This might take the cake for most self indulgent album of the cd era. I find the sheer length simply unbearable. I don't hear anything in the music/concept to justify its insane demand on the listener. Most of it is so half baked that I find it almost insulting. I don't get it. Both the singing voices and lyrics are irritating to me. In trying to march onward and listen to this there are some okay tunes buried in there but as an album its unrefined/unfiltered stance is utterly preposterous. If someone put this on, I wouldn't be sticking around.

I loved this period in the 90s when the floodgates were temporarily opened to allow for truly unique and idiosyncratic music to make it's way into the mainstream. Record labels were taking chances again, trying to find the next unpredictability big thing in the wake of Nirvana's success and the creation of the "Alternative" classification. Is Alternative still a thing or has that simply evolved into Indie? Had Beck come up in any other time period I think he would have remained a fascinating sort of semi-outsider artist that was beloved in hip circles, but because he came up when he did, he was able to really let his musical ideas run wild and we're all the better for it. As a lad, I really identified with Beck's whole approach. His melding of genres, his surreal lyrics laced with humor, his thrift store hodgepodge aesthetic, his back catalog of smaller indie records that revealed his true range and depth, and then of course records like this one that showed he was capable of practically creating a genre of his own. In my opinion this record temporarily broadened the palette for pop music in the 90s and early 2000s; loosening genre barriers, interweaving samples more fluidly, allowing for more esoteric material, and essentially popularizing a sort of free wheeling collage aesthetic outside of a purely hip hop context. Though "Mellow Gold" is great and "Loser" was, and still remains, his biggest hit, I fear Beck would have remained a one hit wonder had he not met up with The Dust Brothers. They were able to give his musical vision the scale, flow, and shine it needed to cement his appeal with a mass audience. Together they made something that was not only unique and innovative and fresh, but something that was fun as hell. One of the first real big shows I ever went to was seeing him play on the "Odelay" tour with The Roots as the opener. Man, it was a good time. Almost as good a time as I had blasting this album on repeat from a boombox in the backseat of my friend's car during the summer of '96.

McCartney detractors can take a flying fuck. This album is better than half of John Lennon's erratic solo career. People act like John was the true genius behind The Beatles just because he was the most outspoken prick of the bunch. People can't help but love a good quick witted, silver tongued asshole who lives out their fantasies of being an unfiltered bully and getting away with it. Don't get me wrong, I do too... And Lennon reached some unbelievable heights in his solo work - some really intense and profound music to be sure. But he also had some periods of really sloppy floundering. And just because Lennon went on this deep, soul-searching musical journey half the time he went into the studio, doesn't mean McCartney should be expected to do the same thing, nor does it detract from McCartney's brilliance as a songwriter. Yes, Paul McCartney has a softer, more light-hearted approach in his solo material. It reflects him as a person and where he was in his life at the time. He was a dad, and not a largely absent one like his former songwriting partner. So yeah, I get that he wanted to put out something more fun and playful into the world, rather than introspectively crawling further up his own asshole.

What a combination of influences.He brings so much together here. Nothing else sounds like this. This is one of the most original/experimental hip hop albums ever. All over the place in a great way. Love his different voices throughout. Very theatrical and atmospheric all at once. Got some great people on this too - particularly Thundercat. King Kunta is my favorite track and the one that immediately drew me in to him.

Not really a fan of the inclusion of these types of later career albums by established artists on this list. Much rather hear any of her first 12 albums than her 21st album. Much rather hear more vital music from artists establishing themselves from this time period than a "return to form" from a well established artist. Do you see any Frank Sinatra or Little Richard albums from the 70s taking up space on here? No. Because if you did it would take the place of much more vital/relevant music from that time period and it wouldn't make any sense. So why do you see so many of these albums that are a good decade or two after these artist's prime on this list as we get towards more recent music? I can only imagine it is a reflection of the average age of the people making the list. Baby boomers doing what they do best and taking up all the space and resources they can for themselves and consequently stifling the opportunities for younger generations to thrive (probably without fully realizing they are doing so). Not a critique of the album but the list itself.

I liked Lemmy better when he was in Hawkwind.

Now that's more like it. Never listened to this one as much as What's Going On or Here My Dear for some reason but I should have! Another masterpiece. Always love the atmospheres he creates. Love him doing his own backing vocals and the interplay there. Listened to this one 2xs + deluxe edition bonus tracks.

Love the bass forward sound. Love when bass has more of an equal share in the mix and more freedom to be a melodic contributor alongside the guitar, rather than simply being a support. I'd argue that the bass is actually driving the hooks here and is in a sense the main the melodic instrument, with the guitar playing more of an accent /support role stabbing in there with a really trebly sound. Lots of interesting changes and movement/stopping/in/out/bursts of energy. I'm a sucker for this flatter yet still passionate singing style too. Like the way they seem to cut in lower fidelity possibly demo recordings into the mix for effect at certain points throughout. Lyrics and subject matter are my cup of tea. Not too much love and relationships shit here. Punk with a college degree. I might be an Anglophile. Listened to this several times.

I like the smiths alright and this was one of their biggest albums but I can't really get into this one as much. It's weird cause I like the album before this one and the album after this one much more. I'd bet that the latter one, "the queen is dead" is on this 1001 list too. "Well I wonder" is probably my favorite track on the album. Morrissey gets all the glory but Johnny Marr is severely underrated in the US. Moody brooding.

I have a very special place in my heart for Donovan. I don't know if I can quite articulate it. I get the sense he was very true to himself somehow... I guess that it comes down to the fact that I don't get the slightest trace of cynicism from him. I feel like he was one of the hippies who actually believed in the flower power and in doing so had a hard time adjusting after the summer of love came to an end. I don't know if he has an entire album that is a masterpiece per se but I love his sound, even as it changes from song to song. Always interesting arrangements and fusion of influences. Dare to be gentle. Favorite tracks: "Season of the Witch" and "Celeste." Sounds like this album could use a good remastering.

Never listened to a whole Tito Puente album. Really enjoyed listening to this, both by myself and with the family. Love the dance of the lead voices with the chorus and of course the layers of percussion is right up my alley. The "living stereo" mix sounds great and for its time is incredible. Favorite tracks: Llego Mijan and Mi Chiquita Quiere Bembe.

Oh my God. I love everything about this album. Every single song. Best T Rex album hands down. He caught lightning in a bottle here. What a tight little package - so efficient/effective. Cooked to perfection with just the right amount of seasoning in the production. The thing I think I love the most is probably his intonation/phrasing/inflection on nearly every line. So passionate and memorable. Burned into me. Unlike Donovan, Marc Bolan figured out how to transition out of the mystical 60s folk thing and into the sexy ass rock of the 70s. Both a sensitive whimsical dreamer and a rocker with some serious balls. So much catchy joy through it all. Highest caliber pleasure. There might be albums that I like more in one way or another or that mean more to me but I consider this a perfect album. Even the imperfections are perfect. Gotta listen to the expanded and remastered version. Bonus: cult favorites of mine, Flo and Eddie of the Turtles, are on backing vox. I feel they might be the real secret ingredient in making the mix really shine.

I tend to not love live albums unless there is something really unique in the performance. This one, being a double album, I found to drag on a bit toward the end. I liked the 4 song run between "Dancing in the Moonlight" and "Johnny the Fox," gravitating more toward the slower songs.

I know Jah Wobble more from PIL and his collaborations with Holger Czukay of Can. I like him as a support player/collaborator but maybe not so much as a solo artist. He's got a ton of releases and I wonder why this particular one was chosen. I feel like this list is pretty solid in its picks the further back it goes but right about here in the timeline going forward it gets a little more spotty. Can't say I really enjoyed it, like I don't want to listen to it again, but it wouldn't really bother me if someone had it on in the background. Okay, skipped through the tracks again and I like the first song alright as a single but the rest of the album doesn't have the same vibe. 2.5 rounded down I guess?

My favorite Nilsson album. Nobody sounds quite like him. Has a sort of timeless quality. Amazing voice and gorgeous arrangements. Incredible range on display here in terms of emotions/moods captured and influences that he's woven together with impeccable pop craftsmanship. I feel like he sort of went off the rails in some ways after this album but this is him at his absolute apex. Love the album cover too. It's so bravely honestly vulnerably human, especially for the time. So comfortable with himself/who he is. I feel like it was a comically self deprecating way to balance the sheer beauty of the music. That and poke fun of the egos of so many other music performers.

