5/10, I was initially excited for the concept of this website, but I'm repeatedly discovering the flaws of the 1001 albums list, the sheer proliferation of forgettable dad rock. Yes is fine, it's an okay band, but fuckin' hell, a genre besides rock exists, this is easily the most bland-of-its era tripe to exist. 4/10, bad ideas are extended ad-nauseum, while the good ones are cut short, this is a snoozefest disguised under a prog label. 3/10, it just gets worse as it goes on, I don't think I've ever been less interested in a band, ah yes another track of jumbled instrumentals and pained singing, 2/10 is my final. Thank God rock is dead.

This album feels like going out for the day with your mom for a day when you are 7, and while you've long since forgotten what you did, you remember what it felt like. Being softly cradled and warmed by some soft and immutable force that you'll never be able to articulate, but one we've all felt. Beautiful use of Orton's soft, slight and occasionally wailing voice. The arrangements are never dense, but soft and ones that lull and lightly pull you to keep listening. Like soft pirouettes in a slowly dying house. Beth Orton gives us rest in the quiet in-betweens of life. These simple memories that we are forgetting, but somehow it feels comforting to do so. Childhood ended, we've moved on, but that deep yearning never will. (7/10, may end up as an 8 if I keep listening)

8/10 smooth, buttery smooth, smooth, I feel made love to by D'Angelo's pure, primal, non-toxic, sexual, raw smoothness

metal has never been my thing. I suppose there’s a certain level of artifice present within the lyrics and presentation of bands like Slayer. Songs like Angel of Death and Postmortem simply feel performative to me in terms of lyrical content. Maybe it’s more a rejection of the genre clichés than the music itself for me personally. It's competently made music, well put together and a pleasingly brief in a satisfying way. I simply have no wish to ever listen to it again, but am glad I did if only to gain insight into a genre I still have no draw towards. 6/10

1/10, not my thing

9/10, punky, garage, dark, rollicking, scratchy

9/10

Classic, harmonies off the chain, true classic

7/10, when will we be married molly when will we be wed when will we be bedded in the same bed when will we be married molly when will we be wed when will we be bedded in the same bed when will we be married molly when will we be wed when will we be bedded in the same bed when will we be married molly when will we be wed when will we be bedded in the same bed when will we be married molly when will we be wed when will we be bedded in the same bed when will we be married molly when will we be wed when will we be bedded in the same bed when will we be married molly when will we be wed when will we be bedded in the same bed when will we be married molly when will we be wed when will we be bedded in the same bed when will we be married molly when will we be wed when will we be bedded in the same bed when will we be married molly when will we be wed when will we be bedded in the same bed

8/10, pretty great Bowie album and a nice left turn for Iggy. OG China Girl is best

9/10, Definitive New Wave classic, fantastic songs, all killer no filler

9/10 sad, back with a vengeance, some of the best tracks they've made, some that's samey

9/10, better than Low. Iconic, great sounds, his best.

5/10, a good time, but nothing about it really sticks with you. Middling at best

8/10, absolute classic

7/10, seminal punk album, lesser than it's peers, but still incredible and remains visceral to this day. EMI is the best track.

9/10, Seminal Radiohead album, and the best, what cemented them as the greatest modern band within recent memory

8/10 smooth, buttery smooth, smooth, I feel made love to by D'Angelo's pure, primal, non-toxic, sexual, raw smoothness

5/10, good grooves, good solos, good riffs, decent record, but no spectacular song that stands out, quite dated

5/10, average. Some good tracks, but doesn't stand out from particular era of electronic music

8/10, beautiful, and grimy. Class, and sex. Grand, and quiet. Operatic, and boozy.

1/10, not my thing

5/10. Pt. I is absolutely fantastic, but falls off a large amount in Pt. II, overall a worthwhile album, and worth returning to, but not as consistent as I'd like, perhaps to much to ask of prog

4/10, decent, gloomy, preachy, but undeniably the Smiths

8/10, fantastic production, aged ridiculously well, with inspired turns from all the performers, doesn't feel especially 90's, and is well worth a spin

3/10, Rather forgettable, and did not stick with me in the slightest

5/10, Seinfeld effect, ahead of its time, but done better by it's progenitors. Some standout tracks, but not enough to save it

Grungy, pretty good 6/10

Some real standout ambient tracks, but all the vocals haven't aged as well 7/10

8/10, spacey, repetitive in the best way possible, very forward thinking, very good. v good.

6/10, good covers, but not incredible. Frontloaded and conceit fades throughout the album

7/10, really grew on me as I listened, fantastic riffs, truly excellent, not quite my thing, but so we'll made I like it.

8/10, this is what I want my dreams to sound like. Ethereal, easy, calming, mournful, and floating into nothing

3/10, dated, flat, uninspiring. May have been groundbreaking in '77, but sounds flat to '22 ears. Some good concepts, but not utilized well. this album may be a grower, but it's sure not a shower.

5/10, I was initially excited for the concept of this website, but I'm repeatedly discovering the flaws of the 1001 albums list, the sheer proliferation of forgettable dad rock. Yes is fine, it's an okay band, but fuckin' hell, a genre besides rock exists, this is easily the most bland-of-its era tripe to exist. 4/10, bad ideas are extended ad-nauseum, while the good ones are cut short, this is a snoozefest disguised under a prog label. 3/10, it just gets worse as it goes on, I don't think I've ever been less interested in a band, ah yes another track of jumbled instrumentals and pained singing, 2/10 is my final. Thank God rock is dead.

7/10, proggy! fun! I feel that most people listen to this because of POWER and it ends up being really good in its own right!

