer of Nirvana music.
Listen Party: 3/14/25
Released: 1974
Genres: Singer-Songwriter, Folk Pop, Jazz Pop, Soft Rock, Progressive Pop
Tags: female vocalist, poetic, lush, introspective, melodic, soft, love, mellow, bittersweet, longing, romantic, passionate, acoustic, warm
Just John, That’s it, that’s the reviewer’s name™
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“Court and Spark” is more polished and confident than I expected. I didn't recognize a single song off this album, and I guess I didn't know that much about Joni Mitchell. Here, she sounds at ease singing about love and heartbreak, which is a departure from the activism or social commentary I was expecting. There are many grooving interludes to the songs, with some moments feeling like they were pulled straight out of a classic rock song, which were no doubt popular and surrounding Joni while this album was being written.
By track four, the signature bright, shimmering guitar sounds I associate as unmistakable Joni Mitchell appear for the first time, but quickly retreat again for the rest of the album, making way for more surprises. The electric piano in ‘Car on a Hill’ sounds like it could be ripped from the score of a gritty 1970's police procedural, and ‘Down to You’ leaves nothing on the cutting room floor as it wanders through an elaborate film score soundscape with a mix of instruments that leaves no instrument from the middle school band room untouched.
Is it wrong to compare Joni Mitchell to Taylor Swift? Songs about vague ex-lovers, and savage lines like,
"dreaming of the pleasure I'm going to have watching your hairline recede"
certainly make the comparison easier. The jazzy closer ‘Twisted’ is the exclamation point on the album, showing off yet another trick and musical style I didn't know Joni had.
Getz/Gilberto - João Gilberto, Stan Getz
Listen Party: 3/31/25
Released: 1964
Genres: Bossa Nova, Samba-Jazz, Cool Jazz, Samba-Canção
Tags: mellow, tropical, warm, soft, summer, romantic, peaceful, calm, soothing, male vocalist, acoustic, love, female vocalist, lush, bittersweet, longing, sentimental, sensual, happy, uplifting
Just John, That’s it, that’s the reviewer’s name™
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Just when I think I won’t recognize anything on an album, I’m proven wrong. The Girl from Ipanema opened Getz/Gilberto, and of course, I knew it. I’m not sure I’d heard it in Portuguese before, but it instantly oozed that signature Brazilian cool.
The entire album was incredibly relaxing—so much so that I ended up using it as background music while studying, something I’ve never done with these albums in this project before. The calm, breezy bossa nova rhythms and non-English lyrics made it a perfect fit.
While the album was a bit one-note, it was an enjoyable note, and its smooth, laid-back atmosphere made for a refreshing change of pace from my usual listening.
Dire Straits - Dire Straits
Listen Party: 3/26/25
Released: 1978
Genres: Roots Rock, Blues Rock
Tags: rhythmic, male vocalist, mellow, warm, calm, playful, atmospheric, poetic, bittersweet, urban, soft, technical, melodic, introspective, lush
Just John, That’s it, that’s the reviewer’s name™
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The album opens with Down to the Waterline, and from the first few notes, it’s clear that Knopfler’s fluid picking is front and center. His playing is the defining feature of this band—elevating the guitar almost to the role of a second vocalist.
It can lean toward the self-indulgent at times, and it’s a great example of why pure musicianship doesn’t always translate into the best, most balanced songs.
Water of Love leans more into a ’70s classic rock and country-western sound, not that distinct early-’80s Dire Straits style I mostly associate with the band. Setting Me Up continues this twangy, country style. The rhythmic, bluesy picking drives the song forward, making it sound like something that I’d be blasting while running from ol’ Johnny Law in a getaway car across the backroads of Arizona in the 1970s.
Then comes Sultans of Swing, which immediately shifts back to their signature sound. I think KBCO requires this song to be played at least three times per day and takes me back to driving across the dam road late at night.