Nice little lesser known gem from the era. Cool that it's on the list. Sounds like some thing between Nirvana, The Pixies, and Dinosaur Jr., with a dash of XTC thrown in for that pop element/vocal delivery that almost gets gleefully overdone at points? I feel like "A Good Idea" (which sounds like a Pixies outtake) is the standout track here by far and nothing else can quite touch it on the rest of the album. Definitely some unexpected/interesting sonic touches throughout that I didn't expect. 3.5 rounded down to 3.

One I've not listened to before. Always heard praise for them but just thought of them as one hit wonders with "Come on Eileen" and kind of dismissed them. Love the way it starts with dialing through the radio. I'd bet this was a real fun live show to catch back around when this record came out. Ambitious punks trying to get soulful. Walking a fine line between earnestness and irony but it sure sounds like they are having a good time doing it. I think my favorite thing on the record is the verses on "thankfully not living in yorkshire..." (But not necessarily the choruses). Probably my favorite whole track is "tell me when my light turns green." I'd bet if I was really fucking drunk I'd love this.

I feel like this is prince's last truly great album. Kind of like his "songs in the key of life." His last big supernova before becoming a neutron star. Like he's trying to get everything out, throwing in the kitchen sink while he's at it (even a live track). I'm kind of a sucker for sprawling, all over the place, wooden rollercoaster type albums with all kinds of twists and turns from track to track. Love him playing different characters with different voices. Love the Linn drum sound. Love the playfulness and range of emotions. Love Prince. Listened to the super deluxe edition.

This came out when I was 13-14 years old. I was pretty much the target audience for this and it never really grabbed me back then. Still doesn't. I have a certain nostalgic thing for "Self Esteem" but that's about it. That one in particular has a more Nirvana like feel which is probably why I'm more attracted to it. Oh man the "secret track" at the end - forgot about those and how they'd translate to modern streaming. So of it's time.

Had only heard the singles. It kind of surprised me that this came out in 88 as I remember those first two songs on the album being in the atmosphere throughout the 90s and I associate her sound with the 90s. You can definitely hear her influence on alot of what came after. Ahead of it's time in that way and a very unique sound when you think of what else what was going on at the time. Such a clean/pristine/naked/vulnerable sound. I guess sometimes stripping things down can be revolutionary. Kind of an amazing that an album so at odds with the sound of the time and one that was so political was able to be such a smash hit. It gets a little more 80s sounding on "baby can I hold you" and "mountains o things" with those arrangements.

Had to listen to this twice for it to even sink in. It just kind of washed over me. The vocal delivery is like Bono trying to channel Jim Morrison's ghost (especially on thorn of crowns). Ambitious and moody. Like a strange hybrid of The Cure, Bauhaus, XTC, and U2. "The Killing Moon" reminds me of Radiohead. I listened to it a third time (this time in the day) and it started to grow on me. Went from 3 to 4 overnight. At night it seemed so melodramatic but in the daytime it sounded a little more balanced.

Trent Reznor certainly has a unique and original sound. And this is probably his strongest album. I used to own this album and a couple NIN Eps back when I was a teenager but ended up trading them back to get something else cause there was just never a time/place to play them. I give him big points for his sonic inventiveness in incorporating samples and noise and all that texture/atmosphere but I find the relentlessly dark/heavy mood and lyrics to be absolutely exhausting/draining by the end. I'd probably enjoy this much more as an instrumental album. Amazing that "closer" was a hit single. That post "Nevermind" era was incredible the way it opened the floodgates for things like this to at least temporarily become part of the mainstream.

Love VU but Lou Reed's solo stuff is real hit or miss with me. Love the album before this, Transformer, with Bowie's production. I'm sure we'll get around to that one. This one is a little too bleak for me though. I found The Kids to be unbearable, skipped the fucking track when it got to the kid crying. He's recycling a fair amount old unused VU material in places. Like the prominent bass by none other than Cream's Jack Bruce, but that's about it.

Not heard this before. Largely comes off as Radiohead-lite to me with flashes of Blur here and there. Got to respect the ambition though. Love it when the British don't hold back their accents while singing. Perhaps my favorite track is "The loneliness of a Tower crane driver."

Of all the pop punk bands, I think Green Day is the only one I actually enjoy on some level. I've only heard Dookie through Nimrod before though. I've seen this album get alot of praise and I wanted to give it a 3 when I first started listening but as the album goes on I feel like it collapses under its own weight. I respect the ambition but it was a bit of a chore to get through.

I can't help but like this. Especially the Mark Ronson produced tracks - they capture that Phil Spector & Motown vibe so well with just the right amount of modern punch, dynamics, and flair. She has an incredibly soulful voice and her more modern/almost conversational lyrics make the experience more thrilling and not just a revival record. I feel like this is done with absolute reverence for the past while not simply being a reenactment act - similar to the way say the White Stripes' influences are obvious yet they coalesce into something fresh and unique. You can tell this comes from a real place and it is of course a tragedy that she was consumed by her addictions.

I like a fair amount of electronic music from this era, particularly British electronic music, but I never listened to this one somehow. Although it is slightly more dancey than most of what I was listening to back then, this would've fit right in and been a treasured part of the musical landscape. As I think the best electronic music should be, it is a fun headphone ride. I also like all the different influences they incorporate. I gravitate more towards the slower tempo numbers.

I got into Depeche Mode after doing an episode of "my one track mind" and I really enjoy most of their material. This album is no exception. They sound like a link between Kraftwerk and Nine Inch Nails at times. Sucks that some of the track transitions seem to get flubbed by awkward pauses in-between songs on spotify (or maybe it's just my settings)? I love the 3 song run at the beginning of the album best. Listened to the 2006 remaster w/ bonus tracks.

Still about the same for me with Motorhead. Being a live album doesn't really improve things for me. I do like the wider range of material they're drawing from though, especially the earlier stuff from the first album. Favorite track is "motorhead." Like the plane sounds and air raid sirens at the end of that one. Lemmy certainly does have an oddly compelling voice and he really has incredible stamina with it too, sounding like he's pushing it to the max through the whole set.

This was a favorite when I was growing up and is a family favorite now. It's great on road trips, especially with children. Has a positively enchanting atmosphere that is so beautifully pristine and rich. Love everything about this album. From the wonderful guitar, bass, percussion, and vocal work, to the superb production with just the right mix of reverb and delay in all the right places. But what I think is the album's most outstanding feature is probably the lyrics. Absolute poetry with just the right amount of idiosyncratic conversational flashes to keep it down to earth. Not to mention perhaps the most culturally significant aspect of the album in the incorporation of the African musicians and blending of styles that was absolutely revolutionary at the time. Only David Byrne/Talking Heads and maybe Peter Gabriel had really ventured into that type of fusion on the US pop charts at that point.

Not heard this before. Because it's an older stereo recording you get things pushed real hard left and right and I don't love that on headphones. Also being older the recording is a touch on the raw side but it suits the sound I think. I'll listen again on speakers and will probably like it more that way. In a weird way this reminds me of krautrock in it's trance like repetition and jamming. I like the textured/layered rhythm and the tendency towards chanting. It actually sounds very experimental to me yet rooted in something that feels ancient and raw. The birth of the groove. Man, can you imagine seeing this being performed live in a jazz club back in the day?

Just what I needed to hear right now. Sounds like they are really having fun in the studio with this one. Love how Blur can be kind of all over the place soundwise and yet it still feels like a cohesive album. Like it could be a soundtrack to a movie, having to cover this whole broad range of moods/emotions/tones for different scenes. Something to aspire to in my opinion. To me, in the 90s (and only in the 90s), Blur is the silver to Radiohead's gold in the arena of British rock music. And while I do think Radiohead is ultimately the greater band on many levels, I feel Blur is somewhat more versatile and that counts for something. Listened to special edition with bonus tracks.

I was going to do a my one track mind episode with a woman originally from england about this album. Wish I had gotten to that one before I threw in the towel. I would have loved to hear her more firsthand account of this album's significance. Having an interest in punk music inevitably leads you to it's intertwining with reggae/ska/rocksteady. Jamaican music was sort of the equivalent of HipHop to a certain segment of British youth at the time. I'd also say reggae/dub is the most significant precursor to hiphop in many ways but that's a whole nother conversation. Anyway, The Specials are pretty much THE archetypal British ska/two tone band that set the pattern for so many others to follow in their wake. It might sound formulaic now, but at that time they were creating that formula. Anyway, I like this album but don't love it. I find it very enjoyable and it would probably have been a great live show back in the day. It's fun and has the right amount of punk attitude in flashes so as to not spoil the party.

