Powerful, haunting work of art from an artistic genius in his last 18 months of life. Just astounding that this is how he spent his time while dying from cancer. It’s not a perfect record, but he is still pushing the boundaries, still experimenting, still living, while grappling with life and death and keeping his terminal diagnosis private. It’s remarkable. Farewell, Bowie.
Their sound is pretty fabulous - the right amount of jazz and pop and rock blended into irresistible confections. I added a couple songs to my playlist, though pretty much the hits I already knew. I enjoyed the whimsical forays into a jazz age tune (“St. Louis Toodle-Oo”) and a hard-boiled western number (“With a Gun.”) in just over 30 minutes they were able to display a lot of range and talent in a tight package. 4/4.5
I can’t help being seduced by something so swinging ‘60s French. Do I love the music or his singing? Non. But do I want to wear a pillbox hat, a minidress and shiny knee boots while whisking through the cobblestone streets of Le Marais on a Vespa? Oui!
The music is spectacular. I absolutely love when they rock out hard, which they do a lot, like on Zero. A minus is Billy Corgan’s voice with its distinct whine. I imagine the lyrics are pretty good—if this challenge has proven me anything, it’s that I really can’t decipher a lyric without having them in front of me, which I don’t do, which I’m sure diminishes a good 1/3 of the intended experience for me (well, depending on the artist.)
Still, Smashing Pumpkins just brings an incredible ‘90s collage of sound. It’s ace. Took two days to get through the double album, but I’m going to give that a pass.
Quite unobjectionable “chamber pop” and singer-songwriter stylings, timelessly singing of loneliness and heartache. His old country type song works too. I could see him having his fans; it’s not unique enough for me.
It’s mad simple. But it’s Fats Domino, and it’s perfect, and it embodies it all. It’s the simple pleasure of the candy dream of the 1950s, of sock hops and drive-ins, of makeout sessions, of the illicit thrill of the first rock n roll. It’s simple and it’s not. It’s simple like an earthquake. Like history. Like racism and segregation and all the isms that would so soon be rebelled against. Simple like any human life. It contains worlds and, if you just close your eyes, pure pleasure. The shared pleasure of a beguiling voice, a beat that makes you want to dance, and universal words about the universal obsession: love.
There is either a key that they sing in or play in or something but it’s the key that does to me what sirens do to dogs. My face starts twitching, my eyes start blinking, and I can feel it: my mind is closing to the fucking Beach Boys. Sorry Mr. Genius Brian Wilson. It does not work for me.
Some songs are ok on this album. The Boys nod to their times with songs about environmental and social issues, though with the most surface analysis possible. A couple songs sounded fine to me and I did hear some of the experimentation that they are known for.
But is it a good listening experience? Do I even remember it well a few hours later? Obviously, not really. It’s a pass.
Oh my fucking god. The Sgt. Peppers of rap does not disappoint. This is just entirely off the chain for 1989. The samples are insane, incredibly wide-reaching across decades and genres and go deep in the crates. The rhymes are ridiculous, the usual hyperkinetic wordplay from the boys, throwing in all manner of stupidity and ridiculousness and offhand brilliance. The beats go so hard. It’s over an hour that is like the giant ice cream sundae you always wanted as a kid - the one with like eight scoops and two bananas and a bunch of whipped cream and you and your friends could just eat it forever, just bliss on bliss on bliss.
It’s a top ten album.
You ever have that friend who thinks they’re really talented, and you have to sit through their sparsely-populated solo show, while they earnestly croon cringe lyrics they wrote while playing various instruments badly, attempt different styles and consider themselves a genius, and wrap the whole thing up with elements of opera and drama that fall so terribly flat, yet they are beaming with accomplishment at the end, so sure their triumph, and what are you to say?!
That was the experience of listening to this album. I guess two stars for effort.
I only knew the singles from my teen years and settled in for the warm nostalgia of that first three-track run. And my adult ears noticed the exceptional musicianship, especially, of course, Knopfler’s guitar work. I was unprepared for an even better and deeper journey to come beyond the hits. A great record, high 4.
Oh, Ladies Love, you sexy-lipped, sexy-talking, bare-chested sex god of my youth. I loved “Radio” so much when it came out.
This album, the comeback? Uneven. The title track is fire. The funk samples cool. The sexy tracks are sexing. The gangsta stances are laughable. The rhymes are simple. The length is bloated.
I appreciate you, LL. You know. For certain things.
I loved it. I’m a sucker for art pop. Man, the gritty realness, the darkness, the heroin addiction, the kinky sex, the underground vibe. Such a contrast to the conservativeness of mainstream culture and the spiritual and utopian visions of the hippies. Lou Reed is hypnotic. Nico is weak here as is some of the band but none of that matters - what matters is surrendering to this enthralling crawl through the dark streets and alleys and dungeons with the night people.
Hi, I’m *name redacted* and I reluctantly fuck with the Biskit. This was a fun, stupid ride through that odd weird millenial moment of the rap/rock/funk hybrid, of which I guess Limp Bizkit was the most successful. These guys are painfully dorky - the lyrics are so try-hard it’s embarrassing - but the record did induce some head-banging and kitchen dancing at points, and it kept my attention for the full 65 minutes. Points for keeping their friend’s incredulous roast of their name, music and image in the last track. The howling laughter, my friend, is all of us.
I don’t know, man. I was a Neil Young hater coming into this - or at least I thought I was. You have to give it up for the songwriting though, the guy is a beast. These are gorgeous songs and the record is a classic clearly for good reason. I have a hard time still with his voice, though.
Stevie is always good for what ails you. I only knew his hits, not the full albums. Lovely to get the chance through this project to delve into some of his discography. This album has a couple of his greats and a couple discoveries, and also features some of that distinctive 1970s orchestral arrangement that I don’t love, which settles it into 4 territory for me.
Super surprised by how much I enjoyed this. I guess I enjoy Celtic folk, when it’s beautiful strings and rocking and great yearning love songs and not gabbledy gook about fairies and magic and shit. Only one track got the raised eyebrow from me. Otherwise, this one is a solid hit.
I don’t hate it, which is saying something for peak 1960s fairy and elf-style psych-adjacent flights of fancy. And this was recorded on the actual day of my birth no less. But Fairport Convention does their mission of honoring Celtic folklore and musical traditions well while adapting them to a rock format. And Sandy Denny does have a great voice.
Oh yeah, the venerable six are just honey. In retrospect, they were real throwbacks to the ‘90s with their unique flows, positive verses, lack of dancefloor hooks or shine, and focus on the essentials of bboy’ism (emceeing, turntabling, etc.) Chali2Na’s baritone has to be felt to be believed. I loved them at the time. 25 years on I can tell they belonged to a fading era, but man, it was a golden one.
A real treat to listen to this ahead of International Women’s Day. The Slits are pioneers. I love their attitudes, how they take up space, their inherently punk challenges to all the gatekeepers - what art is, what music is, how women should look and act and what they should do.
Yeah, it’s amateur. Yeah, it sounds like it was recorded in a tin can. No, it’s not the best music I’ve ever heard. I still love it and them for existing and doing what they did in their time and place.
In 1979, the year this record came out across the pond, I was nine years old in LA and was taken to a punk show with a friend by her mom (see: inappropriate 1970’s parenting.) Though it wasn’t a female band, I fucking loved the energy and felt possibility there, aliveness, expression. Long live such experiences and opportunities for little (and big) girls.
Songwriting? Top notch. Musicianship? Top notch. Singing? Eerrreeeccchhh! (How I imagine the sound of a record scratch is spelled.) Neil Young is one of the greats but he’s not great at everything.
REM is definitely appealing to me. On a first listen, I can’t quite follow the lyrics but I can tell they are interesting and have depth. The music is creative. The overall sound would have very much appealed to a younger me - for me, right now, in need of solace and comforting, it’s too jagged. A high 3 in my current state.
U2 just irritates me. I don’t have entirely rational reasons for it. Their sound is too big, too pompous and self-important, too devoid of humor. It is clearly very good and I could even rate it a low 4 for great songs like One, ‘Til the End of the World and Arms Around the World. But these singles and others have been so fucking ubiquitous, and I’ve heard them so many times over the last 35 years, that my grudging low four is pulled down to a high three.
Bob Marley goes down easy. Those island grooves, disarmingly chill, lull you until your ear tunes into the politically-charged and conscious lyrics. Goddamn. The man was funneling the realness into all that reggae swag.
Purely as a first listening experience, I found it too hectic and discordant to be truly enjoyable overall. I liked the piano and Spanish guitar and appreciated the avant-garde-ness in small doses. Reading reviews after, I see it’s lauded as a brilliant composition and performance and that it was conceived as a ballet. I have to stay true to my own experience and give one of the greatest jazz records of all time…a 3.
Kendrick comes out the gate - seeming out the womb - swinging. This mesmerized me with deft and creative flow, great wordplay, poignant storytelling of being a young black man in Compton, and some fantastic guests. Kendrick had a big vision here on this second album (first major label I think) and knocked it out of the park. It went wider and deeper than I expected.
What a delightful surprise. I was locked in for this entire tale of young love and heartbreak from the perspective of a foolish young British man, gambling addict, doing too many drugs, adrift in early adulthood, who comes into some maturing through love and loss. Well done.
Second Can album. I really enjoy their sound when they are (surprise!) less experimental and their sounds tend to be warm and groove. Then there was a run of a couple of long songs of screeches and disembodied shrieks that I couldn’t bear, esp as I am just on a mental health leave from an overwhelming job and am trying to rebuild my nervous system. Can is not quite the Rx for that. I have to go high 3 in my current state, tho I do respect them.
I am not cool enough to rate this a 5. It is great as background. You can throw it on to add smooth sophistication to many a situation. But do I care to pay a very close listen? Not so much.
The absolute blues guitar master. My goodness, the tone he gets out his instrument. And the emotion he conveys in his voice. Then, of course, are the wonderful guests on 6 of the 9 tracks on this album. Nothing but 5s here, baby.
I respect Tina so goddamn much. She left Ike, her abuser, who legally owned their name and recordings. She had nothing. She recorded four solo albums that went nowhere. And then this, her fifth, in her 40s, which was washed up back then… and bam. Mega comeback. Mega phoenix rise. It’s glorious.
I love a couple of the tracks - I Can’t Stand the Rain and Better Be Good To Me. But the album to me suffers from the ‘80s production and the reliance on covers. I’m also not a fan of the big hits, What’s Love and Private Dancer.
A reluctant, if high and respectful, 3.
Surprisingly substantive! I’m not a huge fan of the big single, EWTRTW, but really like the other two, Shout and especially Head over Heels, and was impressed with a few other tracks too. They went beyond just pop and pulled in rock and other elements, and had some depth to their lyrics.
The production is very of its era, which is my era as a Gen X. I was 15 when this came out. I’m teetering on the 3/4 line here. I do love synth. Fuck it, grade inflation.
It is impossible not to be sway with delight to these rhythms and harmonies. I’ve these legends twice in recent years, including with I believe two original members now in their 70s or 80; they perform annually in my city (Berkeley, California.) Yes, it’s same-y, but it’s the same wonderful embrace all record long.
Oh, these sweet melodies and strumming were a salve to my broken nervous system today. I’d like to return to this. I especially liked the cover of “Sweet Jane.”
You have to appreciate these mad kraut innovators for what they were doing. Building synths and drum machines, among the first to do it, experimenting, playing with the industrial and computerized sounds of our Information Age, melding it with sounds of our machines and sounds evocative of nature. As an album listening experience, it’s not exactly a banger, but I appreciate them.