Most of the rest of the album keeps up the energy, full of bluesy licks and extended solos. In the Gallery even throws in a reggae-inspired rhythm, a nice contrast that keeps things from feeling too one-note. Wild West End is a more tender, stripped-down track, a love letter to a London neighborhood that feels worlds apart from the album’s otherwise American-leaning sound. Speaking of which, I was surprised to realize they’re actually from the UK—I always assumed they were an American band.
Vocally, Knopfler is the band’s weak point. He’s not a particularly strong or unique singer, and I get the sense that he’s a music nerd who just ended up in charge. Given how much space the guitar takes up, I wouldn’t be surprised if the band dynamic eventually led to some tension. He’s undeniably a virtuoso, but I can’t help but wonder if his bandmates ever got tired of waiting for him to wrap up a solo.
I understand why this album wouldn’t be for everyone—if extended licks and intricate fingerpicking aren’t your thing, it can start to feel a bit tedious. For me, it’s an enjoyable listen, but only if I’m in the right mood.
Listen Party: 3/18/25
Released: 1990
Genres: Alternative Rock, Indie Rock, Surf Rock, Post-Punk
Tags: energetic, male vocalist, anxious, noisy, melodic, quirky, science fiction, warm, rhythmic, abstract, summer, love, female vocalist, psychedelic
Just John, That’s it, that’s the reviewer’s name™
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Bossa Nova is my first time listening to a full Pixies album, even though I’ve heard their name for years through the bands they’ve influenced. I didn’t expect it to open with a surf rock instrumental, but it sets the tone that this is an album that isn’t following conventions. “Rock Music” lives up to its title, but the shouting just isn’t really for me—and repeating “your mouth is a mile away” over and over with just the occasional left turn further establishes that this is not a pop rock album.
The next few songs get a bit more tuneful, but they still don’t play by any traditional song structure rules. This isn’t a verse-chorus-verse-chorus kind of band. The lyrics are surreal—“how does lemur skin reflect the sea” is one that stuck with me—and the whole album feels like a bridge between Bowie and ‘90s alternative. You can hear the blueprint for a lot of later music here, especially for bands that kept some of the rage and edge, but packaged it into something more radio-friendly.
“Dig for Fire” was a clear standout and wouldn’t feel out of place on a Modest Mouse record. “Havelina” closes things out on a surprisingly calm, mellow note—far from the chaos the album started with.
Listen Party: 3/13/25
Released: 1963
Genres: Contemporary Folk, Singer-Songwriter, Acoustic Blues, Talking Blues
Scenes: Greenwich Village Scene
Tags: poetic, acoustic, protest, political, male vocalist, conscious, mellow, introspective, autumn, passionate, bittersweet, humorous, philosophical, warm, melodic, melancholic, playful, war, breakup, love, romantic, sarcastic
Just John, That’s it, that’s the reviewer’s name™
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“The Freewheelin’ Bob Dylan” starts off with ‘Blowin’ in the Wind,’ a song everyone knows, and it really sets the tone for the rest of the album - this is Bob fuckin’ Dylan, in case you were expecting something else. ‘Masters of War’ is one of the more powerful tracks, with a driving chord progression that just keeps pushing forward like an old engine. It barely shifts, dipping for a brief retreat before driving straight back into the steady anger.
The whole album feels rough around the edges and I guess that’s the point. Dylan’s guitar sounds a little out of tune sometimes, but it fits the vibe. “A Hard Rain’s A-Gonna Fall” stood out for its slow build and big chorus, but the highlight is, not surprisingly, “Don’t Think Twice, It’s All Right”—one of the only songs I knew going in, and still the one that hit hardest.
So - Peter Gabriel
Listen Party: 4/17/25
Released: 1986
Genres: Art Pop, Pop Rock, New Wave, Ambient Pop, Sophisti-Pop
Tags: male vocalist, passionate, melodic, warm, lush, introspective, eclectic, bittersweet, poetic, sentimental, melancholic, rhythmic, atmospheric, nocturnal, soothing, conscious, longing, progressive, rain, ethereal, urban
Just John, That’s it, that’s the reviewer’s name™
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“Red Rain” opens the album with a rich, textured, layered, big 80s style soundscape. The rest of the album follows much of the same formula.