I have a pretty great 2 disc Nina Simone anthology that I listened to alot for awhile but I've never really listened to one of her albums in it's entirety. It's hard to choose with such a long and prolific career (and I'd say she was pretty consistently great through it all). This album has some great tracks for sure. It's fairly spare in it's arrangements on most tracks and she has an amazing ability to use space/silence to build drama. Powerful voice, incredible piano playing. I can't even imagine seeing this live. It would be so intense. I had to check and see if spotify had changed to a new album when I heard the last track "Either way I lose" come on.

One of the most exquisitely beautiful albums you could ever hope to hear. Also a very brave and heartfelt album, leaping head first into uncharted territory beyond genres. Nothing else sounds like this. In my ideal alternate universe this would have caught on more commercially and the Beach Boys would have continued more in this vein. I absolutely adore Brian Wilson and The Beach Boys. This was one of the first CDs I ever owned. I drove down to Iowa to see him perform the album in it's entirety in 2017 and hearing God Only Knows in person was one of the most powerful musical experiences of my life. I always come back to this one and I always will. Transcendent. Hors categorie.

I am generally pretty wary of folk music but I think that mostly applies to American folk music with it's tendency towards an often forced twang. This, however, works for me. I don't know if it's just being that much closer to the source or if it is that it actually rocks pretty damn hard when it wants to. I think alot weighs on the power of Sandy Denny's voice and Richard Thompson's guitar playing.

Man this is a tough one for me. I mean if you put it on I wouldn't necessarily protest but there are things about it that irk me throughout. For example the singing, which is often the make or break it factor, I find right on the edge of tolerable. But the music has just enough inventiveness and interesting touches to bring it back up a notch again somehow. It is such downer of a record though, I know I would never intentionally choose to play it.

Rush tends to be pretty polarizing for people. I think alot of it centers around how you respond to Geddy Lee's voice. The other thing people tend to have strong opinions on is the prog thing. I have absolutely no qualms with prog whatsoever. As far as Geddy Lee's voice I don't love it but I don't think it's necessarily like fingernails on a chalkboard either. I feel like Rush is one of those bands people want you to love or hate and there's not much in-between, but that's where I stand. I'd love to do a "my one track mind" episode with someone who's a big Rush fan. Maybe Paul Rudd or Jason Segal? The more I listen to this, I have to admit it's growing on me. I think they had fun making this and I think it comes through in the recording.

Similarly to what I've said about other artists, I feel that David Byrne is being very true to himself in his music. I don't know if he could do any differently. And that is a great benefit to us all because he is such a unique thinker and performer. We're so lucky that Talking Heads came into existence alongside/inside the punk scene in NYC where there was a great shift happening in music. Almost like a new opening being torn that they were able slide through among the chaos. They don't fit the stereotypes of a punk band but they were defiantly themselves and I think that's the bravest and most difficult thing you can do as an artist and you have to respect that. To me Talking Heads is one of the finest examples of a band that is able to walk a line between pop music and experimentation with grace and style. I identify with the music of Talking Heads/David Byrne more deeply than I do with most music. He chooses subject matter and emotions and ways of expressing them that are staring us in the face all the time but somehow we don't recognize them as something that would be able to constitute a song. One of his many incredible gifts. He had the perfect band to support him and the perfect producer at the controls in Eno here.

I appreciate Sonic Youth but am more familiar with them from Daydream Nation onward. I like their experimentation and the use of multiple vocalists throughout the record. This earlier stuff is a bit rougher than what I'm used to with them and I find it to be a bit taxing as the record goes on. Sonic Youth is great but perhaps better in smaller doses like a track here and there on a mix/playlist. Looking forward to getting to their later albums on here.

Don't really have alot to say on this one. It's right in the middle of 3 for me. Nothing that really bothers me per se but nothing that really excites me too much either except maybe the use of the dijeridoo. It just makes me want to listen to Stevie Wonder instead.

Not completely robots yet. This is a real sweet spot in their catalogue. Last one produced by Conny Plank, which I think is a shame in a way that their creative partership ended here. A real sonic journey. The Beatles of electronic music.

Don't think I've heard a whole ABBA album before, only heard the singles. The first track is very different from what I'm used to from them and I really like it. Almost like a Gary Numan feel to it at points. Second track kinda breaks the mood and is closer to what I'd expect. The slight Swedish accent is kinda endearing. Very clean and spacious sounding. As this is goes on, nothing is living up to the promise of the first track and it kinda goes downhill for me. "Two for the price of one" is a runner up though. Listening to the deluxe edition and I definitely like some of the b-side bonus tracks more than most of the album tracks, especially "I am the city" and "you owe me one" - way more fun and infectious.

A very 3 album for me. I kept waiting for some unexpected element to surprise me and draw me in but it never really came. I like most of the arrangements/atmosphere (808s!) but nothing I can really sink my teeth into. Just makes me want to listen to Marvin Gaye.

This is where I came in with them. Saw them on this tour in St Louis. An integral part of the soundtrack to my life and one of those relatively rare instances where the mainstream sucks an indie act into the stratosphere and got it right. Something akin to Nirvana injecting raw energy back into mainstream rock music a decade before.

Before Nirvana exploded in 91 and what came in their wake pretty much took over my musical world, I was more into hip hop -mostly via music videos. Public Enemy really stuck out to me then and was perhaps my favorite group from this era. I am much more partial to their politically centered music than the gangster rap that came to dominate the genre shortly thereafter. Their previous album "It takes a nation of millions..." usually gets the highest praise as it was their breakthrough (and I love it too) but I think this is their best album and easily one of the best hip hop albums of all time. I love chuck ds voice and his contrast with flavor flav is wild but I think it really works to temper the tone of the album so that it isn't overbearing. This album is relentless in so many ways, from the sheer power of chuck ds voice, to the weight of his message, to the dense layering of the music, to the pacing and BPMs... I feel like this one flows nearly perfectly as an album, interludes and all.

I love nearly everything did or even touched in the 70s and 80s. He is one of my biggest heroes. I love nearly everything about him, especially his stance between being a musician and artist (and simply a creative thinker) and how it's all one fluid thing to him. His ability to think beyond boundaries and his use of the studio as an instrument is so incredibly inspiring. He is up there with The Beatles, Lee Scratch Perry, Brian Wilson, Phil Spector, and Conny Plank in that regard. He is connected to much of the music I hold most dearly: Bowie's berlin trilogy, talking heads, john cales solo albums, roxy musics first album, and of course krautrock in his tenure with cluster/Harmonia - which shows up here on this album. Suffice to say it's hard for me to pick a favorite album by him but this one is certainly a major contender. I feel like it is a very balanced album and it does contain perhaps my favorite track of his: by this river, played with and about his time with cluster. The album has a great range of moods and I like how he intersperses the instrumentals throughout. I wish he continued more with this balance of rock/lyric based songs and instrumentals but hereafter he went onto a long jag with his ambient/instrumental direction. I like his ambient work as well but I also love his lyrics and find his voice so oddly compelling. The lineup of musicians on this album is incredible and part of it was recorded with the great krautrock producer Conny Plank. Somebody described Eno's more rock oriented albums as art pop and I think that when it comes down to it that might be my favorite genre and where I feel the most kinship with my own ideas and feelings about musical expression.

I like the Bee Gees pre disco albums. This is sort of their magnum opus - a big sprawling concept album in the wake of Sgt Pepper's, with hints of Beach Boys/Pet Sounds, Dylan's more country inflected sound here and there, and maybe a bit of Nilsson? I'm a sucker for this sort of ambition. One thing that I think holds this album back is the lead singing style, which often comes across so melodramatically when they lean in on that vibrato. I can see how it can be a big turn off to some but to me it is just sort of funny - which I'm sure is not the intended reaction. This sounds like the soundtrack to a musical and I find it quite enjoyable. Drags on a bit towards the end though.

I like the Smiths alright, Morrissey's solo stuff less so. I think this album is saved for me by Vini Reilly's guitar work. I like his sound, particularly on "late night, maudlin street" with the delay. I find this album to be a bit of a drag. 2.5 rounded up to 3.

