I want to be a music writer one day, but I realize that it's not exactly an easy job. Bands and fans take shots at music critics all the time by accusing them of lazy journalism or for giving a poor review. Sure, there's definitely lazy critics out there who won't even listen to the whole album before quickly writing up a review that they think they are somehow qualified or prepared to write, but there are definitely great, well-respected music critics out there, too. All good critics spend time dissecting albums and researching the band's history and their influences before composing an intelligent, honest critique that leaves the reader feeling like they gave the album a fair chance and that they appreciated the album for what it is and how much work went into it.

However, even though well-respected music critics have listened to tons of albums in their time as writers, they still represent just one person's opinion and fans are free to disagree with them. We music fans will live and die by our favorite albums, regardless of what the critics say. There will always be albums that we love unconditionally no matter what and we feel sorry for that music writer who was never able to see the greatness that we saw. I know I've definitely felt this way numerous times. Here are 10 albums that I absolutely love, but music critics didn't necessarily feel the same way.

1. Cast - "Mother Nature Calls" (1997)

What the critics said: Stephen Thomas Erlewine of AllMusic said, "If Cast's debut album, 'All Change,' was trad-rock at its most joyous, their second album, 'Mother Nature Calls,' is considerably more problematic. When the tunes and attitude are there, such weaknesses are easy to overlook, but since Cast comes up deficient on both counts, 'Mother Nature Calls' is simply a dull listen."

Why they're wrong: "She Sun Shines" is a great punchy rock and roll tune with great guitar riffs and lead singer John Power's signature Liverpudlian voice is fantastic on the track. "I'm So Lonely" shows Power hitting the high notes with such emotion and feeling and the strings just make the song seem even bigger and more heartfelt. The opening drumming of "Mirror Me" is reminiscent of Reni's intro on The Stone Roses' legendary "I Am The Resurrection" and "Guiding Star" is just feel-good Britpop at its finest. The album's finale, "Dance Of The Stars," is up there with "Looking Glass" by The La's as the perfect blueprint for a long, otherworldy-sounding masterpiece to close an album.

Listen for yourself: Cast - "Dance Of The Stars"

2. Peace - "Happy People" (2015)

What the critics said:Phil Mongredien of The Guardian said, "Throughout, there's a weary feel of vanilla indie designed by committee, with barely an original idea between its 10 tracks of chirpy inconsequence." Christopher Monk of Music OMH said, "The lameness of the words would be forgivable if they were paired with music that provided any kind of pleasant distraction. But across 'Happy People's' 10 tracks, the band prove themselves incapable of writing a single decent hook."

Why they're wrong: If anyone finds themselves not wanting to dance to "Lost On Me," I'm not sure I'd want to be around them. The funky track has great vocals, especially the high notes of the backing vocals, and guitars that make you want to move. The track "Money" has got guitars that were made for a big musical festival crowd and some funny, witty lyrics that aren't the least bit boring like "money / do you need it / do you eat it when you're hungry / does it taste good?" Also, the lyrics on "I'm A Girl" are openly androgynous (which is refreshing come from a young rock band) with lines like "do you feel like a man / cause you got blood on your hands / if we're living in a man's world / I'm a girl." Lastly, the bassline from Sam Koisser on the closing track "World Pleasure" is just to die for.

Listen for yourself: Peace - "I'm A Girl"

3. Catfish and the Bottlemen - "The Balcony" (2014)

What the critics said:Ben Homewood of NME said, "[Lead singer, Van] McCann howls like a hungover Luke Pritchard [lead singer of The Kooks] over riffs and choruses stuck firmly in 2005. His [McCann's] candor is drowned in a Courteeners-lite barrage. Catfish aren't concerned with subtlety; misguided or not, their unstoppable desire and conviction get in the way. McCann and his band sound ham-fisted and about nine years too late."