8/10, Davis definitely perfected jazz fusion with later releases. Yet as a first foray however, this shows a precocious level of competence and confidence of vision. Electrical striations dance around Miles while he's breaking in feverish licks on Shhh/Peaceful. In a Silent Way broaches mournful melodies before descending into a whirlpool of strumming, electric tensions before an all time great rhythmic break at the 13 minute mark. We then return to the contemplative afterwards, calmly bidding adieu with a coda and final moments of quietude. An album worth popping in on a productive Sunday afternoon

6/10, an especially weak first half gives way to an experimental and really fun second half that completely saves the album. The conventional ska of the first half is rather milquetoast, and led me to rolling my eyes repeatedly, but the dynamism that Jerry Dammers brought from “Sock It to ‘em J.B.” And on shows the energy and experimentation saved for the later tracks

This album feels like going out for the day with your mom for a day when you are 7, and while you've long since forgotten what you did, you remember what it felt like. Being softly cradled and warmed by some soft and immutable force that you'll never be able to articulate, but one we've all felt. Beautiful use of Orton's soft, slight and occasionally wailing voice. The arrangements are never dense, but soft and ones that lull and lightly pull you to keep listening. Like soft pirouettes in a slowly dying house. Beth Orton gives us rest in the quiet in-betweens of life. These simple memories that we are forgetting, but somehow it feels comforting to do so. Childhood ended, we've moved on, but that deep yearning never will. (7/10, may end up as an 8 if I keep listening)

A bit confused at the inclusion of this album into the 1001 albums list, as overall this is a slight, blasé album that provides little besides some decent lyrics and pedestrian music clichés of the 1980's packaged into one convenient album. Most interesting ideas are cut short but some are left to flourish like on the excellent Late Great Johnny Ace and Train in the Distance. Overall it's hard to dislike this album, but I'd argue even harder to love, a skip if there ever was one

metal has never been my thing. I suppose there’s a certain level of artifice present within the lyrics and presentation of bands like Slayer. Songs like Angel of Death and Postmortem simply feel performative to me in terms of lyrical content. Maybe it’s more a rejection of the genre clichés than the music itself for me personally. It's competently made music, well put together and a pleasingly brief in a satisfying way. I simply have no wish to ever listen to it again, but am glad I did if only to gain insight into a genre I still have no draw towards. 6/10

The New Wave crashed and reverberated through America in the 80's, and became the Cold War of the British Invasion. Listening to albums like this, it's hard not to see why. The rattle, humming and texture of the album belies the novelty that was synth-pop's first breaths. It's a masterful experience to listen and hear the sound cascade over your ears in "Sealand". There's a distinct, and odd, warmth to every track bleeding through the frigid synths. OMD not only created a blueprint for the later 80's, but also it's first bonafide masterpiece and balances open soundscapes and tighter, shorter tracks. As a big fan of synth-pop and New Wave, this is an essential listen for all those passionate about the genre 8/10

From the ripping and spectral opening track, Cohen establishes one of the finer albums reflecting on his own imminent mortality. Ever the poet Cohen looks into his past as a generation's troubadour indelibly tied with the death's coming. His voice is aged and creaky, weight is felt with every line. Meditations on nascent spirituality and lovers felt fill the album on this finely crafted first piece of a diptych. Thanks for the Dance is well recommended as a listen following as it completes many ruminations here. 8/10, this and Blackstar by Bowie are the greatest albums written around mortality of this generation.

The album format has been viewed as a format that really began to flourish with the Beatles who kicked off a really concerted effort to craft entire bodies of work that express a consistent theme or quality. A Girl Called Dusty is not one of those albums. An anemic and loose collection of covers that makes me question why it was included on this project. Dusty's voice is phenomenal, bristling with passion, sincerity and a frankly intimidating depth of range that is let down by a scattershot selection of covers. The emotive heights of Twenty-Four Hours from Tulsa and Mama Said are let down by doldrums of songs and standards that have understandably not stood up to the test of time. while the producer is noted to be inspired by Phil Spector's eponymous 'Wall of Sound', this is rather a poor, cluttered imitation that sounds more jangly and hollow than transformational. There are moments where it shines through, but even then it suggests b-sides of Spector than really standing on its own. As is often the case from records from the 40's-60's, a generational talent and impressive set of pipes that Dusty possesses doesn't save a rather pedestrian sounding album and ends up as a milquetoast arrangement of songs. 4/10, worth listening to pick out a couple of favorites and disposing the rest here

While I feel that Daft Punk didn't fully realize themselves until the warmer human sounds of Discovery. They paid their dues and put in the homework (heh) of crafting tight and near immaculate house music. Few artists have been able to achieve commercial success and artistic integrity like Daft Punk, from the cheeky origin of their name, iconic robotic alter-egos and music that sounds like two obsessives working their absolutely hardest to perfect their craft. House music isn't my thing, and I'll fully admit that the singles off the album remain my favorite, the whole album is made for a sweaty dancing mass, not casual listening, and for those purposes it excels. The craft that would exemplify the rest of Daft Punk's career is burgeoning and can be clearly heard. The driving synth lick from "Da Funk" is instantly addictive, the auditory hypnosis of "Fresh", the T H U M P I N G through the entire album and introduction of the robot voice as an instrument on "Around the World" Yet these ideas, while great, are simply stretched out a little too long, a byproduct of the era and genre, but too my ears it's still a smidge archaic and a bit more brevity would improve the album on a whole. Some tracks like "Phoenix" and "Fresh" are just too sparse for my taste and would benefit from being filled out a smidge more. Overall a 7/10 album, Homework is simply a victim of Daft Punk's later success and I'd simply overshadowed by what was to come. It's well worth visiting however to find the gems here from the beginning of one of the greatest musical projects of all time.