This album wasn't widely available until right about the time when I left Lawrence for Providence and I remember it had a certain mystique amongst my friends because of this. We must have been listening to vinyl rips from napster or kazaa or something. I remember my friend's band Ghosty even did a cover of Vampire Blues at a show once that was pretty fun. Production is definitely not smooth but not necessarily lo-fi. I find it very approachable, vulnerable even. I feel like it loses steam a little on the second half, especially with the last track, but all still prime Neil. Great album cover too.

When I was a kid Michael Jackson was ubiquitous. Just an absolute cultural juggernaut. I had a cassette tape of "thriller" and remember checking out books from the library about michael jackson and the jackson 5. I definitely can't separate his music from nostalgic childhood feelings. This album is where he truly established himself as an independent solo artist and where he found the perfect producer in Quincy Jones. I feel like this album and Thriller set a new template for pop music that is still being used to this day. Man this album starts so strong! The production is so clean and balanced. So busy and layered but not cluttered or overwhelming. Flows so smoothly. Got some of the best session musicians of the era on this album which I am acquainted with to an odd degree because of their association with yacht rock, (which this album has some crossover with). I can definitely appreciate some immaculate pop production, particularly from this era. Side 1 is a fucking ripper but I feel like the album loses a bit of steam on side 2 around the wings cover "girlfriend" and the ballad "She's out if my life" but I do like the Stevie Wonder penned "I can't help it" very much and "it's the falling in love" is yacht rock gem. More of a fan of "thriller" but this is still a very impressive album with some incredible songs.

The birth of heavy metal. Still finding it's way here but they were blazing a trail afterall. I find Black Sabbath's music to be delightfully heavy and thoroughly enjoyable. Some of the most infectious riffs ever. Love the interplay of guitar and bass. Love the tones. Perhaps the greatest example of a band taking a theme and unintentionally turning it into a whole genre. They tapped into something people didn't even realize they were hungry for. Critics hated it at the time and shit on it. Look at the original reviews of their albums from Rolling Stone and then look at how they then have to flip and eat crow and give their albums like 5 stars and include them in their top albums of all time lists now. To me heavy metal is like comic books, an art form that at the outset was seen as juvenile and crude but has gone on to mature and gain more respect over time (hell, you could say the same if rock and roll itself). And like comic books, I think if you don't get into heavy metal in your youth, it can be harder to find your way into it later in life. Black Sabbath are easily my favorite heavy metal band and the key to unlocking all that came in their wake.

The beginning of their collaboration with Eno and where they really start to take off. Eno came in and bring just the right amount of punch and flourish to the mix. This is a real nice midpoint in their sound as they continued to evolve. Love how the album starts by just ripping right into it. So much forward momentum on this album.

I can go for this type of 80s cheese sometimes. I have no particular nostalgia for this album but I was familiar with the lead track. Some of the choices of synth tones are a bit cringey at times. Where I start to have a real problem is on "slowdown sundown" - it sort of breaks the sound he had going for this folksier/rootsier thing and it sounds really out of place. I like "Spanish Dancer" alright but it is mixed so weirdly with those hyper prominent synth notes that it's kinda off putting. "Night Train" probably works best for me overall? By the time it got to the last track I just wanted it to be over (and it's not a long album). I like some individual tracks by him but I can't hang with it for a whole album. 2.5 down to 2.

I start to like Wilco the further they get away from the alt country thing. They're starting to step away from that here but it still shows up throughout. I became aware of them around Summerteeth and am more a fan of that album and what came after. They have some songs I really like but I don't love them for a whole album. What I do like about Jeff Tweedy is that he's not necessarily tied to a particular sound and is open to experimentation. The further he leans in on that, generally, the more I like it. Otherwise I think you end up with some very average indie pop/rock. Man, this a long album. This definitely could've used some more editing. The more I listen to this the more Jeff Tweedy's voice and lyrics are starting to grate on me. Definitely better in smaller doses. You know what, I was going to give this album a 3 but the longer this drags on it just feels like a burden.

Interesting mix of material that is still very reminiscent of Simon & Garfunkel (like Duncan or Peace like a River) and that which is markedly different (like the opening track Mother and Child Reunion for example). Most of the rest of the tracks are arranged fairly simply but have a different feel than your average Simon and Garfunkel track; jazzier/more soulful & a little more laid back & personal/conversational.

Definitely a big part of my youth. I was captivated by this as a teenager. The fact that there was a film certainly added to the mystique/mythology. Listening to it now still has a strange emotional effect on me. I think it easily holds up as the best rock opera of all time, for me at least. I absolutely love the way it flows and the sound effects that are used throughout. Very cinematic listening experience. Always been a fan of Pink Floyd's experimentation and ever evolving sound. It all sort of culminates here. It always amazes me that they were able to be so successful while being so experimental/conceptual. Their last masterpiece made in the process of their own implosion. In my wildest fantasies RCE would produce something like this.

It's fun and playful but I can't completely get into it. I think I prefer his Gnarls Barkley material.

I know I will be alone on this one but I can appreciate this sort of 80s sophistipop. The talking heads cover was a bit of a surprise and I didn't love it but I generally enjoy the confluence of synths and soul from this era. 3.5 up to 4.

To me this is where Sonic Youth really start to shine. Their songs got more expansive and yet feel more focused and infectious than before. Perhaps it was the pressure of the higher dollar studio time? I love them most when they give their songs room to breathe with extended instrumental passages. Kinda punk-prog. I'm also a fan of the jam to song method they developed these songs with. Perfect balance of capturing that wild vitality but refining it into something more structured.

Familiar with the full vocal remix of Brown Paper Bag from an MTV comp called AMP2. Fondly remember watching AMP late at night and am generally a fan of this era of electronic music. 1 cd alone can hold an indulgent amount of music in 70+ mins but a double cd is alot to take in. Had to listen in two separate sessions. Though drum n bass is very "meaty" as far as electronic music goes, the higher BPMs over the course of a double cd can be exhausting if you're not on drugs. Like the upright bass sound. I think I prefer the 2nd disc from "Intro" on. Its more instrumental/atmospheric and has a wider range of moods.

I have an old used copy of this on vinyl so I do like it well enough, but listening to it in the context of 1001 greatest albums is kinda baffling to me. I like Cowboy Movie the most by far. It's basically a grateful dead track with a different singer when you look at the lineup. Other than that I like the strangely intense vocal harmony work on the last two tracks but honestly I feel like this is a fairly weak and very loosely constructed album. Kinda just sounds like high quality jam recordings on most of it.

I think this may be my favorite Elton John album. Perhaps because it contains "Levon," the first track of his to ever really capture my imagination. His creative collaboration with Bernie Taupin is incredible. Elton John is certainly a very talented musician and performer but honestly I think it is the poetic imagery and mysterious fractured glimpses of implied storytelling in Taupin's lyrics that really draws me in. "Rotten Peaches" is my second favorite track on the album.

Enjoyable and very of it's time. The more I listened to it the novelty sort of wore off though.

This is the album where I became aware of Sonic Youth (after the Nirvana explosion) so these songs are burned a little deeper into my memory. Liked listening to the rehearsal tapes on the deluxe edition.

An album that is somewhat idiosyncratic and yet very of it's time. Certainly a unique combination of genres. I want to like this more than I do but I think its the vocal style (and some of the lyrics) that bring it down for me. I am more familiar with guitarist Vernon Reid from his 96 solo album "Mistaken Identify" which I enjoy much more. Even their 93 album "Stain," though generally not rated as highly, is much heavier and more interesting to me.

Enjoy the instrumentation and smooth production but as the album goes on I start to lose interest. Some nice tracks but as an album it doesn't hold tigether for me.

I think there is a certain genius to Jarvis Cocker's sing/speak style and his lyrics. I can see how it's not everyone's cup of tea but I do enjoy the humor and his strange brand of bare it all brutal honesty and just the right amount of shock. There's an interesting balance of deep vulnerability being delivered with such posturing that it is somehow simultaneously both ironic and deeply heartfelt. All feels very autobiographical in a way that few artists let you into so intimately. He doesn't filter himself much and I'm sure he'd be a pain in the ass to hang out with and a mess in his personal life but he is able to reflect the internal dialogue of many states of mind that don't often get put into song in such a direct way. I feel like it takes repeated listens for it to really sink in. Easily my second favorite britpop group after Blur (even though I think that's a very vague and nearly useless term). "The day after the revolution" is certainly an audacious way to end an album. I really like some of the tracks on the bonus disc of the deluxe edition, perhaps even more than many tracks on the album. Tracks like "cocaine socialism", "we are the boys", and "can I have my balls back please".

