Spock_Samson

Unfortunately, this album is generic and skippable, beyond a measly two strong-ish singles.

This isn't a good album. Too many duds, too few bangers. I've done the work for you by selecting the three songs worth hearing.

Another impressive record blending the perfect mix of rock and pop from the boys from Hamilton, Ontario. These might not be the smartest songs ever written, but they're undeniably fun and catchy.

A pop rock album replete with bangers. While I hold a special place in my heart for their earlier records, if I'm being objective, this might be their best effort.

Their sophomore album is a bit more poppy and "shallow," but it's just as good in different ways; there are more songs here about love and less about socialism and workers' plights. In fact, I would say their first two releases compliment each other because of the breadth of topics explored.

The Arkells debut album is a brilliant first release. Musical variety, thoughtful lyrics, interesting stories, blue collar vibes, vulnerability, and no weak tracks... you and even see the seeds of topics they'd later fully embrace on subsequent records.

The first Sam Roberts album as a *Band* features a very modern new sound, but keeps the solid songwriting and doubles down on catchy choruses.

One of my comfort albums, enjoyed by my ears and heart and mind countless times. In a world with so many great Sam Roberts records, this one likely shines the brightest, but with healthy competition from throughout the band's discography.

Brilliant lyrics paired with a unique voice and singing style that might not be for everybody, but I sure love it. Strong, evocative songwriting throughout, with incredible stand-out tracks.

The more albums they released, the better they got. This third record, their first self-titled, continued the band's trend towards a more original sound while proudly displaying the influence of their musical forebears. Unfortunately, this was the end for the band... or is it?

There are plenty of gems on the Redwalls' sophomore album, and you can hear the progress they've made finding their own identity after leaving their lives as a Beatles cover band behind. It's a stronger overall album with stronger individual songs, but they still wear their influences on their sleeves, and are better off for it.

If you listened to this album knowing nothing about it, you'd think it came out of England in 1967. But, no. In reality, teenagers in Chicago released this in the early 21st century. While there aren't many singles present, when considered as an album, it really works and portends even greater music to come.

This album is an indie rock classic millennials should remember and everyone should give a chance. It's 33 minutes of perfection, featuring compelling lyrics and stories, beautiful strings, unexpected backing harmonies, and catchy hooks, all by a flash-in-the-pan band that fizzled out before their time.

I love Nikki's smokey voice and rebel attitude. This is a solid country-tinged rock album with a handful of strong singles.

I'll say it out loud: Grace Potter is a better singer and songwriter than Janis Joplin. This album is proof. Grace rips this album apart with her vocals, wailing over funky tracks, soothing us alongside acoustic guitar, and shocking and delighting us with her wild lyrics and vivid storytelling.

A fantastic album from two Swedish sisters that are the natural successors to Simon & Garfunkel. The lyrics are wonderful, the voices are beautiful, the harmonies are gorgeous, and the feels are in abundance. If you don't know these ladies, fire up the album and let it roll from the very first track.

Emily has a beautiful, sweet voice, so it's unfortunate that the majority of the songs on this record are forgettable. Still, the three tracks listed below are absolutely worth hearing.

Asking somebody to choose three favorites from this album is a ridiculous proposition. Two-thirds of this album are classic tracks, and even the few weaker songs on the second half are leaps and bounds better than the offerings from Bruce's contemporaries. And don't forget to celebrate America's cheeks.

This album somehow came out before Meat Loaf's Bat out of Hell, but the bombast feels like it was inspired by Jim Steinman. Or maybe Bruce inspired Jim? Either way, six of the eight songs range from "good" to "epic" to "legendary," so nobody can complain. I'll just never understand how She's the One isn't a Beaver Brown Band song.

Their breakout album contains two of their absolute best songs, but without them, the record wouldn't get half as much praise. They have other better albums, but very few of their singles can hold a candle to the title track and Black River Killer.

This record feels like a concept album that was never fully realized. If you're already a fan of the band, it undeniably has some good songs on it, but nothing here really moves the needle.