“Sledgehammer” was a surprise. It starts with a calming Native American pan flute, then the funky horns come in with a hook I recognize. I know this horn hook much more than the rest of the song, but there is familiarity here. I’m not sure where I know it from. Maybe a movie? Sampled in another song? The song overall is very funky. I’m surprised that horn hook never comes back in a more prominent way since it feels so iconic.
At first I thought this sounded a lot like Phil Collins. Then I learned Peter Gabriel was the original frontman of Genesis. That explains the similarities. Clearly I don’t know much about Genesis or Peter Gabriel.
“Big Time” feels extremely 80s and very MTV. Like “Sledgehammer,” I know bits of it but not the whole song.
“In Your Eyes” is the track I know best. I really enjoy the verse and the pre-chorus, but the chorus has always felt like a bit of a letdown by comparison.
There were moments I enjoyed in this album, and nothing really felt like a challenge to listen to. But there were also some moments of boredom. At least now I know what image to conjure when I hear the name “Peter Gabriel”.
A Date with the Everly Brothers - The Everly Brothers
Listen Party: 4/9/25
Released: 1960
Genres: Close Harmony, Teen Pop, Pop, Rock & Roll, Brill Building
Tags: male vocalist, love, melodic, vocal group, romantic, playful, bittersweet
Just John, That’s it, that’s the reviewer’s name™
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Listening to The Everly Brothers feels like dropping into the soundtrack of Leave It to Beaver. The harmonies are clean, the melodies are strong, and everything feels a little too wholesome with that dark 1950s edge lurking in the shadows. I have to remind myself that the expectations for songs in the late ’50s and early ’60s were very different — both in sound and subject matter.
That said, Made to Love definitely feels uncomfortable in 2025. It feels out of place in a way that’s hard to separate from modern sensibilities.
I expected wall-to-wall sweet, bubblegum pop love songs — and for the most part, that’s what the album delivers. But then they surprised me with Baby What You Want Me to Do, a blues number with some genuinely impressive piano and guitar solos. It was nice to hear them break out of the mold, even briefly.
The rest of the album moves through what feel like clichés of early rock and roll and doo-wop — though I’m guessing that’s kind of the point. Maybe the Everly Brothers created a lot of these tropes before they became clichés.
Lyrically, it’s love song after love song — love beginning, love ending, love lost, love found. Not a ton of variety there, but that was the formula.
The only song I knew going in was the closer, Cathy’s Clown.
This album felt very much of its time — sometimes in a nostalgic way, and sometimes in a cringey way,
Goodbye and Hello - Tim Buckley
Listen Party: 4/2/25
Released: 1967
Genres: Singer-Songwriter, Folk Rock, Psychedelic Folk, Chamber Folk, Baroque Pop
Scene: Greenwich Village Scene
Tags: psychedelic, poetic, melancholic, male vocalist, melodic, passionate, cryptic, warm, romantic, spring, mellow, love, bittersweet, mysterious, autumn, political, rhythmic
Just John, That’s it, that’s the reviewer’s name™
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This album is a product of 1967, and listening to it immediately after The Who Sell Out (from the same year) makes for an interesting comparison. It makes me wonder how different this whole project would feel if I went through these albums chronologically, tracing the evolution of influences—though with 1,000 albums ahead, I don’t think I can do this two times.
Pleasant Street stood out early on, reminding me of While My Guitar Gently Weeps, which wouldn’t be released until the following year. As expected from this era, the album is full of world instruments and psychedelic sounds, shifting between calm, manic, and meditative.
Once I Was was another high point, a heartbreaking ballad wrapped in a bittersweet melody - probably my favorite track on the album.
Some tracks, like Knight-Errant, leaned too heavily into medieval imagery for my taste, with talk of kings, queens, and castles feeling a bit much. I also found Buckley’s frequent use of his falsetto register a little grating at times.