Why they're wrong: I must admit that I nearly bought into all the Catfish hating that was circulating from the British music press in 2014, but once I gave them a proper chance, especially after hearing them live, I was hooked. "Kathleen" is undoubtedly the band's best-known track and for good reason. Its simplicity and grittiness are just contagious and McCann's voice definitely shines on this track, a voice that makes Courteeners' lead singer Liam Fray's voice look silly, which it is. "Cocoon" has a chorus that can save the world with lines like "f*** it if they talk / f*** it if they try and get to us / cause I'd rather go blind than let you down." The track "Fallout" may be the only song with a line about being a "test tube baby," the track, "Hourglass" may be the only heartfelt, emotional song with an f-bomb, and the track "Pacifier" has got the perfect infectious guitar sound and tempo to bounce to at a gig.

Listen for yourself: Catfish and the Bottlemen - "Pacifier"

4. Ride - "Carnival of Light" (1994)

What the critics said:Andy Kellman of AllMusic said, "The lazy-daisy, pastoral record fared poorly. Perhaps [lead guitarist, co-lead singer-songwriter Andy] Bell's ego was too big to recognize the lyrical shortcomings of 'Crown of Creation,' the poor Al Greenism of 'Endless Road,' and the outright flimsiness of 'I Don't Know Where It Comes From,' which features a kiddie choir."

Why they're wrong: "I Don't Know Where It Comes From" is one of the band's catchiest tracks and though it's vastly different from the trademark shoegaze sound of its first two albums, it's still a great tune. I'll admit it is a bit to weird to be able to clearly make out all the guitars rather than hearing the vibrating wall of sound from before, but different doesn't always mean worse, it's just different. "Natural Grace" and "1000 Miles" are two ballads beautifully sung by Mark Gardener and they show a side of Ride that's never been seen before. Come to think of it, though this album isn't as good as their first two albums, it's still great and it was definitely ballsy move by the band. "Birdman" still finds its way onto their live set list due to the biblical guitars and the style that Bell sings in, which is quite unique compared to the rest of the band's material.

Listen for yourself: Ride - "I Don't Know Where It Comes From"

5. Stereophonics - "Performance and Cocktails" (1999)

What the critics said: Barry Walters of Rolling Stone said, "Seems it was only yesterday when every Brit band sounded like Oasis. Then they all turned to Radiohead. Now there's Stereophonics, who sound like Oasis trying to be Radiohead. Stereophonics are as useful as a fake-plastic wonderwall." Brent DiCrescenzo of Pitchfork said, "The album continues with an overwhelming assault of whines and chords that neither stick nor particularly rock."

Why they're wrong: "Pick A Part That's New" is one of those feel-good tracks that always makes things seem better. Stereophonics are able to master this uplifting, happy rock music with songs like "Hurry Up And Wait" and "I Wouldn't Believe Your Radio" and kick-a**, driving rock and roll with songs like "The Bartender And The Thief" and "Roll Up And Shine." To me, it's really important for bands to master both extremes and Stereophonics succeed at both. Throughout the album, lead singer, Kelly Jones' iconic, raspy, whisky vocals are the star of the show and it's admirable considering that it would seem like after recording a couple takes of some of these songs, especially ones like "Roll Up And Shine", one would need to rest their voice for a few days.

Listen for yourself: Stereophonics - "Pick A Part That's New"

6. The Strypes - "Little Victories" (2015)

What the critics said:Ben Homewood of NME said, "Such relentless energy means much of the record comes off as careless rather than carefree. The slapdash rhythms of 'Cruel Brunette’ and the grating guitars and clunky lyrics of ‘Best Man’ are the worst offenders. The Strypes' maturing isn’t surprising or disappointing, but the loss of the identity that made their ascent so startling is. That it seems to have been swallowed up by an unoriginal and dated indie sound is all the more galling."