These guys are clearly the titans of metal. I also give them props for being local (hey El Cerrito!) and for going to couples, I mean group therapy.
This album has some undeniably good grooves, though James’ relentless delivery and their barrage of sound made me giggle. It sounds a little silly and self-important, young men with too much testosterone, or at least trying too hard to seem that way.
They are mega influential and I rocked out to some of it. For me, it’s a 3.
Ugh. Although I hate to hate on local Berkeley boys, I really dislike Green Day’s defanged and arena pop rock take on “punk.” I do have to give respect for the ambition of mounting a rock opera, resurrecting that hoary trope from the ‘70s and making it…I guess fresh? I did see it like 15 years ago and didn’t like that either.
There are a couple tracks I like on here despite being curmudgeonly overall towards the hometown guys. Three
A divorce double-album, eh? Heartbreak’ll do that to you. Marvin is smooth as ever but I’m working, distracted, and not so taken with the subject. It’s a three for me in this state.
Quite lovely, melancholy tunes. His guitar and voice are beautiful. On a first listen I didn’t tune in too much to the lyrics and I admit to distraction. This came out the same year as Led Zep’s first, so I don’t know who is imitating who, but he offers up a good Robert Plant, esp on the “Gypsy Woman” 12-minute epic that closes the record with moans and builds aplenty. That sort of thing places him firmly of his era but he also pulls it off. Mid to high 3
Oh, fuck yeah. You just know you’re in for fun from the first notes. It’s another artist and record that is such a perfect example of what it is that it can only be a 5. Swing and jump blues, who can deny it? I guess the 50s aren’t going to be knocked from their Generator throne for me as my “favorite” decade any time soon.
Marvin’s in a mood, too bad it’s Monday morning! This record, classic and smooth as hell, is also, if we’re honest, a little single-minded. I love the voice, the funk, the soul, and need more substance for this to be a personal 5.
Production goes crazy on a lot of this record, and “In Da Club” is always a super fun time. The nursing homes are gonna be lit in 2050.
The whole gangsta rap/thug core shit is so tired and really unpleasant to listen to. Ok, it may have been close to his life (that seems unreliable.) But at this stage of my life, I don’t want to be subjected to it.
This was a pleasant surprise. It took me several weeks to force myself, groaning in protest, to finally listen. I was the definition of low expectations which can, usually, only favor a record. I thought it would be relentless screaming death metal. Instead, it is that much-parodied, late-‘90s fad of funk/rap/metal/rock fusion.
But you know what? Today, I fuck with it. The lead singer has a great voice. He’s melodic. The band gets funky, they groove, and they can headbang too when needed. I even enjoyed the scratching, the warmth of specific ‘90s nostalgia working for me. And the romantic in me was pleased to hear a couple of straight out romance songs. The lyrics show a writer who is not afraid to say that he has fallen in love.
It’s not going into the rotation, I can’t quite give it a 4. But it’s on the borderline. High 3
Impossible to not head nod to these jams. Puff Daddy - as he was called at the time - and Big really came swinging out the gate here. Just an unbeatable combination of flow and streetsmart raps, but made palatable with radio cuts like Juicy or Big Poppa. Puff had his eye on crossover and empire and that he did.
Well, I did it. I listened, neglected to rate, and the totally blanked on the album. I don’t think don’t I either particularly liked or didn’t like it. I’m too busy at present to re-listen so I’m granting myself a fuck it on this one. By default, it gets a three.
Hot damn! Totally missed this band, never even heard of them until a few years ago I think. This record fucking rips. This mid-50s former punker was skankin’ all over the kitchen to these jams. Excellent, high four.
I wish I had heard the full album when it came out in 1989 to fully appreciate its freshness and innovation at the time. I can glimpse the surprise and fun of the samples selected and I love the sweetness and play of the trio, as well as their nods back to funk, soul and jazz. As younger men, they lean a little too into juvenile skits for me. Overall, it’s a four.
Finally got a chance to hear this album. If there is one thing this generator has done for me, it’s served up a bunch of albums I meant to get to over the decades and never did. It says, here. You’re doing it today.
So, Sir Paul’s best solo effort. Hmm. The lead-off single is great, of course. I love the several genre change-ups in the song. The second song “Jet”, also a single, is very good. The rest was pleasant but didn’t knock me out. I had the feeling that he was aping the Beatles but then maybe it’s just his style which of course was a big part of when the Beatles sounded that way.
Still, it felt derivative of himself somehow. A first listen for me is nearly always a disservice to the record but alas, I must rate on a single go this time.
Ok, this whole time I thought the Style Council was new wave. Nay! Sophisti-pop, indeed. I felt very ‘80s chrome bar, martinis and powersuit and heels listening to this. Kinda loved the vibe and the piano, jazzy and soulful stylings going on. It exists on the same planet of Sade, if not at the same level.
Unfortunately, at about the halfway mark there is a four-minute record scratch of truly horrible white man “rapping.” This might be entirely unfair but I now can’t remember anything after that. It was that horrific a train wreck.
It possibly could have been a 4 but I cannot.
Ah, good memories here. “Back to Life” and “Keep On Movin’” are classics. The whole album holds up for me - warm, jazzy, great production, early house beats, some incredible vocals from Caron Wheeler. A sweet time.
5/5. This was a sensation stateside when it came out. And so touching when the musicians - most in their 70s and 80s - got special visas to perform in the U.S. after decades of embargo and more. It felt almost like this beautiful music could help melt those ugly laws hurting people and keeping us apart.
And the music… Cuban son, bolero, the voices, the wonderful documentary too. It’s timeless, it transports, it’s universal. It’s just that good.
This album is so warm and lovely. It’s hot cocoa on a rainy day, a throwback to the ‘90s jazz-inflected stylings of cool-cat hiphop, with Q’s delightful wordplay.
I didn’t hear it at the time and am now richer for knowing this album. 4 big stars!
Another eat my hat moment. I groaned upon getting this - another fucking double album from a ‘70s white rocker dude? I put off listening to it for days (“since last year!” I joked, since it’s now Jan 3.)
It is way weirder, more idiosyncratic, and more fun than I expected. More varied and interesting music than straight rock n roll. He’s an artist. The fact that he played most of the instruments, too?! I give in.
It’s a high 3 / low 4. I did listen a bit distractedly while cooking. I could reassess up with future listens I suspect.
Oh wow. This is a pageant, majestic. I am very glad to be introduced to it. He is clearly a talent, the music is lush and rich, and I’m sure it will reward future listens.
I really enjoyed this. I’m surprised it’s considered their flop post-Rumours. It’s great and includes hits like Sara. It’s not banger after banger like Rumours of course, and the Stevie songs are clear standouts. But still, this is a great record.
I realize I’m assessing this through a 2025 lens, but a lead-off song that consists of a white man constantly using the n-word, even if in character as a racist southerner of a certain era, is cringe. Much cringier still is that this album was a big hit at the time, and I’m sure unironically.
Thankfully only a couple fall into truly repugnant “Good Ol Boy” subject matter. Some of it is fairly illustrative of how we ended up in this MAGA morass 40-50 years later, including economic decline and feeling left behind and looked down upon as education became more important than farming and manual, “honest” work. And there’s no denying that Randy Newman is a talented songwriter, pianist, and okay singer. I’m just not overly fussed with the actual songs. It’s a two for me.
I respect Kraftwerk’s innovations so much that they earn a 3 by default. If I’m going just by whether I enjoy listening, it’s a low 3, sometimes a 2. The title track, “Trans-Europe Express,” is a classic.
The story is that these guys are annoying as fuck. I absolutely can’t stand the vocals. The songs are boring and go on too long. I hate the singles. What the fuck is a “wonderwall”? Anyway. I suspect I’ve made my point.
I love the early 60s girl group sound, and applying it to Christmas standards is a stroke of genius. I just don’t want to hear an entire album of Christmas tunes, even on Christmas.
I appreciate the seminal nature of this band, pioneering post-punk when punk itself was still young. I like it and would have been into it if I was a teen at the time (and was exposed to such a cool scene, a big caveat,) but these days I don’t feel like listening to this so much. So, 3 it is.
I’ve come to the conclusion that I’ve been too generous with my 2’s. If a band had talented musicians, as ELP seems to, or I could see how others could really appreciate them, they got two stars. Ones were reserved for truly obnoxious records I couldn’t get through or I couldn’t see redeeming qualities.
You know what? No more. I call bullshit. I don’t care if others love or even like this record. It’s nails-on-chalkboard time for me. Endless indulgent noodling with no lyrics, but when a song started that featured singing, the male lead can’t hold a fucking tune. On top of that, they go for the stupid medieval imagery of the period with tracks called things like “The Gnome.”
Gnome thank you. It’s a one.
I’m finding that there are singular talents whose output just has something special. Dylan, to my shock, is one for me. On a first listen, I didn’t connect deeply with most of the songs, and was feeling a 3, and yet the poetry, the storytelling… it’s just hard to imagine a Dylan, at least of what I’ve heard thus far, getting less than a (low) 4, as here.
Man, the talented really do shine. This is just another level from the first notes. I love the piano and breadth of this album, adding variety and depth to their balls-out rock’n’roll. It’s just great, top to bottom.
I quite like this kind of sound at the time - spiky, angular, dance-tinged indie rock. I still like it but it’s not setting my hair on fire. Today this, on a first listen, is a strong 3.
I’ve been possibly unreasonably turned off by Radiohead.
It’s another fuck me moment. This is pretty great. I’m into the lush orchestration, the electronic experimentation, the jazz trumpet in the last track. “I might Be Wrong” is a stand-out bootyshaker for me.
Respect. A strong 4.
I only knew “Golden Years,” a classic. Bowie is a musical genius, he brings interesting touches and artistry to all he does. I didn’t really connect with the other tracks on a first listen, which I’m learning is often a challenge for me. I read reviews after that this is considered among his best works, despite his drug addiction at the time. But for me, on a single listen, it was regrettably just a high 3.
I super-appreciate their gender transgressiveness in the early ‘70s, and being early punk pioneers, bringing back simplicity and pop structure to counter the indulgences and self-seriousness of prog rock.
The music just goes too straight rock for me to get that into it.
“The Message” is of course an early hip-hop classic, and socially conscious to boot. I’ve waited 40 years plus to hear this whole album. It’s a bit of a gem, showcasing many different styles on this tight album that bridges the ‘70s and ‘80s, including funk jams with full instruments, soul numbers that consciously pay homage to Stevie, a fantastic early electro track in “Scorpio” and of course The Message. The guys can sing and rap (in that sweet, unsophisticated rhyme structure of the very early 80s.)
I was obsessed with Nevermind in 1991, then never listened to the follow-up. I did hear and loved the singles.
On a first listen, I’m not partial to the return (apparently) to the abrasive and brash tones of their punkier roots. I like when Nirvana is warmer and more melodic, as evidenced on the singles. Apparently they had to bring in another producer and remix to be more commercial than the first go.
Four of the songs, which I already knew, are so strong that they lift this from 3 territory. The others could grow on me with repeat listens but them’s the breaks of the challenge.
Beautiful guitar from Nick Drake rounded-out by some great studio musicians. His singing voice is a little fragile, weak, and I didn’t catch on to many lyrics on 1.5 listens, though it seems poetry is there. These songs showcase precocious and interesting talent from such a young, troubled person, gone, as so many like him are, far too soon.
I’ve read more about the Byrds as part of this Challenge and understand their role as one of the great 1960s bands, bridging folk and rock, renowned for harmonies, jangle guitar, and studio innovation. But damn it, I just don’t like their music that much, and this record sounds dated to me.