Elliott Smith was a favorite among my friends in college. I like it. There are albums by him that hit harder than this one but still good.

Billy Bragg was definitely the right choice for this project. And Wilco is an interesting backing band for him. Billy Bragg's voice has the right amount of weight and range to capture the spirit of Woody Guthrie, especially on Way Over Yonder with Natalie Merchant backing him. Wilco manage to make the songs their own, especially California Stars. I think I'd prefer a 2 disc affair with all the Billy Bragg led tracks on a disc and all the Wilco led tracks on another. Overall I think I lean towards preferring the Billy Bragg tracks. An interesting experimental cocktail but one I wouldn't come back to repeatedly (and I should know cause I own this one on CD).

I think this album is great. It really took me by surprise when I first heard it and it gave me newfound respect for them - particularly Lindsey Buckingham, who is the mad genius behind the more manic bursts on the album (the ones I enjoy the most). This is an amazingly brave album to make as the follow up to a pop masterpiece smash hit. They still pull off the pristine pop songcraft while also unleashing their inner weirdo. It's a win-win. A bit schizophrenic but I think in this case it's all the better for it. A wooden rollercoaster ride and probably a good reflection of their own states of mind at the time.

Never heard this one before. Interesting blend of influences. Like the dubby basslines throughout. Some of the singing and lyrics irk me a bit. Tend to prefer the more laid back tracks to when they try to rock out.

I remember the opening track "connected." Very of it's time. Some of the lyrics really grate on me. Not really offensive or anything but I wouldn't want to listen this again for any length of time.

My mom had this album and I listened to it as a kid. I can't deny the lightning in a bottle he caught with the opening track. Quite an achievement. Other than that I like the more raucous "everybody loves me" but listening to this years later, nostalgia can't save most of this for me. Generally not a fan of the folky acoustic singer songwriter thing. If he had a more rocking band behind him and more interesting arrangements I might like it more. Sounds like it could use a remaster to my ear.

Don't really have much to say about this one other than I found it fairly boring overall.

Electronic pop from this era is like pizza to me. It nearly always hits the spot. I prefer the human league lineup with ware and marsh but this is definitely choice synthpop. There is something about the relative flatness/stiffness of the delivery style that I find endlessly entertaining. An evolution from Kraftwerk that even members of Kraftwerk appreciated.

Nice blend of songs with vocals and instrumental soundscapes. He was definitely listening to Cluster's "Zuckerzeit"

Man, nothing sounds quite like this. Shame she never really caught on in the US and it always amazes me that something so experimental was able to be so popular in the UK/Europe. She definitely paved the way for other iconoclasts like Bjork, etc. Gotta respect the unbridled vision and the genreless expression. Love when artists build their own studios and go into their own little worlds.

I love Jimi Hendrix on so many levels. However I do think this album suffers from being a bit unfocused due to its length. Love many individual tracks and the psychedelic effects in the production. Love the way certain tracks flow into one another. This may sound crazy but I actually prefer something like the wandering soundscapey "1983" to something like the bluesy "Voodoo Chile" - Its funny cause if they were played live I'd probably prefer it the other way around, but on record (especially on headphones) I lean towards the more experimental, and the face melters don't do as much for me. One of my first CDs was a Jimi Hendrix compilation so many of these songs run deep with me due to nostalgia.

I was so obsessed with their first EP and album when they came out. I really like their balance of instrumentation and electronics/samples. I think their greatest asset above all is Tunde Adebimpe's voice though. They are a great example of a sort of "post modern" band that don't come off too arty as to be inaccessible. Similar to Talking Heads perhaps in that way. Interesting combination of influences that ends up culminating in their own unique sound.

I do not particularly like Led Zeppelin but relatively recently I have come to appreciate the bass playing of john paul jones and drumming of john bonham through some suggested listening by friends. Was going to do an episode of my one track mind with someone on a Zeppelin album but pulled the plug before I got to it. I wish I had. As is common, it might come down to a general distaste for the vocals of Robert Plant for me. This is a long and relatively indulgent album in my opinion and it began to grate on me. They never manage to surprise me. Had to crank the bass up on the EQ to give it the right umph. I feel like this is relatively weak as an album overall. With Zeppelin I feel like there are sort of diminishing returns from their first album onwards. I like much more material from any album of theirs previous to this one. Kashmir and the wanton song are alright but that's about it for me here. Honestly I had to skip some tracks. I much prefer Jack White's stripped down impression of Led Zeppelin to Led Zeppelin itself.

I'm big on Bruce Springsteen up through "Tunnel of Love" but after that there really isn't much that I've been able to get into, including this album. To me this is a good example of where this list of 1001 albums starts to show some cracks: why put the 12th album by a well established artist on the list rather than make way for a younger artist who was truly in their prime during this time period? Don't like many of the production choices. And to top it off, it's too long.

A favorite back in high school. Love the way it flows from track to track. It's cool that it works equally well as dance music and as a headphone ride. Starts with a Kraftwerk sample so you know they know their shit. I like the additive/subtractive way layers of elements/loops are used to build dramatic song structures. Tracks 1-6 are like the party and 7-11 are like the after-party. Used to put "one too many mornings" on mixtapes.

Iggy's first 2 solo albums are as big a part of the legendary Berlin Years as Bowie's trilogy. Everything Bowie produced for someone else was the best material those artists recorded IMHO. This album has Iggy Pop's best individual songs but I feel it doesn't hold up as well as an album compared to The Idiot.

The schtick wears thin pretty quick. Like the female vocals but that's about it. Don't want to listen to it again.

This kind of minimal synthwave is one of my comfort zones. The sound tends to lend itself to a sort of darkness/kinkiness somehow. Seems to go along with the detached approach.

Like the female vocals. When the dude starts singing on the third track I had the urge to skip but held on. The general sound is fairly nostalgic for me. Goes down easy but not my favorite.

So British. Very playful. Sort of all over the place. I think Blur is the most fun of all the Britpop groups.

Listened to this several times. Like some individual tracks by them but doesn't do a whole lot for me really. Favorite track is the last one. I like some of their more recent albums more.

Not my personal favorite Zappa album but it may be his best in many ways. Certainly the most listenable. Peaches en Regalia is like the theme to a TV show I'd want to watch. The track with Captain Beefheart is a fucking ripper. Zappa's a true iconoclast and this album proves his versatility. Motherfucker could do anything he wanted it seems, especially play the electric guitar - holy shit. He's largely underrated in that regard. I wish he went more in this general direction over the years but this album sort of stands out in his catalog. Nice balance of exploration and focus.

My stepdad is a Todd Rundgren fan so I heard this one early on. Also a favorite among college friends. I love these kinds of kitchen sink affairs where artists have the freedom/time to really explore possibilities in the studio. I wish more albums flowed like this one. Makes for quite a ride. Love that the ambition is tempered with humor along the way. Definitely his best album. A tour de force.

My perception of Rufus Wainwright is tainted by my association of his music with an ex girlfriend. Regardless of that, it is still not my cup of tea. Couldn't listen to the whole thing in one go.

Pleasant fun. Only heard the radio single "lovefool" before. As an album it's a bit weirder than I had expected from the single. Are they quoting black fucking sabbath on "heartbreaker?" As I'm listening I think it's starting to grow on me. And then just straight up cover Iron Man?!

I honestly can't stand this. It does nothing for me.

Really like 10cc and think they are underrated. Love how they work experimentation and humor into pop music. Fav track is worst band in the world.

Can't really take this seriously. This era of pop/hair "metal" is one of my least favorite subgenres and one which I don't really understand. Maybe I just need to loosen up? I don't know. I mean the choruses are catchy for sure. But to me it sounds so superficial, and maybe that's intentional? I understand how this could make sense to kids and teens in a certain context but I feel like it doesn't age well outside of that context. It's like kids dressing up and playing rock star and I guess there's a certain amount of sincerity/directness and simplicity to that. I mean I grew up when this was wildly popular and I was never attracted to it then nor do I have any nostalgia for it.

Don't really have a lot to say about this one. It's very alright I guess.

What a combination of influences.He brings so much together here. Nothing else sounds like this. This is one of the most original/experimental hip hop albums ever. All over the place in a great way. Love his different voices throughout. Very theatrical and atmospheric all at once. Got some great people on this too - particularly Thundercat. King Kunta is my favorite track and the one that immediately drew me in to him.