This release didn't blow me away upon arrival, but it's steadily grown on me over time. It isn't flashy, with nary a single to be found, but it's the band's most consistent (and gentle) album, bordering on Americana with a sprinkling of Springsteen.

A bit less sonically experimental than the VII record that would follow it, American Goldwing shines exactly because of that more traditional approach, with the required catchy singles, appreciated heartfelt deep cuts, and a variety of styles that provide something for every curious listener.

Capitalizing on the commercial and critical success of Brothers, this follow-up record doubled-down on modernizing their sound and gave us the next evolution of The Black Keys. El Camino eschewed even more of the earlier bluesy qualities in favor of a rock 'n' roll that was absolutely accessible to the masses and ready for the radio, while still preserving high quality lyrics and interesting instrumentation. It's shorter, yeah, but it's more potent, with the catchiest of their hooks to date.

The Ohio players scored their first smash-hit record with Brothers. It gave the band a mass appeal it previously lacked, with strong singles getting major radio play, and with good reason. This album was the next logical progression for the duo. The bluesy aspects were still there, but long-gone were the days of just two dudes with one guitar and a drum set. The production was fleshed out, the songs still have heart, and the album just *rocks*.

Solid, serious country songs mostly about heartbreak sung by a very pretty voice. It has more "better" songs than her latest "fun" release, but lacks any singles that'll knock your socks off.

Some very country good songs among some others that are just okay but, tragically, forgettable. Still, Chloe has great singles and I'm excited to see her perform live this weekend!

The companion and follow-up to The '59 Sound. Which album is technically better? That's debatable. In my eyes, they're both perfect, and if I'm listening to one I usually throw on the other as well.

This album seems themed around loss (death, divorce, regrets) but something about hearing it from someone *else* is so affirming. These are the songs of my youth, but they still sound just as fresh and mean just as much.

Blitzen Trapper has a number of great albums, but the variety present on this seventh release makes me come back to it more frequently than some others. The unique-- dare I say, sometimes *wacky*-- instrumentation paired with the consistently high-quality lyrics of Eric Early can make your head bop along for one track while your eyes are leaking from another.

Their best overall album because of the consistency. Can some of these tracks stand toe-to-toe against their massively successful singles from the '90s? Not exactly... but all that material from back then can be distilled into a best-of collection. This album can actually stand on its own.

Solid album. Good lyrics with some wild instrumentation. The record on the whole is very fresh and interesting, but while there are certainly no bad songs here, there are also few stand-out singles.

If you hate Whip It, give this a try and be pleasantly surprised. This is Devo's most cohesive, most accessible, and best album, but nobody's ever listened to it because it came out well after their '80s heyday. It's weird, smart, and catchy, all while being made by old men who really only ever had one smash hit that was never even that great.

After they spent roughly a decade annually releasing hot garbage, I had given up on Weezer. But then, when all hope had long been lost, they miraculously released this fantastic album in 2016 with some of the best lyrics they've ever written. Keep the faith!

This album has aged into their best, even though I remember being indifferent when it was released. Those harmonies are to die for.

A dreamy, nostalgic soundscape with great lyrics sung in English and written and performed by Belgians.

It doesn't quite achieve the heights of Death of a Bachelor, but it's still a rock-solid pop-rock album.

The accordion playing on this album is probably what made me become such a fan of the South African band Kongos (whose song Come With Me Now was famously used to advertise the video game Borderlands!).

El Camino and Brothers are better and more successful albums, but Turn Blue is an excellent evolutionary next-step and Texans clearly agree.

It's their Sgt. Pepper, with the only weak track being Uncle Jonny because it just feels out of place compared to every other song.

Ever since No One Knows graced the airwaves in the early 2000s, I tried to "get into" QotSA, but it never really worked... until this album finally got something to click inside of me.

Mama's still got it.

It's a hip-hop concept album that takes place at a gas station convenience store.

An elegant record from a less litigious age.