Oh Maxwell, your bland, bland honey doesn’t set these panties on fire. The album starts off alright, a smooth and pleasant lull, and meanders into dullness. A low 3
I like this quite a lot more than her first from this list, which I gave the dreaded and rare 1. This subs out the electronics for dreamy pop. It sounds quite lovely and is warm and inviting on a winter evening, but ultimately doesn’t stick. Mid-to-high 3
Nostalgia time for this geriatric raver. 30 years ago when it came out I was dancing to this record. It holds up and will shake the dust off your ass. Although repetitive as electronic can be when consumed in album format, there are undeniable rumpshakers on here. Chem Bros are it.
Norah Jones does come to her precocious jazz stylings honestly, and her piano and smooth as silk voice are as inoffensive as any happy hour at a cocktail bar. But the energy and edge of youth is missing for me on this record. It’s bland and forgettable, background chill for the masses.
Missy is one of the greats. She hit with so much excitement, weirdness and expressiveness. Her collaboration with the peerless producer Timbaland yields diamonds. The album, though, is brought down by too much filler, and Missy’s incomprehensible need to be Mary K. Blige half the time. I want sassy, rapping Miss Demeanor, not the r’n’b stuff. And the back half of the album is larded with a lot of middling tracks.
I wanted this to be at least a four, but that last half sadly brought it down.
I do not know how I, a rap fan if not aficionado, missed the best-selling hiphop group album of all time. All I can tell the youngin’s is that back in the day we had to pay hard-earned cash for every album, so it was a major decision and a high-stakes gamble. I missed a lot. It’s a big reason I’m doing this project.
This is a master class in 90s hiphop. The smooth flow, the Sunday afternoon of it all, the hard bits, the lyrical poetry, the social and political consciousness, the nods back to funk, soul, and formative rap. It’s fantastic. Even the problematic Chinese restaurant skit is a take on the ubiquitous badly-dubbed king fu movies of the 70s that our generation grew up with, and whose mythology figures largely in early hip-hop culture.
These motherfuckers make Brooklyn feel like the coolest place on the planet, which it arguably was. And the talent of Lauryn and Wyclef, especially? Goddamn. 5 stars
Ouch! I wanted to like it. Alas, I did not. It was punishing, offensive and veered too hard into deliberately ugly material. It gets a point up for early sonic innovation - the electronic experimentation - and its energy. I just don’t want to listen to it.
From its first notes, you know you are in the hands of the ballsiest, most confident, struttingest rock band to ever rock. And they back up their outrageous arrogance with outrageous talent. The husband and I put it on on a Saturday morning en route to a hike and immediately began singing along. It got us even more amped up than our coffee and we attacked that trail.
The Stones is the ultimate rock band and this is an ultimate record.
Artier, more experimental, and more innovative than I expected. I love it. It evolves disco, pushes boundaries, and of course Annie Lennox is a force of nature. “Sweet Dreams,” deserved monster hit and a song I’ve loved since 1983, is one of the only radio-friendly tracks on this great album.
I’m tickled to learn this band was local to me in the SF Bay Area. It lent some indulgence and grace in my assessment of them. The right age, I of course remember the iconic video for “Epic” that played ceaselessly on MTV in 1990, the song then hard and catchy, now a bit cringe with the white guy rapping.
Still, FBM does hard and catchy quite well. The album has some great riffs that inspire some head banging. I like it.
Am I allowed to use the words pompous, bloated and boring about the biggest band in the world (at one time)? TBF, I liked the run from song four to end much better than the first three, monster hits. I’ve just heard them too much. Still, U2’s self-seriousness and studied grandeur in general doesn’t do it for me.
Fantastic! It’s official - I’m a post-punk girlie. I just love the edginess, clean lines, and addictive energy. Bonus to Gang of Four for being early - this is 1979 and sounds fresh af to these ears. I also appreciate their political consciousness.
I looooved “Our House” in the peak MTV era of 1983 at my peak MTV target age of 13. The rest of the album runs a little too circus-y for my taste. It’s fine.
The Go-Go’s, girl empowerment extraordinaire for tween Gen X’ers!! I had just turned 12 in the fall of ‘81 when this came out, the peak age for this. And I ate it up with a spoon—Belinda Carlisle equal parts adorable and dangerous, the punk attitude of their roots, updated 60s-girl group style, and blistering drums and bass-fueled beats, as well as irresistible hits “We Got the Beat” and “Our Lips are Sealed.”
I don’t care if nostalgia is fueling a several grade-inflation, this shit’s a 5.
I’ve never heard of this, and am about 60 years from this feeling relevant. I did read that it’s considered a major influence on succeeding bands, and I can give them a point for being innovators. As a listen though, it’s ok mid-60s psychedelia-influenced rock that I’d prefer not to listen to.
I was absolutely taken with this. I love arty, creative people just following thier muse wherever it leads. It’s baroque, operatic, beat-heavy, and timeless. It’s a 4.5 on first listen and could easily grow to a 5.
Honey to your ears. King is a monster songwriter and this album, a towering achievement, is loaded with classics. King’s performance doesn’t really do her own songs justice; some covers are superior. And even though I was starting to be aware of music in the mid-‘70s when this record still dominated stereos in shag living rooms everywhere, I can’t quite grasp how fresh and exciting it must have sounded at the time.
Now, it suffers a bit from overexposure, and I can’t quite go 5. High 4.5
This is a special project, Billy Bragg and Wilco putting to music unpublished lyrics of Woody Guthrie. The storytelling is absolute poetry and Bragg and Wilco play with various incarnations of Americana, folk, and even midcentury rock to bring the songs to life. Hugh quality throughout. My favorite track is “Way Over Yonder in the Minor Key,” with a transcendent Natalie Merchant harmonizing.
Zep gonna Zep, which means lay down absolutely undeniable riffs, gorgeous guitar work, and display an obscene amount of talent in Plant’s voice. A couple of tracks on here don’t stand out so it’s knocked down a peg.
I had always heard that the Wu Tang solo projects are good. This one is great. I love the old school hardcore NYC rap, Gza’s rolling flow and dense lyricism, Rza’s beats and production, and top-tier guests. High 4
Well, now I have to eat my hat about Joni Mitchell. This album defied my prejudices of her as a saccharine, trilling soft folk singer. This is hardly that. Excellent songwriting, sharp humor, jazz, electric guitar, and generally pushing musical boundaries. Every song is strong.
Fuck me, it’s a 5.
Sad. This is a miss for me. I was so taken with “Soul Mining” - a delightful surprise - so was pleased when this popped up today. But the singer’s voice annoyed me, and the lack of hooks or compelling rhythm made the songs forgettable. Add to that some unfortunate peak ‘80s production.
A point for some clear areas of creativity and artyness.
This collection is really stellar. Despite fair criticism of building tracks off of peerless blues samples (ie, Black music;) a kinda weak voice; and a couple middling tracks that close out the album, the first 80% is a joyride. Soaring gospel heights; undeniable dance beats; and rich textures that still sound good. It’s a classic.
I’m teetering on a 5, this just so hit the spot for me tonite. Just the perfect accompaniment to a dreamy, post-rainstorm twilight walk, the lights smeary and romantic. I love the jazz and bossanova stylings here, perhaps even more than her retro-60s Motown of “Back in Black.” And her unique and powerful voice is captivating.
She was a singular talent, and I miss her.
As expected, a Brazilian album is full of beguiling rhythms and the irresistible sound of Portuguese. Try as I might, it kept fading into the background for me though. It’s great for swingy background music.
The vaunted Oasis at last. Pretty much can’t stand them. The band sounds fine, I don’t mind the rich rock’n’roll sound—that part is a tolerable 3. But the nasally vocals drag it down a star. Thank you, next.
No knock to MC Solaar’s talent, but damn it’s hard to take French rappers seriously. The language is just too beautiful. Still, this early record shines in production and some deft and I assume/hope lyrical rapping. I have to think it’s on the list due to being among the first global entries in the American art form. I enjoyed it on headphones; don’t need to hear again.
I should give this another go, as I really liked the other album I’ve gotten from them, “Sister.” The noise wasn’t working for me as well on this day, though I still liked a lot of elements.
on this day.
This challenge introduced me to the concept of “psychedelic soul.” Isaac Hayes has a buttery voice and command of atmosphere, able to turn pop song covers into 15-minute epics. I enjoyed it.
I’ve been hearing about this storied album my whole life, it seems. Johnny’s baritone and songwriting are compelling, and the tangible gratitude of the prisoners is moving. The songs didn’t fully hit for me, the vantage point of the outlaw got a bit repetitive. Still, that gravelly voice and plucking guitar satisfy.
I have great respect for Trent Reznor’s genius as a composer and this record was a 5 for me 30 years ago as a college student.
Now, the punishing industrial bits and dark subject matter are more intense than I want, but so much of this record still sounds fresh and impressive. As then, I am captured by the fact of this as a solo project and the feeling of being inside the brain and emotions of someone going mad. I love when the music changes and beautiful interludes come in, and I love the synth-driven beats as well as the masterpiece “Hurt.” High four stars
God I wanted to love this and I…didn’t. I only liked it, sigh. There are some all-time classics here and Stevie is always Stevie. He’s wonderful to listen to. But many of the songs arrangements tilted orchestral mid-‘70s, almost Muzak at points. It’s a 4, but only because it’s him.
I can’t stand twang and country in general leaves me cold. I know he’s a respected songwriter, tho it’s often hard for me to really grok lyrics on a first listen. It’s a 2 for me musically, elevated to a 2.5 for some good lyrics I managed to digest.
Pac was an undeniably talented and charismatic performer who died way too young at 25 years old. This album, a year before his death - tho after being shot five times in a first attack - finds him prophetically obsessed with his death. His deep voice, tough rapping and at times poetic or thought-provoking lyrics are unfortunately undercut by repetition and single-mindedness. Tupac’s topic was Tupac, an autobiography that leans heavily on gangbanging and drug dealing and may not be fully true. I grew tired of the redundancy, even if delivered with new verses, and I haven’t yet seen what makes him such a revered figure 30 years on.
It ends up teetering between a 2 and a 3 and is pushed up by some great production.
I admire the vision of an ambitious concept album such as this, and the music is right. It does sound quite of its time though (British 1960s,) which didn’t grab me.
Beguiling pop punk/art pop from a master. These little gems are growing on my after a second listen. I saw him in concert this year, for the first time, and sadly his voice is so shot it was a painful listening experience, tho he was quite witty in banter with the audience. I appreciate diving into his catalog to hear peak Costello.
Lots of energetic, fun tunes and snarling attitude that puts the “punk” in punk rock. It would be a 4 exc every song sounds the same. High, enjoyable 3.
I’ve never played this album yet knew every single song, that’s how much of a stone-cold classic this record is. Anchored by two of the greatest songs in rock ever, Gimme Shelter and You Can’t Always Get What You Want, I like all the middle songs more than most reviewers apparently.
Still, I can’t quite give this a personal 5 because of the off-putting lewdness that’s just gross: “everyone needs someone to cream on,” as one example. I mean, true, but also, ew.
A double live album from a testosterone-heavy prog rock/jam band from the 1970s basically hits all my “turnoff” triggers. This wasn’t awful but I didn’t like it and was glad when it was done.
As much as I appreciate the Chicano lowrider culture prevalent around me growing up in LA in the ‘70s and ‘80s - and as much as I was looking forward to my first War full-length - this record didn’t knock me out. I’m shocked to find out it was the top-selling record of 1973. It goes too jam band for me, extended musical journeys that left me clocking how much of a track I still had to listen to. It still sounds nice, wouldn’t mind it in the background, a three.