I tend to like the more dubby instrumental tracks/passages here. Always a fan of deep prominent basslines. It's okay but wouldn't be my first choice for reggae, etc.

To me, this is his last 5 star masterpiece album. Me and my friends were practically Dylan cultists back in high school so this one is burned into me. Probably the most personal Dylan ever got and perhaps the greatest breakup album of all time.

Big Star were a fav among college friends. Mostly #1 record and radio city though. This one is a bit too sloppy and unfocused for me.

Took me until "the look of love" to get to a song that I recognized. Generally like this kind of sound but this one doesn't really grab me as an album. Like some individual tracks but the sound doesn't gel for me.

College era cult favorite among friends. A thing of beauty. Up there with Pet Sounds. I consider this a perfect album.

What a rich and earthy album from such a mythic era. So much soul it aches. This is the personification of musical brotherhood to me. I think that most all of them share on the vocals is part of this feeling. It's funny cause many times I tend to shy away from rootsy music but this is the genuine article and I can't help but be drawn in to it. "The Weight" is one for the ages. Always loved "Chest Fever" too.

This might take the cake for most self indulgent album of the cd era. I find the sheer length simply unbearable. I don't hear anything in the music/concept to justify its insane demand on the listener. Most of it is so half baked that I find it almost insulting. I don't get it. Both the singing voices and lyrics are irritating to me. In trying to march onward and listen to this there are some okay tunes buried in there but as an album its unrefined/unfiltered stance is utterly preposterous. If someone put this on, I wouldn't be sticking around.

This is Yes at their peak before they are about to go off the rails. All over the place in a wonderful way with contributions from all band members. Love how each instrument/element/player is highlighted throughout the album. Wish more bands created output in this manner. They are one of the most listenable and original of prog rock groups. Prog gets a bad rap for some reason but I enjoy the structures and explorations. Quite a sonic journey.

Probably my favorite Tangerine Dream album. The introduction of the sequencers gives their sound more rhythm to sink your teeth into while still retaining a good amount of ambient atmosphere throughout. Absolutely love headphone rides like this in the dark. Blows my mind that this was top 20 in UK and top 200 in US at the time. Would love to jam in this more abstract way. Shifting in and out of movements. You can see why their sound lent itself to soundtrack work, very cinematic.

Although I love bass, I also enjoy a duel guitar setup. Lots of fun interplay here. Like a good trio too cause you can hear each element so distinctly. Wish I woulda caught a show back in the day.

I remember when this came out it was like a new drug had been introduced. People reacted differently to it of course, but many, myself included, found it very addictive. Such a punchy, high-contrast sound. Expert layering/structuring of samples that keeps the fun and excitement up throughout.

Love the mood throughout. The time signatures are fun.

This album is an absolute phenomenon, a supernova for the group. While I do like some of their solo material that came afterwards, I feel they were stronger together. In fact, when I think about it, I personally tend to prefer hip hop groups like this for the dynamics it provides. I feel like this album is largely a result of their creating a home studio and being given complete artistic control. A case where label trust paid off in dividends. I love the atmosphere they captured and cinematic flow throughout. Always been more of a fan of the east coast sound in general. The Fugees are particularly skilled at layering (often brief) overdubs in just the right places to build a very complex sound that isn't overly dense so as to weigh it down. Lauryn Hill is definitely my favorite female rapper and a big part of what makes this album stand out. Another thing that sets this album apart are the covers/adaptations they incorporated and while some may think that may detract from it as a pure hip hop album in some way, I think it's stronger for it musically. In fact, I think this album's greatest strength may be it's depth and range of emotions.

Not really a fan of the inclusion of these types of later career albums by established artists on this list. Much rather hear any of her first 12 albums than her 21st album. Much rather hear more vital music from artists establishing themselves from this time period than a "return to form" from a well established artist. Do you see any Frank Sinatra or Little Richard albums from the 70s taking up space on here? No. Because if you did it would take the place of much more vital/relevant music from that time period and it wouldn't make any sense. So why do you see so many of these albums that are a good decade or two after these artist's prime on this list as we get towards more recent music? I can only imagine it is a reflection of the average age of the people making the list. Baby boomers doing what they do best and taking up all the space and resources they can for themselves and consequently stifling the opportunities for younger generations to thrive (probably without fully realizing they are doing so). Not a critique of the album but the list itself.

They went out on top here.

It's fine.

Ahead of it's time, preceding much of the sound of the 90s. Only reference points from that time I can think of are The Meat Puppets and some of the more melodic songs by Sonic Youth where Thurston sings. Both bands also on SST at the time. Odd ending to the album feeling cut off.

I do like the cure but this isn't my favorite album by them. Was interesting to see they talked to Conny Plank about producing but it didn't come to pass. I'd bet if he did produce this album it'd be one of my favorites. Have them go out to Conny's studio in the country and they'd have produced a much different album. Maybe not quite so bleak. Sheesh.

I find this to be an exceptionally bold and daring album for being so late in his career. Perhaps this was partially fueled by his awareness of his own mortality at that point. The album is of course irrevocably tied to his death and one cannot help but hear him grappling with his knowledge of this throughout. I remember when first listening to this album upon it's release, it was quite an emotional experience with that in mind. A rare album where an artist was able to lucidly capture this very real sense of mortality and make it sound somehow fresh and vital. Bowie made his life into art from beginning to end.

Do like their combination of synths and guitars. Not my favorite album by them but their sound in general definitely works for me.

I generally like this kind of 60s pop but as the album went on it wore thin with me, particularly when they got to "a place in the sun" which I thought was overdone.

This album kicks off my favorite period of his career where the more creative instrumentation begins. This sound is equally as distinctive as his iconic voice, his choice of imagery and subject matter, or his tendency to incorporate spoken word into his music. He achieves a sort of timeless sound that is at once nostalgic for a vague sense of the past and yet simultaneously bleeding edge somehow. Always an iconoclast, he doubles down on it here and his play certainly paid off. Although I do appreciate this album as his career turning point, I have deeper personal connections to the albums that followed. I like how the album goes out on an instrumental number.

I listened to this several times. It has a pleasant sound but also a deep sadness.

Read up a bit on this before listening as I hadn't heard of this one. Expected to hate it but on first listen it's alright. Definitely has some catchy pop hooks. Hearing all the influences listed in the descriptions. About 1/3 of the way through it's starting to wear thin for me though. Don't like the songs with string arrangements at all - seems unnecessary. "Kung Fu" is plain dumb. Can't believe it was a hit. Their music is kinda like junk food. It tastes good at first but if you try to make a meal out of it, it'll make you sick.

Like the sound of this with the combination of live instrumentation and samples. Really natural and organic feel and flow. Also like that it's simply Q Tip as the MC and not bogged down in too many guest MCs. He brings in singers to sing but not to rap. Bonus points with me: he covers/samples Can on "Manwomanboogie"

This is what 1001 albums is for. I had only heard the radio hits and kind of written the Pretenders off for some reason. Just never took the time to listen further. This is way edgier than what I was expecting. Like the punk energy with the catchy pop hooks. Chrissie Hynde has instantly shot up into my top female performers of all time list. Had no idea she was the lead songwriter and rhythm guitarist. Love her vocal style. Like some kind of hybrid of Joni Mitchell and Patti Smith. Super impressed. Have to say, though I love Nick Lowe, I'm glad he only produced the one single and not the rest of the album. His track is too thin and bright and kind of sticks out awkwardly in the mix of the album. I think I'll be going through the rest of their catalog now.

Don't really have a lot to say about this. I'm not even sure how I feel about it really. I don't love it but it does make me vaguely nostalgic for the era it was produced in. Not that I was listening to this at that time.

Seems like what they have up on Spotify doesn't have all the tracks from the original album which is kinda disappointing. Its funny cause I'm reading a book about krautrock right now and there's a whole chapter about the Hamburg red light district scene from this era and the Star Club in particular. Didn't realize such an iconic live album came from their efforts to put out records. I was pretty into all the big Sun Records artists back in high school. Even had a Sun Records t-shirt. Probably liked Jerry Lee the most of all for his unique phrasing and sheer energy. He never seemed to be able to really break out much beyond his initial success like Elvis or Johnny Cash but he really seemed to embody the real spirit of rock and roll more to me. And that is very much in evidence on this recording. Kinda like that it is very simply recorded and retains a sort of rawness that sounds very honest and accurate to the live experience.