(Pronounced 'Leh-'Nérd 'Skin-'Nérd) - Lynyrd Skynyrd
Listen Party: 3/28/25
Released: 1973
Genres: Southern Rock, Blues Rock, Hard Rock
Tags: male vocalist, energetic, sentimental, warm, bittersweet, passionate, melodic, pastoral, love, uplifting, rhythmic, playful
Just John, That’s it, that’s the reviewer’s name™
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Yeah, this sounds like Lynyrd Skynyrd alright. It’s the soundtrack to every Budweiser or Dodge Ram commercial from the early 2000s. This is southern-fried rock, brother!
I had no idea the opening song from Happy Gilmore (Tuesday’s Gone) was a Lynyrd Skynyrd track. I was ready to dismiss this album entirely, and then that familiar guitar opening hit, and suddenly, I was transported back in time. They earned at least half a star just for that moment alone. The rest of the song was prettier than I expected—whining, bending guitars, strings swelling in the background, giving the whole thing a somber yet oddly hopeful tone.
After that, the album starts to dip for me. Gimme Three Steps sounds like a generic ‘70s classic rock song, with a chorus effect on the vocals I don’t particularly love and a drum mix that feels oddly muted.
I have to say, I didn’t expect a social justice song from Lynyrd Skynyrd. Things Goin’ On is a critique of war spending, misplaced priorities in government/not taking care of the people, and what even sounds like a bit of environmental concern? The message is unexpected, but musically, this one just didn’t work for me—it’s too jangly and funky in a way that didn’t land.
Mississippi Kid was probably the most interesting track on the album. It leans heavily into Delta blues, with bluesy progressions and slide guitar. If the production were a little rougher, it would feel right at home on a record 40-50 years older.
And, of course, the album closes with Free Bird—the one song I knew I knew before listening. I don’t think I’ve ever sat down and given it a dedicated listen, but I’ve heard it countless times in the background of bars, movies, and ironic concert requests. The guitar solos are, of course, impressive, but if I’m being honest, I found myself a little bored. Much like the album as a whole, it’s well-executed, but it doesn’t particularly move me.
Overall, this one was a miss for me, aside from a few moments of nostalgia and some interesting blues elements. Maybe I’m just not enough of a Free Bird kind of guy.
Listen Party: 3/20/25
Released: 1989
Genres: Baggy, Jangle Pop, Indie Rock, Neo-Psychedelia, Britpop, C86, Paisley Underground
Scenes: Madchester
Tags: psychedelic, melodic, uplifting, energetic, male vocalist, playful, lush, summer, rhythmic, optimistic, love, ethereal, hypnotic, dense, anthemic, warm, atmospheric, boastful, bittersweet, drugs, romantic, poetic, sensual
Just John, That’s it, that’s the reviewer’s name™
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“I Wanna Be Adored” kicks things off with a slow build that lasts almost two minutes, and when the bass kicks in, it really drives the whole track forward. That dreamy, twangy guitar sound shows up across most of the album. A lot of this album feels like it could be playing in the background of a moody, gritty early ‘90s British indie film.
“She Bangs the Drums” was a major standout—probably the best new song I’ve come across in this whole project so far.
On the whole, I found myself wishing the vocals were a bit more clear. They tend to get lost in the mix, and I’m not sure if that’s just a mixing choice or if the vocals themselves just aren’t that strong. Either way, it made a lot of the songs feel a bit same same after a while, and I found myself unintentionally tuning out.
At times the album has a bit of a psychedelic Beatles LSD-era feel to it - and I wrote that down BEFORE I got to the part where they start reversing tracks. And just when you expect a sitar to show up…it does, on the penultimate track. On the contrary, songs like “I Am the Resurrection” feel more like a jam band session, and while that might be the appeal for some people, it didn’t fully land for me. “Made of Stone” and “This Is the One” pulled me back in with more energy and stronger hooks, but too much of the rest just sort of faded into the background.
And then there’s “Fools Gold”—a strange final track that sounds like a completely different band altogether, with a beat that reminded me of a Fresh Prince era Will Smith song. And I wrote this whole review during the almost 10 minutes it was taking that song to wrap up. I’m not sure how it fits with the rest of the album. Honestly, this would’ve worked better for me as a four-song EP. Look, there’s some great stuff here, but it’s surrounded by a lot filler that’s not for me.