If anything, doing this challenge has managed to increase my already considerable esteem for the Beatles. I got deep into the Beatles as a teen and “Revolver” was one of my favorites. This is where you really see the direction they would take. Each track is its own unique marvel, a creative oddity in its own little world. The Beatles manage to craft these gems at the highest level, experimenting and innovating as they go. There are a couple of lesser tracks but that can’t take away from its essential five-ness.
There’s no denying the energy, the hooks, the balls out rocking, and the snarling power of Blondie as front woman. This record is a little light on artistry to rank as a 5, so it’s a solid and respectful 4.
Nope, I’m not sophisticated enough for atonal sound experiments and off-tune singing. Somehow he got great musicians to work with him. The strings and horns save this from being a 1.
I absolutely love Missy’s creativity, skills, and vital contribution to hiphop culture. She’s a goat. This album’s harder tracks are absolutely fire. The album is brought down a star for me by the r’n’B she includes, confusing mash of feminism and regressive lyrics like wanting to cook and clean for a man, and interstitials that sound too off-the-cuff for posterity.
Loved this—just wonderful funk-based, conscious hiphop. 1989 is early for this, too, so I have to assume they are foundational to this strain of hiphop. I can’t believe I haven’t heard them before. JB’s! High 4
The Smiths. A few short years producing peerless records and a massive legacy. They have reached a musical maturity on this record, at the top of their game. Other records hold my favorite of their tracks, and so this one ranks for me at a strong four.
Maiden rules. While they are undeniably heavy metal, they also bring a gift for rhythm and groove and leaven the thrash just enough, giving space for slower melodies and the singer’s nice voice (apparently this is pre-Bruce Dickinson.) And when they rock, I dare you not to headbang.
Boring. I can tel they tried to switch it up with some semi-psychedelic elements, different tempo songs, etc but the music just didn’t engage me at all.
This album of mostly swirling, 1940s-style orchestra arrangements is not my favorite style, but Ray Charles just adds magic to everything he graces with that voice and performance.
I’m sure someone is really lit up by Celtic punk. I’m not that person. I just re-watched “Titanic” and appreciate the underdeck jamboree scene style they have—fiddles and stomping and drums—but the heavy Irish accent and the lyrical callback to, I suppose, traditional folk tunes and dirge detract for me. Hovering between high 2 and light 3. I’ll round up bc I enjoyed the music for the most part.
Ah, the young Fab Four. I ignored early Beatles in favor of their transition and later years, yet still knew most of these classic hits. They’re just great. Of course, their wild creativity would emerge later, and many of these tracks are covers, but they’re still pleasing as heck. (Early Beatles is much too cute for swearing.) Strong 4
I’m an ignorant mofo, which is partly why I’m doing this project. Why did I think Jimmy Smith was reggae from the cover, and didn’t even notice the Blue Note label?
This is just some tasty, tasty midcentury jazz. Timeless, classic, cool, sophisticated. I love it.
Peak dad rock right here. This “supergroup” quartet definitely has some chops - a good singer, good musicians. But the end result is underwhelming. Sure, each song is a good enough straight-ahead rock song, and the album spawned some ubiquitous AOR singles like the great “Bad Company” and some others. Still, nothing that special here.
For some reason RHCP annoys me. But, I have to admit this album is pretty good, even though I’m not that into their funk/rock/rap hybrid. I knew at least the first 8 tracks - there was a ton of singles or just play in general. The two slower annd more melodic songs are standouts to me vs their testosterone-y mashups. Wish they’d gone more in that direction. 3.5 stars
Pretty much anything jangle-pop I’m gonna like, it seems. The issue here is that I’ve never heard of this band or any of the songs. I appreciate it though the sound is a bit generic to me and begs the question why it was a must-listen. Just bc they were a hit in the UK during Demery’s teen years, I suppose.
The vaunted Radiohead. I had their first album and then fell off after that. So, this was a first listen.
They’re quite good at atmospheric rock. I of course love the electronic elements. It’s very good, a 4. I’m not stunned though.
Sigh. Again, the British bent to this list asserts itself. This was a hit there but not in the U.S. and I’ve never heard of him. It’s quite fine reggae and dub stylings that I wouldn’t hate if on in the background.
Not into ‘90s pop-punk. I don’t like Green Day, even though they are hometown boys (Berkeley, CA) and played my college co-op the year before I got there and the year before they broke. And I don’t like the Offspring.
I can appreciate some things. “Self Esteem,” the big hit off this album, does make me laugh and is a bit of an earworm. Drums go hard. But the vocals are mad annoying and the songs blend into each other.
2.5
Here I go having to eat my words again. I was dreading this, esp with “honky tonk” in the name. Fuck me, it’s great. Waylon has a wonderful bass voice and some songwriting chops. If this is classic country, sign me up for the rodeo.
This is an interesting album. The band starts off as another ‘00s garage rock contender, done pretty well. Then they veer into some eclectic choices, going almost folk country at one point, also done well. A tip of the hat for bringing variety to that era. 3.5
Oh yeah, the iconic Miss Simone. This early record hints at her coming socially-conscious greatness. Still, that voice and presentation commands and transcends the fairly stock material about love with its thrills and its pain. “Four Women,” the one song that presages what was to come in her catalog, is the showstopper here.
This is nearly unrecognizable as the Stones, with their distinctive, ballsy brand of blues rock’n’roll and some epic and classic original songs later in the ‘60s and on.
This debut album sounds straight out of the ‘50s - Buddy Holly by way of the Delta. Tidy tunes with a pop sensibility and just a hint of the swagger and lewdness to come from Jagger.
Still, those sounds are great. The fledgling Stones - not yet their own artistic force - do right by this collection. It’s a fun listen.
Somehow never heard this whole album. It’s a cohesive, single piece that’s even stronger than its parts. I knew, intimately, several of the big songs but never knew that they are essentially part of a suite.
Clocking in at just under 30 minutes, “Bookends” is more experimental and creative than I expected, with a poignant theme of life’s stages. The tracks blend into each other as time does. Beautiful
Tons of energy on this tight, packed LP. I love the post-punk brightness, and then songs dissolving to straight-up walls of noise and thrash, with driving drumming throughout. Kim Gordon’s vocals coming in add fantastic contrast to Thurston Moore’s. A very good to great record.
This album is peak genius. Just an unbelievable font and flow of creativity. The Beatles embrace their eccentricity, weirdness and shimmering pop sensibility with a parade of fantastic little tunes. And the album is absolutely stacked with some of the Beatles’ best and most famous songs.
It’s jaw-dropping. 5+
Ooh, very interesting and contemporary-sounding sonic experiments for 1975. I much prefer the all-instrumental tracks vs. the few with lyrics, which are both weak and sung weakly.
But the tracks where musicians explore the edges of sounds, keeping a beat throughout, really pleased my ears. I know Brian Eno as a superstar producer and not his own music. While I fear that may have been him singing, I’m into what he’s doing here.
Grudging points for “The Weight” because it’s just such a part of my musical landscape growing up. One of those ubiquitous 70’s rock tunes.
The rest, unsurprisingly, was technically proficient with a sound that does nothing for me at best. At worst, I want it to end. Two stars
I lost interest in U2 when they progressed from scrappy indie band to arena rock megastars in the mid-‘80s. To be fair, I haven’t listened to their catalogue - other than the singles of course - post-“Unforgettable Fire.”
This album does little to change my opinion. “Beautiful Day” is a great song. I also quite like “New York,” in the way I like all paeans to my birthplace and favorite city, but it’s not in the top 10 NYC songs ever written.
Otherwise, it’s more of the U2 I expect - proficient, big sound anthems that lack an urgency or reason for being for me. Ultimately, it’s bland.
I quite disliked this at first, on my tinny car stereo. Started over for real with headphones later. Whether a different day/time/mood contributed, I felt positive towards a number of the tunes. Nothing I’d seek out, but I appreciated the variety and uniqueness there.
Some top-notch psychedelic soul from the innovators of that sound. There are classics on this record and some lesser tracks that keep this from being a 5. At their best though, Sly and co. were doing uplifting groove like no one else.
Extra warm fuzzies for me that they’re from right here, the fertile SF Bay Area.
This is quality ‘90s indie hiphop. I love that sound—laid back, focused on lyrical dexterity and relatively simple beats. Brooklyn was really popping off with talent those days.
It does come off a bit dated now, and I’m not necessarily compelled to add it to active rotation. High 3
Huh. Blues rock Rod Stewart, 1970. Rod Stewart came into my life in the “If Ya Think I’m Sexy” disco era. I didn’t realize he was a shape-shifter.
Plenty of this sounds high quality for the genre, and I even liked a song or two. His scratchy voice bothers me. After 42 minutes, I was relieved when it was over.
Pretty good Southern rock, if that’s your thing. It’s not mine, though I read that Lynryd Skynyrd is considered the best of that breed. Supposedly the controversies about them - Confederate flag early on; “Sweet Home Alabama” - are misunderstandings but I don’t know. I’m separating art from artist here.
I was dreading a San Francisco band from 1970-ish that I’ve never heard of; I don’t need to break open another paisley-colored time capsule. But their Rolling Stones sound surprised me. There’s some good ballsy, bluesy rock’n’roll here. And I got to learn more about this local band—including that they still play in town. Overall a fine enough listen, though I doubt I’ll reach for this again (or run out to see them.)
Fuck, I’m glad that’s over. Unclear why this is on the list. Because it’s a Norwegian band? Is this the start of Scandinavian black metal or something?
This one gives a lot of aggressive young male energy. Fast tempo, screaming guitars, swings between heavy metal and 90s post-punk. The leads mostly shout, not sing. Overall, not necessarily terrible, just not my vibe these days.
What a joy to drive my Boomer mom around on a sunny day, playing this pleasurable ‘60’s soul that she last heard in her 20s. Although there are no recognizable hits to me on this record, and their cover of Gladys Knight’s “Heard It Through the Grapevine” pales in comparison to the original, this is still some great Motown soul. Special points to the singer with the deepest baritone you’ve ever heard.
Oh yeah, the Gotan Project. I enjoyed them back when they came out around 2000, and still do. Some beautiful Argentine tango with accordion and other instruments I can’t identify and lovely voices laid on top of electronic beats.
It’s a fusion that works best as a soundtrack for cooking, a cafe, dinner party…slightly spicy background music.
Randy Newman, of “Short People” infamy. He’s Elton John without the talent. Ok, that might be a bit harsh—his piano and voice are competent. His songs bug though. I like “You Can Leave Your Hat On” for the kink element. That’s about it.
I’m not even 200 albums in and am already sick of the ‘90s Britpop on the list.
This was a 3 for me for the first half. I didn’t mind the swirling rock with throwbacks to ‘60s pop and psychedelia. But the singer has an annoying voice, the songs bores me, and it wore out its welcome by the back half.
Good lord, the white man loves his masturbatory guitar solos and endless jams. This bored me silly. I appreciated the first 40 mins or so, obviously exceptional guitar playing, and I do love the blues (if not so much this derivative, blues rock.) But when they went full jam band, it got interminable.
Floored by this album. I had only heard the ubiquitous hits, most of which I quite liked. I was not expecting the creative breadth, challenge and experimentation on this record, with such remarkable aural soundscapes and just fabulous songs. The Police operate in their own lane.