I'm not a huge Tim Buckley fan. I like some of his earlier records much more than this one. The singing style here begins to grate on me after awhile. It's like some kind of carnival ride throwing you about this way and that. I find it exhausting. I also find the whole raunchy thing he's got going off-putting.

Not on Spotify and had to listen on Youtube which added a little frustration to my listening experience. This album is kind of all over the place sound-wise. The Imagine cover surprised me and I did not like it. Can't say I really enjoyed the rest of the album either.

I discovered John Martyn a good while ago through Beck covering him on a live in studio radio appearance. Later Spotify allowed me to explore his entire catalog and I was fairly obsessed with him for a while. I like nearly all of his 70s and 80s material. This album isn't my absolute favorite of his but is sort of his breakthrough and definitely a great album. The only track that doesn't fit the "night music" mood that he captures so well is the second track "over the hill" with the folksier sound of the mandolin that turns me off a bit. If you removed that track I think this would be a perfect album for me. I'm typically not a huge folk fan but I love his unique way of blending it with jazz and other elements. He maintains such a seductively subdued mood that I find hypnotic.

Always a fan of her unique expression. I feel like I need to listen to her more.

Used to listen to this and Chaos AD with some friends in high school. A most unique fusion of musical elements and influences. I dare say one of the most creative and adventurous metal albums of all time. An album that brings the modern and traditional together in a deep and meaningful way.

I've always found Eric Clapton's solo stuff sort of boring. In proceeding with the album I'm finding this hard to listen to. Getting that impulse to skip tracks pretty frequently throughout. Did he just say "love is lovely"? That might be one of the weakest lyrics I've ever heard. At this point in his career I find him to be mostly derivative without adding anything much that is new or compelling to the mix. Bland and stale as a Subway sandwich at a random gas station on a road trip.

The first real rock opera and certainly one of the greatest. I have to admire the vision and bravery it took to bring this project to completion. And I love that the arrangements were such that they could essentially play the whole of it live. Not bogged down with an orchestra and the like. Can you imagine seeing this live back in the day? My stepdad did and said they played Tommy through, then took an intermission and came back and basically played a whole nother set worth of their other material. The energy and stamina each of them possessed! Some absolute anthems in here. Only thing that really threw me off was "Tommy's Holiday Camp"

Right off the bat I can tell that the vocal style isn't gonna work for me. Maybe with a different singer I could get down with this but I just can't take it seriously. In fact I find it positively annoying.

I had this on CD growing up and it fit nicely with my Kerouac/Beat obsession. His delivery of the spoken word parts definitely reminds me of Kerouac's readings with Steve Allen on piano - only with much more humor. Speaking of which this may be one of the best marriages of humor and music I've ever heard. Comes off as effortlessly natural and is a wonderful counterpoint to the slightly gritty and downtrodden world he presents here. And what rich imagery that just flows out if him. I always thought this was a genuine live recording, and in a way I suppose it truly is, just in a studio rather than an actual nightclub. I think the back and forth of the energy exchange with the audience actually makes this work much better than it would on its own. It adds to the atmosphere and probably the way be delivered his performance. A very interesting approach to recording an album.

Hope you ended up listening on YouTube cause the Spotify link was not the right album. I don't really have much to say other than this is obviously one the seed crystals for the eastern influence on rock music in the late 60s besides Ravi Shankar.

Punk clearly originated in Detroit with the MC5 & The Stooges. Not usually a huge fan of live albums but I think it works well here to capture their raw energy. Quite soulful to boot which most of the punk that came later lacked (except The Clash). Disappointed Spotify has the edited version of the song "Kick out the Jams" here on this album - go listen to the real deal with the proper intro on one of the many compilations in their discography. It's only a matter of seconds but it makes a huge difference.

I'm a huge fan of his 78 album "Nite Flights" with the Walker Brothers and his more experimental output that came after but less excited by his earlier material. Can definitely hear where Bowie took some inspiration for vocal phrasing here and there. The song that I like the most on this one is "Boy Child" - it's the closest thing to the strange and suspenseful mood he creates in his later work that I love so much.

Hadn't listened to this one in awhile and I really enjoyed listening to it again. Some great tracks but as an album I don't think it holds up as well as others in his catalog. My favorite track is probably "Time."

The apex of the Berlin Trilogy. This album is like an old friend to me. In fact I was just listening to it on vinyl yesterday coincidentally. I feel like this album and those surrounding it from this era are a high water mark in his career and for experimental pop/rock music in general.

Big fan of The Jam and Style Council. Not listened to much of his solo stuff though. It's alright.

I'm generally a fan of reggae from this era. Reggae is the most amazing genre to me: a musical form originating from such a small geographic area, which was a melting pot of influences, that then evolved into something so distinct and unique and went on to then influence others around the world in turn. I'd be curious to hear the original Jamaican mix. I went on to listen to the dub (instrumental remix) version of the album "Garvey's Ghost" as a follow up bonus listen and I almost like it better.

I think this is their first great album. I prefer 90s/2000s Sonic Youth to 80s Sonic Youth.

Some nice production touches here and there but nothing I'd come back to.

I used to not really appreciate Led Zeppelin. Perhaps it was them being overplayed on classic rock radio that turned me off. But after some friends of mine had me focus more on the rhythm section of Bonham and Jones I developed a taste for their sound. I do think it is Bonham and Jones who are the real power behind their heaviness. Their first two albums from 69 are definitely my favorites. Amazing to hear this album was recorded essentially on the fly at various studios while on the road. Listened to the deluxe edition. Ramble On might be my favorite track for the bass line, second favorite is What Is... (Also for the bassline). I feel like the demoey sounding intro to Bring it on Home kinda makes the album lose its momentum right at the end.

I don't usually go for this sort of thing but I think it works really well. It's fun rock n roll. And Eddie Van Halen's guitar playing is ridiculous. Ice Cream Man is dumb though. I listened to it a bunch of times and it ended up growing on me. I kept wanting to hear it again. Surprised even myself.

Big Steely Dan fan. I feel like this is a very natural extension of that sound with alot of the same players. Although I love the character perspectives in Steely Dan songs it is nice to hear something a little more personal.

I really like the lead track/single I Will Dare. I like punk rock but appreciate that they expanded their sound here a bit. Has some nice moments but as an album it hangs together pretty loosely. Hearing where Kurt Cobain may have drawn some inspiration for vocals.

Nothing Compares is certainly one of the best Prince covers out there. The album as a whole is a bit too dramatic for me to want to return to.

Love the energy of the looping grooves and stream of consciousness lyrics. Listened to Deluxe Edition.

I actually rather enjoyed this and listened to it several times. I tend to gravitate towards the "outlaw" stuff from the 70s when it comes to country. Like Willie and Waylon.

Enjoyable stuff that captures a youthful attitude really well. Like all the playing, especially bass and drums.

More listenable than The Pogues but still doesn't really work for me.

A favorite in high school. Love the energy. Enjoy the playfulness in some of the sonic touches and phrasing. Fun with an attitude. At times danceable rock. I must say alot of this was has stuck with me after all these years. I feel like Indian Song is a bit filler and makes the album lose some momentum. One thing I really do enjoy about their sound is the prominent bass.

Do appreciate that there is nary a mention of love, etc. Feel a kinship with the attitude but not necessarily the delivery (especially with the vocals and some of the lyrics). The sound of the production is very of it's time. My favorite part of the album was the ending.

Big fan of The Jam. I like when bands don't try to hide their Britishness.

I enjoy this sort of thing. Drama and all. Like the prominent bass. Perhaps it sticks out more in contrast to the synths than it would to the more common guitar centered rock sound? Elements sound balanced and clear. Reminds me of Roxy Music quite a bit. I also like when there's a single instrumental track on an album like here.

My favorite track might be "The Food" live from Chappelle's Show even though the fidelity is lower.

Really like their combination of spoken word and singing and the quiet loud dynamics.

Maybe my favorite Pulp album. I think Common People is a stroke of genius. What a fucking anthem. Listened to Deluxe Edition. Also really like the bonus track Mile End.