It Takes a Nation of Millions to Hold Us Back - Public Enemy
Listen Party: 4/18/25
Released: 1986
Genres: Political Hip Hop, Hardcore Hip Hop, Conscious Hip Hop, Turntablism, Experimental Hip Hop
Scene: East Coast Hip Hop
Tags: political, angry, protest, sampling, raw, male vocalist, urban, conscious, dense, energetic, rebellious, noisy, rhythmic, violence, playful, boastful, passionate, anxious, aggressive, progressive, anthemic, hypnotic
Just John, That’s it, that’s the reviewer’s name™
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Yeeeeeahhhhh boyeeeeeee!
I didn’t know much about Public Enemy, save for Chuck D does most of the rapping and Flavor Flav is the hype man. Given Flavor Flav’s later career endeavors like Flavor of Love, I was surprised to learn that Public Enemy was such a political, serious band when I first dug into them maybe 8 or 10 years ago. I haven’t really returned to them since and I don’t think I know any songs on this album.
Pretty much the entire album is chaotic and energetic. I like Chuck D.’s flow, but I can mostly take or leave what Flavor Flav adds to the mix, particularly on his solo track.
I want to like Public Enemy, but I just couldn’t find my groove here. The beats just completely turned me off the entire album. The formula seemed almost the same for the entire album - a 4 to 8 second loop of a drum beat and some shrill sound that repeated itself over and over and over. And over. Which is a shame, because I really do like Chuck D’s style. I also like how they added live elements to the album without it being a live album. It makes you feel like you’re part of it.
But overall, this was a miss for my musical tastes.
Crime of the Century - Supertramp
Listen Party: 4/15/25
Released: 1974
Genres: Progressive Rock, Art Rock, Progressive Pop, Pop Rock, Progressive Pop
Tags: melodic, male vocalist, progressive, lush, existential, alienation, bittersweet, introspective, sarcastic, quirky, anxious, complex, playful, lonely, nocturnal, epic, melancholic, passionate, autumn, eclectic, rebellious
Just John, That’s it, that’s the reviewer’s name™
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What’s that? Another prog rock group from the UK that was popular in the 1970s? Color me surprised!
At first listen, Crime of the Century feels a bit like a rock opera. The songs are grand in scale and a bit theatrical. They can stretch out a bit, but not in a way that is pushing my patience.
The album opens on dramatically in School with a whining harmonica and an eerie sound. It’s cinematic and moody.
Bloody Well Right tones things down a bit and settles into a groove that feels more a little more bluesy.
Hide in Your Shell brings the energy down even further, leaning into quieter moods before building again with layered vocals and a theremin. (That’s at least the second theremin on this list—maybe Brian Wilson wasn’t such a genius after all.)
Asylum takes things in a more emotional direction, with an anthemic, balladesque vibe.
I didn’t know any tracks on this album. I was curious if I knew ANY Supertramp songs at all, so I went to their top tracks and found songs like Breakfast in America and The Logical Song which I AM familiar with, but can’t say I’m a huge fan of.
These guys seem to be good at their thing. It’s just not my thing. And that’s okay.
Animals - Pink Floyd
Listen Party: 4/7/25
Released: 1977
Genres: Progressive Rock, Art Rock, Psychedelic Rock, Hard Rock
Tags: political, philosophical, concept, album, pessimistic, sarcastic, progressive, satirical, male vocalist, angry, alienation, atmospheric, complex, passionate, misanthropic, protest, rebellious, conscious, urban, epic, existential, dark, psychedelic, anxious, bittersweet, dense
Just John, That’s it, that’s the reviewer’s name™
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Animals by Pink Floyd is a concept album that really leans hard into the concept. And with five tracks and clocking in at 41 minutes—right away, you know this is going to be something different. Yet two of the tracks are less than two minutes long!