I love northern African music, the mesmerizing rhythms of the desert. According to Wikipedia, this genre is “rai.” Khaled (not to be confused with the current DJ Khaled, which I was guilty of,) Khaled is Algerian and sings in Arabic and French. Some numbers had me swaying my hips and shaking my shoulders, channeling some sort of long-ago heritage that knows these sounds.
Unfortunately, Khaled went a little too crossover for my taste here on a number of tracks, most egregiously on a terrible cover of “Imagine.” His dancefloor numbers are infectious; the rest didn’t distinguish itself to me.
I’m just stunned. I love his beat- and sample-heavy sounds, and then he drops this gorgeous, introspective, heartbreak album full of warm guitar notes and beautiful misery. The songs take my breath away.
The title track and “Oh Father” are good songs. I appreciate the leap Madonna made here with subject matter, musical complexity, and additions like gospel backup.
Still, I prefer Lucky Star and Burning Up-era gay club princess Madonna to Serious Madonna.
Clearly, he’s a great lyricist, the piano and arrangements—particularly the atmospheric builds—elevate the otherwise fairly typical rock sound, and he encapsulated a certain all-American late midcentury kind of experience. The poetry of the dying industrial towns.
I’m just not that into the music. I think “Prove it All Night” and “Darkness on the Edge of Town” are great songs, which makes this a strong 3.
I always expect arresting and dark lyrics from this master. I also like his experimentation with synths as per the era. The classic “Tower of Song” is on this album. The otherwise stellar album gets knocked down a point for me by the gospel backing vocals which largely feel out of place to me.
I’m not generally a fan of country music, but artists like Johnny Cash or Willie Nelson exist in their own category. Willie’s honey voice and soft tales of love and loss sound strummed from a place deeper than genre. They’re straight from the soul.
Sepultera has one mode, and that mode is hard and angry and loud as fucking hell. Some riffs undeniably rock, but the unrelenting guttural screams of the lead and the punishing wall of sound wear out their welcome.
I can tell this is a 5. Creative, compelling, lush, Lauryn equally adept at rapping and singing. Great interludes.
It’s just not a 5 for me. The album goes 75% r’n’B and neosoul - genres that read bland to me. I’m also not a fan of vocal theatrics like trills and glissandos etc, which she uses judiciously but they’re still there, drawing out the slow songs even longer.
Still, it’s high-quality with some beautiful classics, like “Everything is Everything” and the earworm “That Thing.” 4 stars
Strong songs and above-average rapping from Common on this beguiling collection. Produced by and featuring a pre-Nazi Kanye who showcases his abundant skills, early-ish in his career.
God I love Depeche Mode. They are the pinnacle of synth-pop and this album is one of their best. Just peerless production, moody atmosphere, yearning lyrics, and hooks for days. Let me show you the world in my eyes, indeed.
I’m having a bit of an identity crisis as an indie/punk/hiphop and beats lover allergic to folk who it turns out…likes folk?!! Bob Dylan, in particular?!
But you have to give it up for quality. His poetry and songcraft show why he’s considered one of the greats. 5 stars
Quite lovely sounds with enough different instruments (a cello pops up, for instance) and layers to demand some respect for the musicianship. I lost patience with the whispery, angsty male vocals on every track. It’s a mood, and that mood is from the year 2000. Not everything in as dramatic as it appears to 20-something rockers, even in this current much darker timeline.
High 3.
I’m stunned. I loved all of it, the rocking first album and the quieter second album. Here is another singular talent I hadn’t heard before, crafting spells with poetry and sound. I look forward to hearing more.
Ah, Sir Elton. Golden voice and golden keys. I loved the classics on this double-album. But I’m coming through a tough personal time which has hijacked my head and my heart. And I suppose my ears. I thought he could ease me back in to the project but I was not vibing with a lot of it. Too overwrought, too orchestra-y. It’s a 3.5 for me in my current state.
I absolutely love the dark, droning soundscapes they create; the fuzzed-out bass; the layered vocals; a clear horn or other instruments peeking through; dance beats on a track like Dreams. Just masterful atmosphere and intriguing, original song structures. I listened to this a couple times when it came out and liked it, then forgot about this band. I get to make up for it now—and, to my delight, see them here in Oakland in two months.
Very strong four stars.
Pretty generic indie pop of the 2000s. I like it in general, it’s fine, but feels of a piece with the Strokes or Bloc Party. Can’t really tell them all apart at this juncture; it’s giving fad.
While more interesting than other bands in the prog rock canon, with classical instruments, major jazz influences, and a dearth of lyrics about wizards - this still didn’t really hold my attention. Great musicians though. High 3
Quite good if you like prog rock. Yes brings in really interesting time signatures and tempo changes - at least two songs in one, that sort of thing. I’m just past my prog rock era.
This is my first PJ Harvey listen and it is exquisite. Big Patti Smith energy, punk sensibility, layered with beauty. A sublime piece from a singular artist.
This is solid, ‘00s post-punk/garage rock revival. I like their combo of indie emo, propulsive drums, and rocking out. But it’s nothing super compelling.
This is super fun, awesome early 80s new wave, great drumming, great front man. It might get boosted for nostalgia factor as there was a time 13-year-old me aspired to be Mrs. Ant based on thirst trap MTV videos; however, I can declare now that this whole record is quality. High four stars
Wow, what treacly, soulless, mid-60s pop crap. Saved only by the classic song “California Dreamin’.” But otherwise, a long slog for a 33-minute record.
Hard-driving ‘00s emo-post-punk garage rock. It has admirable energy and they let loose with some thrash. It was a little too British for me between the vocals and the lyrics, and too of its time.
Oh boy. I think this is on the list to prove that even storied artists can crap out a clunker. The man had literally no ideas - he sings about his allergies, he sings about how cars are cars wherever you go, and he sings about how easy it is to write a song, just gaslighting us with his complete lack of effort. The music sounds ok but the song ideas and lyrics are so bad that they doom the whole project.
This is mid for me. Neil Young’s guitar playing and songwriting are great, but the straight-ahead rock’n’roll largely bores me. Also, his voice is going here, even at only 50 years old or so.
Ah, I missed goth in the 80s. This is up my alley. Danceable, hooky, with an edge. A little laughably over the top, with its moody male lead? Sure, but who cares? I don’t. The whole angsty posture is part of the fun.
I once was so down for prog rock. I also was a teenage stoner at the time. Now, while I appreciate the musicianship, I don’t have the interest or patience for the epic jams.
3.5 stars
Much like the name, this band’s music comes at you like a Firehouse. 14 songs in 31 minutes in a wide variety of styles: folk-inflected, punk, a track that has Duran Duran new wave-sounding guitar, straight ahead rock tunes. It sounds good, well-produced, but I wasn’t really taken with any of it. The lead’s vocals are fairly weak too.
I absolutely love this. The songs are so distinct and arty, the sound so rich, and if funky danceable art wave is a thing, this is it. Their cover of “Take Me to the River” is a highlight.
I’m going against my own guideline of listening through an entire album before rating—and if I can’t finish, it’s an automatic 1.
This one isnt streaming, so it’s a YouTube hunt to find both of the double albums. I listened to disc 2. This is a pretty good example of jungle (d’n’b), which sounded like fresh and exciting sounds coming out of the British electronic scene in the mid-90s.
Like other electronic records, it’s not meant for a sit down experience. I can give it a high 2.
I reluctantly ride for Bob Dylan, but ride I apparently do. Striking, unique, idiosyncratic and epic storytelling. Great musicianship. Every song is quality. And his voice, at least on this one, is bearable.
I enjoyed Jamiroquai’s singles in the ‘90s. The ‘70s throwback aesthetic and sound is similar to what Bruno Mars did again in the ‘10s. But beyond the singles, the jazz funk of the rest of the album mainly bored me. Musicians are tight, but it is seems rather uninspired, and the lead is reduced to scatting along when he’s out of lyrics. This has been done much better elsewhere, like Parliament.
This is fire. I love it. I never listened at the time and it’s my loss. Siouxsie’s vocals, the guitars, the driving beats, the echo-y production, just great.
Hot damn! Were there any funkier MF’ers on earth or beyond in 1975 than Parliament? I think not! I had no idea so many classic hiphop tracks owe their samples to this seminal album. George Clinton is a genius.
Much of the music is pleasing - George’s guitar-playing sounds great; “O Sweet Lord” is a classic; and a couple of other tracks impressed me. However, a lot sounds samey-samey: melancholy, light on lyricism, dependent on textured instrumentals to carry you through.
Of course, it’s impossible to overlook that this is a double album with “extra” third album. It took me a number of listens to get through. And when I realized I accidentally listened to the five extra tracks Spotify inexplicably tacked on to album one, I gave myself a pass to skip the “bonus” album.
It could be slimmed down to a four-star record, but as it stands…
Oof. I have little patience for 60s pop at this point. It’s dated and uninteresting to me. Points for “Time of the Season,” a wonderful and classic song.
Wow! The Sugarcubes came roaring out of Iceland with a sound so infectious and arty—like a better B-52s—and a stunner of a lead singer in young Bjork.
I missed this at the time but am loving it. 4.5 stars on first listen
I am so conflicted with these electronic album. It’s just not a good listening experience. And I have spent years in the dance scene and loving it in that context. I recently saw Justice live and holy shit was that fun.
Aside from a couple of bangers, I couldn’t listen all the way through in a single go. The glitch sound is too abrasive, the beats too repetitive. This must be what the Dead is like for Deadheads: you just can’t understand the live experience from the record.
Whew, stunning debut. It is hard to believe she is just 18 on this album. Her love-weary lyrics, husky alto voice, and jazzy piano arrangements drip with hard-earned experience. I was transfixed.
This record was kinda generic r’n’b to me, with at least one song that’s a straight-up MJ impression, vocal tics and all. There are a few standouts: “As Yet Untitled,” acapella and heartfelt, felt more real and showcased his considerable vocal talent. His cover of the classic “Who’s Loving You” is great. And “Sign Your Name” remains one of the great yearning love songs of pop music.
Prodigy hits hard and doesn’t let up. They’re what you get when punk meets electronic meets thrash. As a general rule, electronic albums are nowhere near as good as the live, transcendent communal experience. Prodigy is no different. They completely destroyed the Mojave tent at Coachella this year—performance, energy and crowd were bonkers. Still, this got me dancing and headbanging. A four
Seminal, ground-breaking, innovative, classic.
So they say. I hear middling pop with an annoying vocal. Some was ok.
Sorry, legions of Pet Sounds fans. I don’t get it.
I can tell it’s high-quality. Emmylou Harris sounds great. I kinda like a couple of the tracks, esp his cover of “Love Hurts.” But country rock is really not my jam, and at least two tracks are straight country twang which I really dislike. 2.5 stars
So for thirty years I thought this was an r’n’b group with gospel vocals because of the name.
Uh, hello, 90s lo-fi indie rock? I appreciate the creativity of this record, the dozen+ snippets where you’re dropped into what feels like a full-fledged song for a minute or two, then bang, into the next one. Very Abbey Road medley.
It sounded pretty good, but I wasn’t especially taken with it.
Absolutely timeless, like Sade’s beauty.
Although, adulthood has had a lot less gambling in Monaco casinos in ball gowns and jetting between New York and London on the Concorde than “Smooth Operator” led me to believe at 15.
I was worried about getting this. I’ve always heard this is Miles’ “difficult” and “inaccessible” album.
What? I found it totally enjoyable. The music sounded great, not too atonal. The musicians are obviously first rate. I admittedly didn’t pay super close attention to it, even in headphones, as today’s further descent into fascism (National Guard and military against largely peaceful protestors - who are protesting blatantly illegal actions by an unbound “President”) has hijacked my attention.