Why they're wrong: Why do many music critics always have to view change as a negative thing? Do they really expect a band to stick to the same sound for their entire career? Of course, it sounds different than the first album where they were much more dependent upon their influences, but this album shows them starting to break away from the mold they initially created for themselves. "Eighty-Four" and "Scumbag City" demonstrate just how tight of a band they all are, especially how advanced lead guitarist Josh McClorey's skills are, and not just for his age, for anybody. Ross Farrelly's voice shines on tracks like "Queen Of The Half Crown" and "I Need To Be Your Only" and again, I don't mean he's good for a 17-year-old -- I mean he's got a good voice for anybody. Also, I appreciated the fact that there weren't any covers on this album now that they're a bit more experienced with songwriting. I think it was unfair and ridiculous that they got bashed doing a few covers their first album, which they did when they were all about 15 or 16. Overall, really strong songwriting on this record from a crazy talented band.

Listen for yourself: The Strypes - "Eighty-Four"

7. Jake Bugg - "On My One" (2016)

What the critics said: Ken Capobianco of The Boston Globe said, "22-year-old singer-songwriter Jake Bugg’s schizophrenic third record finds him restlessly crossing genres and busily buffing up the production, in the process losing sight of what made him special. Co-producer Jacknife Lee overcooks tracks, alternately adding too much sugar and bluster. Throughout, it seems Bugg’s ambition has clouded his creative judgment."

Why they're wrong: Again, along similar lines as The Strypes, just because Bugg tried a few new things doesn't mean he's lost his way. He's experimenting and that's what great artists do. Sometimes risks pay off and sometimes they don't. In this case, they all absolutely do. Bugg tries his hand at rapping in two tracks, sort of on "Gimme The Love" and fully on "Ain't No Rhyme." People might think I'm crazy, but personally, I think "Ain't No Rhyme" is one of my favorite tracks on the record. We've never seen Bugg go political before and top it off with Beastie Boys-style rapping -- sign me up! Bugg also experiments with a bit of Style Council blue-eyed soul on "Never Wanna Dance" and straight-up country on "Livin' Up Country." He manages not just to pull off, but thrive with folk, soul, country, blues, rap, and rock songs all on one album. Not only that, but he also managed to ditch his co-songwriters. Bravo, Jake. Bravo.

Listen for yourself: Jake Bugg - "Love, Hope And Misery"

8. Oasis - Be Here Now (1997)

What the critics said:John Harris of The Guardian said, "Did Noel Gallagher really listen to a playback of the impossibly overwrought, soupy, completely meaningless 'Magic Pie' and sign it off? Did no-one listen to the absurdly Bon Jovi-esque intro to 'Fade In-Out' and advise even a slight re-think? As the last five minutes of 'All Around The World' found trumpets colliding with strings, the guitar overdubs piling into infinity and the whole conceit threatening to collapse in on itself, why didn't anybody pause for thought? Most bafflingly of all, isn't 'All my people / right here right now / d'you know what I mean / yeah yeah' among the most woeful choruses ever put to tape?"

Why they're wrong: Obviously, if there are two classic Oasis albums, this isn't one of them. However, to say that it was a flop or just a decent album would be wrong. Was it self-indulgent and cocaine-filled? Of course, it was, but it's still one of Oasis' best albums. Was it overshadowed by some of their b-sides that came with the singles? Yes, but it's still a great album. Frankly, I don't know how anybody can say a bad word about "All Around The World." It's a tune for the ages. Liam Gallagher's voice is still at his peak and the orchestra only amplifies their classic sound. Plus the chanting at the end ensures that the orchestra didn't class up their sound too much. Also, "I Hope, I Think, I Know" and "Be Here Now" are among my favorite songs that Oasis ever did. Lyrically, the album isn't very stellar, but the album did have some surprises. For me, when I heard "Stand By Me," I was surprised at how tender Liam Gallagher could really sound. I still think I could've done a better job picking the tracklisting, but all in all, it's a great album and it didn't deserve all the s*** it got when it came out. After all, how on earth are you supposed to follow "Definitely Maybe" and "(What's The Story) Morning Glory?"

Listen for yourself: Oasis - "All Around The World"