The decision to make some of these songs so long is an interesting one, especially when they often feel like different unrelated songs strung together—sometimes a bit more loosely than you’d expect, kind of like a wedding DJ stringing I Wanna Dance with Somebody and Happy together at Brendan and Kayleigh’s elegant farmhouse wedding.
At around five minutes into Dogs (the second track), it settles into a nice groove that would’ve fit perfectly as the theme for a gritty police procedural from the late ’70s or early ’80s (yes I’m using that metaphor again). The electric piano gives it that extra texture. However, from there, we get long synth interludes with barking dogs—something that’s not really my style.
Around 14:10, some beautiful harmonizing guitars play a sweet melody over strings. This sounds like the outro to a solid song, but in my opinion, it doesn’t quite fit with the rest of Dogs—and it’s not even the final payoff, as there’s another “song” after it.
Pigs (Three Different Ones) starts with a cool intro, and it has some fun beats. The guitars come in unexpectedly on offbeats (or halfbeats?), giving it a fun singalong and air guitar feel I could get down to. This song feels more cohesive than Dogs, probably because it’s a bit shorter. But don’t let that distract you from the pig oinks and snorts that echo throughout. After all, the album is called Animals.
Sheep carries a similar vibe to Pigs, with more coherence and some enjoyable moments. And, of course, there are bleating sheep, keeping with the theme.
Finally, Pigs on the Wing 2 wraps up the album in much the same way it started—with a quick, melancholy acoustic number, closing things out on a quiet note.
I honestly expected to hate this album, given its length, the fact that it’s Pink Floyd, and the way it stretches out over five tracks. But there were genuine moments of enjoyment. I don’t think I’ll return to this one, but in those moments, I could really appreciate the musicianship and find melodies and instrumentation that I thought were pretty good.
The Who Sell Out - The Who
Listen Party: 4/1/25
Released: 1967
Genres: Freakbeat, Pop Rock, Psychedelic Rock, Psychedelic Pop, Jingles, Satire
Movements: Mod
Tags: concept album, satirical, humorous, playful, jingle, male vocalist, psychedelic, quirky, melodic, energetic, surreal, eclectic, sarcastic, progressive, conscious
Just John, That’s it, that’s the reviewer’s name™
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The album opens with an intriguing contrast—a big band sound mixed with a futuristic vocoder voice that immediately grabs my attention. Armenia City in the Sky is psychedelic, and given that it was released the same year as Lucy in the Sky with Diamonds/Sergeant Pepper’s Lonely Hearts Club Band, it seems The Who were also immersed in the experimentation of the era.
The album’s concept, I suppose, is its use of fake radio jingles, like the absurd Heinz Baked Beans, which certainly makes the album memorable, but not necessarily in a way I like. I’m sure there is some smart commentary here about consumerism in post war Britain, but it’s mostly lost on me 60 years later.
Tracks like Odorono sneak pop radio sensibilities into the mix, while others, like Medac, Silas Stingy, and Mary Anne with the Shaky Hand, felt more like quirky little story-songs that didn’t really work for me.
The highlight for most, I suppose, is I Can See for Miles, the album’s best-known track, though my connection to it is more from recognizing the hook than truly knowing the song. The softer Sunrise stood out as a welcome change of pace, sounding almost like a lost Simon & Garfunkel tune.
It’s hard not to compare this to Sgt. Pepper’s Lonely Hearts Club Band—both albums are psychedelic, concept-driven collections put out by English mega stars in 1967. While I can appreciate them taking a big swing and making something interesting, I can’t say I’ll ever pick this album up again.