Still, the density, joy, and difficulty of this music perhaps is perfect for the moment. Life, and living in a society of imperfect people, is complicated.
Was I looking forward to my fourth live double-album from the ‘70s in two weeks? Absolutely not.
But this was a pleasant surprise. I’ve never heard of Soft Machine, though a musician friend enlightened me about the project involving a lot of stellar musicians on different albums.
Thankfully for me, this went in a much stronger jazz direction than psych rock or jam band. There were flourishes of late ‘60s/early ‘70s psychedelia and rock on here, most annoyingly with the terrible seemingly improvised vocals on song 2, but such nods to those scenes were used judiciously. I appreciated each of the four album-side-length sessions.
However, I won’t be proactively be playing again this any time soon, so, it’s a 3.
This sounds nearly as fresh as the day it came out and at the same time so emblematic of that wonderful strain of deeply chill and soulful ‘90s hiphop. Both a love letter to and a brilliant melding of samples, DJ Shadow’s opus, two years in the making, is a luscious and hypnotic soundscape. Add in some classic riffs (“We live in Brooklyn, baby” to name one) and rando found audio clips from the archives, like old B-movie dialogue, for delightful Easter eggs. Finally, the tracks deepen, stirring questions of meaning, of life itself.
I love this even more now than then. 5 stars
I’ve been resistant to Radiohead because of being put off by the cultiness of their fans. Well, sign me up for the cult.
I’ve also thought highly of the single that leads off the album, possibly their biggest hit “Everything in its Right Place.” I’m impressed by the rest of the record. Creative, original, interesting, surprising, with some beautifully layered sonic soundscapes.
I have to give it more listens, and I’m happy to.
Very interesting art rock, anchored by the absolutely iconic Once in a Lifetime. I never listened to TH albums even tho I liked the singles—this quirky and compelling collection of sounds makes the case for going deeper, finally, on this band.
This one comes with a lot of baggage as “the best live album of the Seventies.” Sure—the band is right, Van Morrison is in his bag, he is an energetic performer, the audience is into it.
Other than enjoying some of the live exploratory elements, especially the strings, his songs in general don’t do much for me. Best for me were his covers of soul classics, but I’d say Ray Charles and Sam Cooke did them better.
Deep respect for the absolute innovation of these guys. Building their own instruments, creating space-age beats unlike anything else going on, and laying foundational tracks for the development of hip hop and EDM. I also saw them live recently (in 2025,) which was a spellbinding show.
The issue is how these tunes sound as an album, 50 years on. While the plinks and chugs are enjoyable, the songs are weighed down by simplicity and repetition. A perhaps regretful 3 from me as a listening experience.
I hadn’t heard this album in 20 years. I like it even more now.
I didn’t have the back story before about M.I.A. teaching herself the drum machine. The production is so cool—each track has great beats and so many creative and unusual elements. Plus her delivery, the subject matter - global revolution, poor people rising up - and her heritage as a Sri Lankan, whaat?
5 stars
The Doors did white boy blues rock better than anyone. Just iconic songs on here, like “Roadhouse Blues” and “Waiting for the Sun.” “Indian Summer” is a top Doors song for me too. The rest of the album rocks too, even if it’s not all classics.
The Doors are divisive. I’m in a split marriage myself: my husband thinks they’re pretentious and Manzarek’s keys unbearably carnival-esque.
I love them. Jim’s poetry and delivery are impressive. The songs are great. The keyboard works for me in context.
This is one of their stronger albums. Five stars
A absolute ripper of a debut album. They came out the gate with tons of rock’n’roll swagger, an outrageous and lecherous lead singer in David Lee Roth, and a generational guitar talent in Eddie Van Halen. It’s an addictive onslaught.
I love their cover of “You Really Got Me” and “Ain’t Talkin Bout Love” is maybe my favorite Van Halen song. I loved this album at 14, and I still really enjoy it forty years later.
Knocked down from a 5 because of a couple of weaker songs.
The first two tracks felt weak to me but the album kicked into another gear after that with the classic “Summertime.” There were a couple of other standouts after that: “Piece of My Heart,” one of Janis’ most famous songs; “Sweet Mary;” and the closer “Ball and Chain.” I enjoyed hearing the 1968 Fillmore East crowd on that one.
Janis’ scratchy and ragged vocals aren’t necessarily pleasing but her uniqueness, delivery, power and passion are undeniable.
I also liked some of the jam elements and guitar tones and solos. But overall, is this a great record to me? It’s a 3.5 and given that I don’t think I’d necessarily throw it on again, I think I’ll round down on this one.
Well, knock me over with a feather. I don’t hate something labeled “country and western” and “honky tonk.”
If this is what older country sounds like, I might be able to get behind it. Ray’s great voice hardly touches twang, and the stories of unrequited love, desire, and addictions that fuel Night Life weave the album into a cohesive whole.
A couple of songs even sounded like they could have been Elvis songs in the delivery and sound. Far from the nasal twang and good ole boy content of the country I can’t stomach.
Alas, while I didn’t hate it, it doesn’t light me up either. Three stars.
Oh, Neil Young. CSN&Y meant so much to me growing up. But I just don’t vibe with your solo stuff. I see the songwriting prowess; the sound does nothing for me though.
Ah, I really enjoyed this. Beautiful, shimmery dream pop (not my usual genre) that I missed first time around. Although it is impossible to understand even a single word from the lead singer, even accounting for the difference between Scottish and American English :)
Ooh, I really enjoyed this. Jazz and rock jams but made interesting with arty elements and grooving with beats. No noodles and navel-gazing here. I’ve heard of Can forever but never heard an album. So glad I did today.
I really want to appreciate this because I want to be the kind of person who appreciates the jazz greats. Besides, “hard bop” sounds like it should be bops that go hard, and “Thelonious Monk” has to be the coolest name that’s ever been.
Alas, these meanderings just didn’t do much for me. They were pleasant. And I recognize and like the riff off the last track, “Bemsha Swing,” even adding it to my 1001 playlist. But the rest of the record, to use a technical term, felt too doodly to me.
Sorry, Theo.
This is a 4 for me. There are a couple misses, most notably the epic where he sings from the perspective of a Native American (cringe,) but Sir Elton is such a generational talent that his brilliance lifts all of it. And then there’s that epic run at the beginning with Tiny Dancer, Levon, and Madman Across the Water.
From the iconic opening notes of “Purple Haze” to the iconic question “Are You Experienced?” that closes the album, this record is absolutely stacked. It has several all-timers in the above, “Wind Cries Mary,” “Foxy Lady,” and “Hey Joe,” but there are no skips. A hell of a debut record and a timeless classic.
Here is another album I may have appreciated more in my youth, had I been exposed to more alt-rock. In 1988 I was about rap and what was on the radio and MTV. The Pixies didn’t enter my world.
I can easily see the influence on Kurt Cobain and Nirvana. Tonal shifts and lush guitars giving way to chaos. Garage rock and DIY sensibility. I like some songs, including “Where Is My Mind” which made it to the playlist. I’m iffy on the iffy vocals, the between-song patter largely doesn’t work for me, and the whole lands in “fine” territory.
Not my style. While I appreciate the moving back story, and the review in the book adds respect for the musicianship, I’m still averse to the music itself.
Noodly prog rock with no song structure to hold onto, atonal chords, and a less-than-stellar singer does not add up to much enjoyment for me, regardless of the peerage of the musicians or some interesting flourishes.
A high 1.5
He’s called The King—and Elvis the Pelvis—for a reason. I don’t think anyone was doing sexy croon quite like him. These songs are inconsequential and pleasing as hell.
Some real dated ‘80s production on this but Michael’s performance is so stellar that it can’t help but lift the entire project.
There is some filler on this album. Standouts are “Bad,” “Dirty Diana” (in my MJ top 5,) and “Smooth Criminal.”
A second live double-album in a row is a tough pill to swallow. I figured this had to be better than Frampton, and it is. But I’ve never been into piano jazz. It’s fine, nothing that makes me perk up.
I made it nearly an hour in but really couldn’t finish. I was just bored to tears. I remember this album being a ubiquitous mega hit in 1977 when I was first starting to notice popular music. Thank god my little 7-year-old ass has the sense to prefer Saturday Night Fever and disco over this dreck.
“Show Me the Way” is ok. I’m teetering between a 1 and 2. I’m going 1 - I don’t like it.
Never heard this yet feel like it’s been with me my whole life. Damn I’m a sucker for ‘60s soul. It’s just such a classic sound that I never get tired of. Wonderful singer too.
This just didn’t do much for me, and I’ve always recoiled from the hit single “Stupid Girl.” (I do like the other single, “I’m Only Happy When It Rains.”)
Nineties rock appears to bore me these days. I want to like it, especially with a vicious-sounding female lead and NIN producers. But I give it a big meh.
Astounding. This is an utterly unique achievement, combining winning song-craft and especially beautiful piano with an intriguing concept (the history of Illinois?!).
There are some classics on her like “Sympathy for the Devil” and “Street Fighting Man,” but much of the rest I was neutral about, or actively turned off by (the country-rock tunes.)
Hmm. This is intriguing. I like some of the jangly indie rock and more upbeat tracks. I also like the gauzy soundscapes they can create. The singer’s aggressively British accent detracted for me, and there were no standout songs on an admittedly-distracted listen, except for the ubiquitous “Woo Hoo!” number, which I shamefacedly added to my like playlist.
I’d be up for another listen and re-consideration, if not for the relentless gauntlet of daily albums…
Slim Shady, you ridiculously precocious little snot you. Deft rhymes, wild delivery, creative, and damaged and childish as hell.
Slim Shady? That boy needs therapy
Got another “never say never” moment. I went in to this with a bad attitude toward reggae. Too same-y, too dependent on an overly similar sound between songs and bands.
Well, Burning Spear is a template for good reason. The sound (mixing? production?) is superb, the vibes immaculate.
I don’t want to throw it on every day, but glad to have this spear in my quiver (don’t hate me.)
I remember the excitement when this came out, bringing the underground UK d’n’b scene to the masses, complete with a couple of singles. I had the CD. I liked parts. I still appreciate some of it - there are interesting flashes among too much repetition.
Thought of Van Morrison as soft dad rock but, once again, actually listened has dispelled my prejudice. Lovely singer-songwriter stylings. Just classic sounds, this Irishman’s music feels like Northern CA gauzy sunshine in the ‘70s to me.
Punishing, indeed. I know there are fans for this kind of anti-pop, minor chord, and overly dramatic and orchestral “chanson” stylings. I’m just not one of them.
Hard metal isn’t my thing these days. They’re good even though it sounds like a Metallica ripoff to me. Punishing guitars and drums, leavened by some more melodic interludes and lyrics about love and loss. Still, the unrelenting ragged growl of the frontman’s voice is too much, tips it into too aggressive and ugly for me now. It’s a 1 not based on artistic merit but to indicate that’s it’s not for me.
Oh, smooth smooth Frank. A little too smooth for my tastes. Loving the bossa nova Brazilian style. I do feel like actual Brazilian artists such as Astrud Gilberto have done better versions. Still, martinis and caipirinhas call.
I feel terrible doing this, but it’s a three for me on a first listen. I’m big Simon and Garfunkel fan and respect Simon’s songwriting and lyricism. But this just struck me today as a little soft and goofy to me. There were flashes of greatness and for that, it’s a 3. I’ll listen again.