Ladies and gentlemen we are floating in space - Spiritualized
Listen Party: 3/25/25
Released: 1997
Genres: Space Rock Revival, Art Rock, Neo-Psychedelia, Dream Pop, Symphonic Rock, Shoegaze, Noise Pop, Blues Rock
Tags: drugs, lonely, melancholic, psychedelic, space, dense, romantic, atmospheric, male vocalist, eclectic, breakup, introspective, bittersweet, Wall of Sound, lush, love, sad, existential, hypnotic, longing, sentimental, alienation, epic, spiritual, melodic, ethereal, warm, depressive, soothing, poetic, progressive, mellow, surreal, noisy, cold
Just John, That’s it, that’s the reviewer’s name™
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I’d never heard of Spiritualized before, but the opening track immediately set an epic, cinematic, and relaxing tone. It’s sad, beautiful, and haunting, and the unexpected “I can’t help falling in love with you” refrain at the end was a surprise. If the rest of the album stuck to this formula, I could see myself coming back to it.
But then Come Together kicks in, and it sounds like a completely different band. High energy, wailing harmonica, horns, and a relentless, droning—was that even the same singer? Either way, I found myself preferring the slower, more ambient material. Looking at the track lengths, I could already tell this album might not be for me.
The middle section mostly blurred together for me, moving between frantic, chaotic energy and slower, sprawling songs. Home of the Brave was the standout here, most closely matching the feel of the title track. I could see using the softer songs as background music for work or study, but the frequent shifts into high-energy noise kept pulling me out of that headspace.
Then there’s Cop Shoot Cop, a 17-minute closer that embodies the whole album—oscillating between soothing ambience and total chaos. And I’m sorry, but unless it’s The Decline by NOFX, I’m not giving a 17-minute song repeat listens. Overall, this album was a miss for me. There were bright spots, but the overall style just isn’t my thing.
Music for the Masses - Depeche Mode
Listen Party: 4/11/25
Released: 1987
Genres: Synthpop, Darkwave, Electro-Industrial, Neoclassical Darkwave
Tags: male vocalist, atmospheric, cold, passionate, dark, melodic, rhythmic, sensual, romantic, nocturnal, sombre, melancholic, sexual, bittersweet, mechanical, longing, lush
Just John, That’s it, that’s the reviewer’s name™
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Never Let Me Down Again is the only track here I was familiar with going in, though not well enough to sing along. From the beginning, we’re hit with a wall of synths and immediately, and I feel like I’ve been dropped into a movie trying very hard to make sure I know it’s set in the late 1980s.
The album as a whole leans into heavy, melancholy darkness — layered synths, dramatic vocals, and not a lot of surprises from what I know Depeche Mode to be.
I Want You Now was a weird, uncomfortable standout. The whispered vocals/sexual grunting sound effects made me instinctively close the window so my neighbors wouldn’t hear. That said, it did stick out as the most distinct track on an album that otherwise stayed pretty much in its lane.
Pimpf is not my kind of closer. It feels like it belongs in a suspenseful film score, not wrapping up an album.
Depeche Mode still doesn’t do much for me. I get that they have a huge following and I respect what they’re going for, but their synth-driven gloom just isn’t my thing.
A Wizard, A True Star - Todd Rundgren
Listen Party: 4/10/25
Released: 1973
Genres: Art Pop, Experimental Rock, Progressive Pop, Art Rock, Psychedelic Pop, Glam Rock, Blue-Eyed Soul, Psychedelic Rock, Electronic, Zolo, Progressive Rock, Space Age Pop
Tags: manic, eclectic, psychedelic, surreal, playful, dense, male vocalist, futuristic, progressive, love, quirky, satirical, melodic, chaotic, complex, suite, avant-garde, anxious, lush, ethereal, Wall of Sound, uplifting, optimistic, introspective, energetic, warm, technical, happy
Just John, That’s it, that’s the reviewer’s name™
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International Feel opens A Wizard, a True Star with lots of falsetto, video game-esque sound effects, and this wavy filter that runs through the entire mix that frankly, kind of gave me a headache. And there’s more!
The songs bleed into one another, creating a continuous stream of musical experimentation — most of which didn’t really land with me. The styles range wildly — from psychedelic to sentimental to downright cartoonish — but everything is wrapped in that same swirling production that bounces between your ears.
The closing track, Just One Victory, was easily the highlight for me. It’s the most straightforward song on the album.
Overall, though, this album was a disappointment. I admire the experimentation, but it rarely connected with me. It felt like a challenging listen.