Distinctive, creative, crafts a layered soundscape graced by Peter Gabriel’s voice, lyrics, guests vocalists, Brazilian and Afrobeat touches. 5 hit singles out of 8 tracks tells you something including time-tested classics like Sledgehammer and In Your Eyes. Count me a new Peter Gabriel fan.
Not as intolerable to my ears as I was dreading, as at this point in my life I’ve had enough of most classic rock. This is my first listen to this album of heavy rock with some interesting flourishes like a conversation back-and-forth between a guitar and keyboard. Ian Gillan is a legendary singer and has range within the rock god confines.
I appreciated it in parts, don’t need to listen to again.
Two of my absolute favorite Smiths tracks are on this album, Bigmouth Strikes Again and There Is A Light that Never Goes Out. The band is at their height on this album. Johnny Marr’s shimmering guitar as always is a marvel. But this album is brought down for me by the throwaway, and retrograde, song Some Girls are Bigger Than Others that unfortunately closes the album, and too-long forays into British whimsy like Frankly Mr. Shankley. It’s a 4.5.
The White Stripes just sound so fucking cool, and Jack White brings it with the rock star attitude, vocals and guitar. Just irresistible rock’n’roll. 4.5 bordering on 5
This is the epitome of background music. While I appreciate that the melding of Brazilian sounds with electronic beats into a downtempo world beat stew might have sounded fresh in 1999, it’s stale now. I liked the couple of times the rhythm switched up and foregrounded drums or guitar. Otherwise, it just didn’t capture me.
Wow, what a discovery! I loved it. Post-hardcore with the edge and anger of punk, plus creative and interesting signature change-ups, beautiful parts, ragged parts. An album, and a genre, I look forward to diving deeper into.
By halfway through I was bored as hell. All the songs are at a similar tempo and the vocals are sleepy. There are some good moments that sound very Nirvana-y, when the tempo picks up and the sounds get janglier. It’s a good reminder that Nirvana wasn’t all Kurt Cobain and that Dave Grohl has talent too. But this has aged into dad rock at this point.
Oof, this is tough. Never heard them before. The music sounds great, I love the soundscapes and build and some tracks just go. The soaring whiny vocals distract for me, and some songs seem to go on too long. I’d happily re-listen though.
Never heard of the Stranglers, but it turns out two originals on here are classic songs I know well: “Peaches” and “Get a Grip on Yourself.”
I was adjacent to the hardcore punk scene as a teen in Venice in the ‘80s, so I still have a hard time calling this kind of rock- and songcraft-forward music “punk.” But I really dig this kind of sound, that provided the bridge into art-rock, new wave, and alt-rock.
Having a hard time rating it. It’s a 4 in that I’d like it in my collection, but a 3 as I like it a lot but don’t anticipate listening that much at this stage in my life. 90 records in and I think I’m refining my rating system downward, making this a 3.
I worshipped this record when I was a teenager. There was a period where I thought “Stairway to Heaven” was the most beautiful song ever, and I’d listen on headphones to ease myself to sleep.
So, does it hold up to my personal and general cultural lore? Goddamn right it does! Every track is a standout. Zep is undefeated, this remains a 5.
30 years on and I still can’t make out most of what Eddie Vedder’s saying. I liked it, I can hear it’s good, I’m just not that moved by big arena rock (as arena rock as grunge gets.) Points to the heartbreak lyric: “I know someday you’ll have a beautiful life. You’ll be a star in someone’s sky. But why, why, why not mine?”
Appreciated the wall-of-noise sound, the fuzz, the grunge, and the style switch-ups. Weak vocals, and a lot of nuance I’m sure I missed on a distracted listen.
Wow, what fun! I’d heard of MC5 as a proto-punk band, I didn’t know they were *this* early. Some straight-up thrash punk from 1968. What a refreshing and exciting sound for that era. They also draw from soul, rock, even some prog. I enjoyed.
It’s hard not to be overwhelmed by the depth of the loss, of losing Amy Winehouse at just 27 years old. An utterly unique voice coupled with her peerless tribute and updating of ‘60’s style. Some of these songs, like the title song, sound like classics that have always been here. I wish we had more of her.
Whoa, this surprised me! Starts with kinda flat synths and vocals and then goes on a musical ride, though always staying in the new wave lane. Is new wave jam band a thing? (Or a the, I guess?)
Really enjoyed it. I agree with some of the other reviewers who called it Bowie-esque.
Always, just beautiful voice and sounds. It didn’t distinguish itself on first listen as a step above the typically gorgeous sounds of this genre, so it’s a bit of a reluctant 4 rather than 5.
This album has three amazing songs in a row where the sparseness of the vocals and production serves to build emotion and tension—Crystalized, Islands, Heart Skipped a Beat. But sadly, that same sparseness is too simple and lacking to carry the rest of the record.
What an absolute treat. Other than Hey-Ya, I haven’t heard this in 20 years. I’m even more impressed than I was at the time. Love BigBoi’s dirty south mastery and flow on album one. Only downside is some skits that drag. And then Andre, creative genius savant that he is comes through with an eclecticism and originality that’s just stunning—some juvenilia aside. And bops galore.
OutKast individually and together are truly gifted originators. Five stars
I find as I’m getting older that I really appreciate artistic statements like these. Just a singular artist flexing creativity, innovation and charisma. I love the build on these songs, the wild places they end up. Ultimately, this is poetry or theatre experienced in music. 5 stars.
Gosh, I’m conflicted here. I absolutely loved and devoured “Live Through This” in 1994. And then didn’t hear this album until now, 2025.
I can hear how the band evolved and strengthened (and I know there are other players and contributors, like Billy Corgan.) The music is undeniably more interesting and complex. The songs are well-crafted. But on this first listen, Courtney’s (deliberately?) ugly and ragged voice is too distracting to me, and the overall wall of buzzing sound isn’t engaging me.
X-Tina’s voice is powerful and flexible, gliding from spoken purrs to glissandos and roars. The production on this is the best money could buy at the time.
But this album feels very much of its time. It screams pop girlie/r’n’b diva 2002. I liked the couple bangers, but too much of the album settled into middling r’n’b and midrange tempo to hold my interest. The deliberate switch from teen pop princess in the late 90s to sexed-up grown woman here is kinda cringe too. It’s a high 2/low 3 for me.
This is a spell-binding piece of art. Her voice, clarion calls for justice, and that guitar. Hard to believe she was just 23, there’s so much wisdom here.
There is no denying the pop sensibility of this album. It’s full-on rock’n’roll with catchy riffs and hit after hit. I just gave in to the FM circa 1976 juggernaut and enjoyed most of these songs for what they are. Is it too big? Is it too cheesy? Have you heard the hits a million times? All yes, and they are still fun. I can, however, love it and leave it, and therefore it’s a 3.
I’m a Gen X who somehow never heard this full album. Wow. Prince is the man. Funk, dance, new wave, rock, all at the highest levels, and synthesized in such a ground-breaking way. His talent is off the charts, and that’s before we get to his elastic voice stretching into the most primal cries, the fact that he played almost all the instruments himself, and that he put all his freak in.
A classic.
Man, I have got to stop judging and dismissing bands on their name alone. In this case, I assumed they were some sort of shoegaze that would bore the shit out of me.
Wrong. This is balls-out rock’n’roll. Think White Stripes, one of my favorites. It’s a high 3 teetering on 4 if it got added to rotation. Still, I don’t really see myself playing this that much these days, so 3 it is. Might revisit that.
For some reason, probably because of the name, I always thought Badly Drawn Boy was some sort of forgettable indie twee or emo from the 2000’s. Turns out it’s an arresting piece of art from a singer/songwriter, with gorgeous and idiosyncratic instrumentation and interesting lyrics. It will reward future close listens
I missed Mudhoney during the grunge era. They sound good. Energetic, fast drums and guitar. Must have been fun back in the day, a little too hectic for me now.
Sometimes a voice just stops you in your tracks. Miriam Makeba has that voice. She emerges sounding fully-formed out the gate with this first album from 1960. I love the African music tracks and her singing in a native tongue, complete with clicks (how?!). The English-language songs tend to follow a slower, swooning midcentury kind of sound, very orchestral, which I don’t love, but like an Ella or Aretha, the voice is so commanding that you kinda want to follow it anywhere.
This would be great to drop during a dinner party. It’s going in the rotation
First time hearing this fabled album. I like this style a lot more than the country rock dominant in this era. I enjoyed the heavy rocking prog and jazz influences, hearing some really good musicians go on journeys.
I’m glad I heard it, but I wasn’t compelled by the subject matter so don’t feel called to listen again necessarily.
Sorry Deadheads. It’s just not for me.
I’ve heard too much country folk rock in my life. Just don’t like the style. I can see value in their musicianship.
I can tell there is excellent production, musicianship and heartfelt lyrics on this album. But it would take a real investment to get into it. I listened, admittedly while working, but it just faded into the background for me. I can have a hard time with these indie opuses - if it doesn’t capture me right away, I don’t really feel motivated to immerse myself long enough in its world to care.
I don’t know that I’ll ever get the appeal of intentionally discordant, weird, or atonal music. Luckily those elements aren’t the totality of this album. The rest—the Portuguese beats, language and drumming—is enjoyable enough.
Oh, stoned 16 year old me was so into this album. I re-listened recently and it holds up. Great early psychedelica without the flourishes that can date the music. Compelling and catchy tunes, further enhanced by a hell of a lead singer, Grace Slick.
I could listen to Johnny Cash with his grizzled, life-worn, and somehow deeply vulnerable voice read the phone book. This album, even if mostly covers, is a wow. I love how eclectic it is, covering everything from folk tunes to the Beatles to Depeche Mode (!!). It also contains his astounding rendition of NIN’s “Hurt.” It doesn’t get much better than this for feeling the sweep, pain, love and vagaries of life.
I grew up on CSN and CSN&Y, though never knew of this album, David Crosby’s first solo record after CSN&Y’s blockbuster - and one of my formative albums - “Deja Vu.”
There are no recognizable tunes on here to me, but what is recognizable is Crosby’s excellent songcraft, guitar, and melody. I have a feeling this will reward future listens, and thus it gets a four.
Ambitious album, with so many influences and styles woven throughout. A talented band who I’ve never heard of. There’s shoegaze, garage rock, punk, and fittingly for the Subpop label in 1993, grunge.
It’s good, I like it, but I wasn’t especially compelled by it.
This album has entirely too much in it and it goes for too long. It’s an endless sample explosion, and rarely gets an infectious dance beat going to carry you through. There are some flashes of greatness, like funny snippets, a left field sound, a great mix into the next track, or a legitimately good track like “Frontier Psychiatrist” (“that boy needs therapy.”)
This is very much of its era as well, which I was deep in: downtempo, electronic beats, samplecore. But I am happy to leave it in the past.
Love the Doors, problematic front man and all. This record is heavy on the blues rock, which works for them. Band sounds great, Manzarek’s keyboard is on point, not too noodly. Jim doesn’t sound too drunk and his poetry shines. “LA Woman” (and I am one,) “Wasp/Texas Radio” and of course “Riders on the Storm” are standouts.
I grew up avoiding Bob Dylan, hating his nasal twang, his surly reputation, and folk in general.
But damn, you gotta give it up for this album. Really exemplary storytelling, accompanied just so by the guitar and harmonica. I look forward to repeated listens to enjoy the writing and the mid century characters he evokes. I appreciate the political consciousness too.
Somehow I was a 70s kid and never knew that this is a rock opera (and goddamn, how many rock operas did this era produce!) Anyway, I always assumed Meatloaf must be heavy metal. I think he and Ozzy conflated in my mind what with the bats and all.
But there, in all its 70s glory, self-importance, and theatricality, it is indeed operatic. Meatloaf’s soaring, emotional voice is perfect for this material. The themes of love and heartache work their magic. It’s a ball of cheese, but good cheese.
I missed this, too, at the time, but would have loved it. I wasn’t listening to college radio which I think was probably the only place to her Jesus and Mary Chain in 1987. They sound much like other indie rock I love, like the Cure and the Smiths. The 80s had some really prime alt rock.
Some rap from the early days sounds hopelessly simplistic in both rhymes and beats. This groundbreaking album at the time (first major release by a female rapper) sadly falls in that camp. Despite some interesting Jamaican/rasta flourishes and singing that adds some dimensionality, ultimately the Queen’s simple delivery and DJ MC 45 (or something)’s lowkey beats just don’t hold my interest now.
I really want to like Bjork. I feel like a basic bitch, but her sound is just too weird for me. Especially this album of bloops, bleeps, and atmospheric meanderings.
I love this transition period of the Beatles, that fertile time around 1965 when they were rapidly evolving from kiddie pop to creative visionaries, and the albums hint at where they are going. Rubber Soul and Revolver are the Ur examples of that.
Rubber Soul is the comparatively weaker of the two, but it is always welcome in the rotation. Some absolutely classic songs here too, like “In My Life” and “Michelle.” I have always been upset with the misogyny of the final track, “Run For Your Life”, an unfortunate blot on the Beatles discography.
This is quite melodic for seminal punk. This music has a classic, dissatisfied youth edge. It doesn’t sound dated. I appreciate the guitars (more than one chord!), songcraft, and there’s even singing. Not bad.
Astounding use of sound. The man is a musical genius. It’s a four right now because I’ve only heard it once, it’s a bit experimental so didn’t get its permanent hooks in me right away, but I am adding this to my library and am excited to explore more Bowie.
Some certified bangers on here. The bass and production go hard on this grime record. But sorry Skepta, it's tough to sound gangsta with a British accent and the lyrics/subject matter isn’t among the best.
I have spent the last 35 years thinking Alice In Chains was probably a knockoff Nirvana that I didn’t need to hear. It turns out they around much more like a knockoff Metallica, but in the best way. Huge guitars, huge drums, huge riffs, great frontman. I enjoyed it, tho I don’t need to repeat.
I saw them open for Funkadelic last year, and didn’t care for the music. I was hoping that maybe an album recorded nearly 40 years ago would capture them in their prime. But apparently their age is not the problem: I just don’t dig their ska, reggae funk, hard rock punk thing. Points for the last song and their ability.
There’s no denying the skill of this band, the rich sound, or the classicness of the title song, “Aqualung.” But at this time of life, I’m just not that into that era’s prog rock, esp. craggy male vocals.
Sterling singer-songwriter chops here, thankfully almost entirely without dates late-60s flourishes. I added a good half these songs to my playlist. This is a 4.5 on first listen.
I saw “A Complete Unknown” this week and was blown away. Loved every second of the music. I was like, hold on, after a lifetime of resistance am I a big Dylan fan? And do I actually like folk, even down to Pete Seeger’s corny earnestness and Joan Baez’s supremely unironic lilting trills?! So I was stoked to see this come through today. And…ugh. I can’t get past Dylan’s voice (not Timmy Chalamet’s) and didn’t dig the songs so much. The poetry, however, is mostly incredible.
This is a real pageant of an album. Lush orchestration, cohesive theme throughout, songs blending in to and referencing back to each other beautifully, and a soulful, reflective premise that inspired in me, by turns, nostalgia, an inchoate ache, sadness and joy. I would need to be captured more deeply on repeat listens for it to rise to 5 - on a first full listen, it’s a 4.
What a treat! I can’t believe this came out in 1989. It is clearly highly influential on what would come in dance music - breakbeat, bigbeat, and samples that are legendary. Who knew “party and bullshit” goes back at least this far? Similar to the Avalanches’ later samplecore, but with a solid danceable throughline and much catchier treatment.
A ton of energy, blistering guitar, blistering politically-charged lyrics, grooves, a dose of humor, and range. Love it. I saw them in concert in 1989 and they totally ripped. Vernon Reid’s guitar and Corey Glover’s vocals are standouts. A 3.5 in my new rating system - I like it, even a lot, but don’t feel the need to go back to it.
This one is big nostalgia for me. I wore out at cassette at 13 when it came out. I haven’t heard it in over 40 years.
It’s still killer. Political lyrics, fantastically constructed songs, The Edge’s sharp guitar playing. I’m not a fan of later U2 when they became “the biggest band in the world,” but you can see why they broke through with this album.
Bono’s bombastic vocals are too overwrought for me, so it’s bringing it down to 4.5 stars.
The production is by PE’s The Bomb Squad and Chuck D features, so those elements are great. The lyrical content tho is an odd mix of Black empowerment and boasts about killing people and being the baddest and scariest in town. On the whole, a 3 for me.
I do love synth-pop, and there are some stellar moments on this album. I most enjoyed the singles I knew: “It’s a Sin,” “Heart,” and “What Have I Done to Deserve This?”
The rest didn’t jump out at me and some sounds dated, a bit too of its time. 3.5 stars
Disco! Big hits on this one: “He’s the Greatest Dancer” and, of course, the ubiquitous “We Are Family.” You can’t go wrong with Nile Rodgers/Chic production. Nile Rodgers’ clean, plinky guitar is a great complement to the dance floor beats. I’m not as taken with the slower songs but it’s still a solid, enjoyable album.
I surprisingly quite enjoyed this - the swirling Indian ragas mixed with rock (ie, psychedelia). The songs are catchy too including a couple of well-known ones I like and didn’t know were Donovan. Although now this sounds a little formulaic and of its time, 1966 is early for this so I give Donovan his props.
His songs weave a spell. Such great songwriting, beautiful warm tones to the guitar and harmonica. The band, Crazy Horse, sounds great.
Overall, the album gets knocked down a star for me due to the dated-ness of a few of the tunes and lyrical content, and Neil’s unfortunate voice. Still, he’s one of the greats.
Here’s another one that suffers for me because I didn’t listen to it at the time. Insanely influential with a sound that became a template, listening to it 32 years later sounds familiar and a bit simplistic to me. Most tracks just don’t command my interest. Several of the rappers sound great and there are some clever parts, production, and wordplay. I’m sorry I missed this in its time.
I’m not the target demographic here - ie, a teen boy - but damn this shreds. It is far too noisy and unrelenting for me to listen to the whole thing in a sitting, or probably ever revisit, but I do appreciate it. The singer/screamer transforms astonishingly from a rather nice regular voice into the most ragged screams you’ve ever heard. And, he even pulls off the rap/rock parts. I also liked the production with some electronic elements.
I was not stoked to see this come up, because I just thought, “Great. White boys doing reggae.” I only knew UB40 from their ubiquitous hit “Red Red Wine,” and dismissed them as a one-hit wonder.
Then the music came on. It might be white boys doing reggae, but it sounds so smooth. I was surprised how much I liked the warm sounds, the drums, the swaying I could not help.
Initially a four, it dragged for me a bit be the end, and ultimately I felt it was a little too one-dimensional to sustain a 67-minute length. I also thought the inclusion of a “Strange Fruit” cover a bit of an odd choice, and their version does not hold a candle to the original.
I’m going 3.5 stars, which in my system knocks it down to a 3.
Only one of my favorite albums of all time and incredibly influential for me at 17 when it came out. Chuck D’s furious and righteous lyrics helped stoke my political and social consciousness, which led to a political science major in college and now a lifelong career in mission-driven work. It exposed me to the sonic wonders of superlative production, bass, and absolute jams, which brought me to glorious bass-heavy dance floors and electronic music scenes and a huge appreciation for hip hop.
P.E. - ahead of their time, right on time, and still relevant now.
Pink Floyd does “concept album” better than anyone. Some of their absolute best and most famous tracks like “Another Brick in the Wall,” “Hey You,” “Is There Anybody Out There?”, “Comfortably Numb” and “Run Like Hell” are on this double album. The album is grandiose, utterly transporting and enveloping as is Pink Floyd ‘s way.
Still, I haven’t seen the film, and I didn’t feel some tracks stood on their own as masterpieces, especially those that seemed most tied to advancing the narrative. Due to that, I’m giving this a strong 4.5 stars, rounding down to 4.
I know this is a legendary group. I could not finish. From the opening twangy guitar, to the nasal off-key wannabe Dylan singing to the honkey-tonk country rock style…I just couldn’t stand it. The banjo, fiddle, mandolin (?) and piano sound good. I’d give it 1.5 if I could.
Sabbath rules. Who knew? Not me. The band and their propulsive, driving hard rock sounds great. Ozzy is a bit nasally but his voice soars with and complements the tunes. It’s awesome to hear the foundation of hard rock and metal being laid. Black Sabbath ran so that Metallica could fly.
My first full Bowie album. “Young Americans,” “Fascination Road,” and “Fame” were the stand-outs to me on the first listen. I appreciate the soul sound, inventiveness, and pure musicality throughout. This sounds fresh and exciting 50 years on.
Sigh. I really wanted to love this with my whole, nostalgic Gen X heart. I was prime middle-school age for this when it came out and adored Duran Duran at the time, tho now I can’t remember which one I was in love with.
But now in just regular middle age, it all just sounds like serviceable pop, save for the standout “Rio.” And though when I was 13 “Save a Prayer” was the most beautiful song I’ve ever heard, it now…is not.
3 for nostalgia and “Rio.”
I really enjoyed this all-instrumental intro for me to “post-rock.” Waves of sound, beautiful guitars, some electronic elements, great musicianship. I’m curious to hear more in this genre.
For my first full-length Bjork, this was a challenging one. Not super accessible, it’s a collection of arty and left field “voice music.” Lots of interesting elements and undeniable creativity, but I found getting a toehold difficult.
Some absolute classics and bangers on here, like Tom Sawyer, Limelight, and YYZ. The bombastic drums especially are irresistible. However, some of the album sounds dated 40+ years on, with very-‘80s synths and guitar solos making their appearances. Possibly it was many other bands imitating Rush - this album came out in ‘81 - but regardless, the sounds now carry a heavy whiff of cheese.
Leonard Cohen is just so captivating and distinctive. I love his poetry and his delivery. The music is fairly simple and serves, basically, to present his words, which are always interesting. The Biblical allusions may largely escape me but the sense that his work rewards close listening does not.
Like some other albums, I enjoyed the first songs but my interest waned by the end. I appreciate the inventiveness and psychedelic grooves, but ultimately grew a little bored.
Not I what I was expecting at all based on the band name. They really threw all their influences in the blender on this one: psychedelica, Beatles, Stones, gospel, samples, lots of instruments, and even a proto-house track. It’s good but I also don’t want to relisten. I’m going 4 bc 3.5 isn’t an option, and I’m more positive than my usual neutral 3 rating
There was a time when this was a 5 for me. It was so transgressive and thrilling when it came out. Now, the rhymes sound pretty elementary and the braggadocio comes off as silly. The production is still great though, with a lot of funk to it, soul samples, and left field elements, and Dre, Cube and E all sound great on the mic.
Another 90s rock band that seems to be looking backwards to the psychedelic rock of the 60s. It sounds pretty good, but I was bored. The ubiquitous hit Bittersweet Symphony was the best song on the album for me
Well, this is one of my favorite albums of all time, and was released the year I was born. I remember the first time I heard it, about six years old, in a living room listening session with adults. I felt very sophisticated.