Big part of my high school and college years and beyond. They laid the groundwork for so much that was to come (and which is still going). My favorite part is the unique phrasing. Everything is so infectiously memorable. The lyrics are a great combination of cryptic poetry and a down to earth, almost conversational quality. Their music too is a seductive balance of simplicity and sophistication. Very human/vulnerable. Love both Frank Black and Kim Deal. Saw Frank Black solo playing a good amount of pixies material in college for like 3+ hours. Such stamina and energy. Total force of nature. Sweat running down from his bald head into his eyes the whole time.

Kinda surprised to see this album vs "Elis & Tom" or one of her albums from the 60s or early 70s. Favorite track is "O Que Foi..."

One of my favorite albums of all time. I find it thoroughly enjoyable throughout and consider it a perfect album. Prince's absolute zenith with his greatest lineup. Love pretty much everything about this album.

My favorite Blondie album and one of Maya's favorite albums as well. It's in constant rotation at my house. Practically plays like a greatest hits album. Listened to non-remastered version and prefer it.

I should like this for it's experimental tendencies but it doesn't really grab me for some reason. In fact I'm finding that it is frequently annoying me. It comes across as somewhat "lightweight" to me. Beautiful in a way but also perhaps trying a bit too hard to be so.

Joni Mitchell is a true original. Love the blending of genres here, especially the touches of jazz.

I love Style Council. Smooth grooves.

Dig the fusion. Dig the vibe.

For a long time this was my favorite Bowie album until I got swept up into the mythology of the Berlin Trilogy. I will say though that this may be the most enjoyable Bowie album and the most light hearted. He's definitely vibing on some Velvet Underground here.

I like the early stuff from the mekons more. I found this to be a bit of a chore even with the short runtime. Don't dig the folksier arrangements.

Love the atmosphere here. Very unique and detailed sound. Headphone ride.

I was getting pretty deep into noise music and living with an alcoholic around the time when this album came out so I kinda missed it. Seems to be a fine album. Reminds me of Modest Mouse. These songs sound like they were practically made to be used in ads for relatively large companies seeking to cash in on indie cred.

Beastie Boys are inseperable from my adolescence. They certainly embody a certain amount of immaturity at this stage in their career, and to some that might be a turn off, but I see it as part of their charm. They're just kids playing around and having fun in the largely unchartered territory of a blossoming new genre in the middle of it's major breakthrough into the mainstream. The main thing is I think they are being true to themselves and who they were at the time. They present a brash, cocky, immature, irresponsible, unrealistic sort of fantasy world projection that sounds fun as hell. It's very clear they're just messing about and making up ridiculous shit to crack each other up. The fun they had making this album is palpable and I find it contagious. I love the Run DMC-like way they finish each other's lines and back each other up for emphasis. They stuck to that technique throughout their career even after it eventually fell out of fashion but I think it speaks to their connection as songwriters, performers, and even as people. You can tell they enjoyed working together and shared a wavelength. Musically I'm a sucker for the 808 sound and I love the dominance of guitar samples that give it that rock punch. Beyond this album I love their wild career trajectory, from their early punk formation, to this album's golden era hip hop sound, to the hyper-collage of Paul's Boutique, to the genre bending albums that came afterwards which I consider their peak. I enjoyed this one but I look forward to hearing more of their albums on this list.

I'm a big fan of Graham Nash, especially his first two solo albums. But this album sounds more like a Stephen Stills album, who is my least favorite of the three. Prefer CSNY to CSN.

Tired of Morrisey at this point in his career. Tired of "comeback" albums on this list as well. This doesn't resonate for me emotionally. I feel like his lyrics have become less refined and more clumsy on this. Production is too clean and verging into corny territory at times. It's also got one of the lamest album covers I've ever seen.

In the vein of Public Enemy. I like the atmospheres created here. Wish this style of social/political protest music was able to catch on more.

Perhaps their best album. Like both sides of it. The side A song suite and the side B collection of looser and poppier material. Some incredibly iconic songs here. Grew up on this stuff.

Ambitious but unfocused. This postmodern amalgam doesn't really do much for me. Rather listen to their myriad influences.

This is the Tim Buckley I can get down with. Love the jazz fusion with the vibraphone. Got a vibe that I can only compare to Van Morrison's "Astral Weeks" (but I like this even better). Soul searching jams to get lost in.

Best disco album of all time? Love the bass and guitar playing. Robert Wyatt's cover of "At Last I Am Free" is one of my favorite covers of all time so of course I love the original as well.

Oasis never really did much for me and still don't. I actually expected to dislike this more but it's tolerable. I understand why people like it but as with a lot of music, I think it comes down to something in the vocal delivery and lyrics that irks me.

Got that indie sound of it's era. Ornate. Too pretty for me.

Love the atmospheric instrumental opening. Really got lost in it. Kinda prefer the more instrumental passages throughout the album.

This is my favorite era for Miles though it may not be for many others. I love getting lost in these jams especially the way they are edited together to make these "movements" and suites. A bold experiment in searching for a new sound and creating a new subgenre in the process.

Sounds like a musical soundtrack where I'm missing something by not experiencing the songs in the context of the film (which doesn't exist). Maybe someone should make a musical built around these songs? This album made me hungry for drums. The whole thing comes across as a sort of musical appetizer to me - it's got a nice flavor but doesn't leave me feeling full. I respect this and all but as the thing drags on, on a personal level I must admit I simply don't enjoy it (at least an albums worth of it). I honestly find ambient music more exciting than this. Great album cover though.

I generally like U2. Especially when they are working with Eno. The songs on this album are pretty hit or miss with me though. The tracks I think work best are Beautiful Day and In a Little while.

Very much not my thing. And an hour and a half of it to boot. Definitely could have been refined and edited down to 45 minutes or split into two separate albums. Had to skip some of the tracks. The combination of the awkward lyrics with the awkward singing made it almost painful. The Southern pride thing comes across in a way that I find alienating. Feel like much of the content of this album could be handled musically in better hands, but the way they do it, it's like they're trying to collage 2 books together into an album (sometimes even a song) and it just comes across as ham fisted. Half the album wants to be a history lesson about Alabama and Southern culture and the other half is like this short story collection of tales of gritty wild life and being a musician in the South. Trying to do too much at once. I get they're trying to be raw and honest but it just comes across as unrefined and self indulgent.

Saw them back around 2002 in St Louis. Fun show. I like the punk energy combined with the minimal synth and samples. This music is like a Kind bar where it's sorta healthy but it's really just a candy bar.

Some good songs here but a little too live for me.

Has that wall of guitar sound that comes across kinda dated to me now. Some catchy bits throughout but it all comes down to the fact that I don't like Billy Corgan's voice.

Works for me. Sounds like a good drinking album. Kinda wish Rod Stewart sang lead on every track though.

May not be their best album but may be their most enjoyable.

Prog is not a four letter word. Embrace the dramatic power.

Ambitious but comes across kinda bland. The country flavored songs are the weakest and that material should've been a separate album. Think I like side 3 best.

Have this one on vinyl. A fan obviously. I'm a sucker for most British sophistipop. Love the Thomas Dolby production. Very crisp and three dimensional. Sounds great on headphones. So many nice touches in the arrangements throughout. The banjo on Faron Young may be my favorite use of banjo in all of recorded music. The more I listen to this the more details I enjoy.

To me Can is like a genre unto themselves in that they are utterly unique. They are comprised of such an interesting combination of individual backgrounds but yet they are all completely devoted to a group mentality so that it doesn't get pushed in any one individual direction more than another, and that, I think is the secret to their success. It sounds like they really listened to each other when they played and fed off of each other. I tend to gravitate towards music you can get lost in/hypnotized by and Can does that with some of the funkiest grooves ever put to record. Bewitching. The closest thing I can compare it to is Miles Davis' fusion era but Can is even more boundary-less in their search for a sound. The album covers such a rare emotional range that it is beyond words, as are most of Damo Suzuki's lyrics! Tago Mago is their sprawling masterpiece and where they really caught fire, and I do love it, but I actually prefer their next album Ege Bamyasi for it's tighter construction. Unfortunately that album is not part of this list (but I am glad to see that Future Days is). I think the first two sides (or four songs) of Tago Mago are nearly flawless, and that would have been a fantastic album in and of itself. When you get to sides 3 & 4 they are much more experimental, and while I do appreciate them conceptually, etc., having listened to this album many times, I'm not always in the right place to listen to Aumgn or Peking O. It's kind of like the White Album in that way. How many times do you really listen to Revolution #9 the whole way through without skipping? Still, this is 5 stars for me simply for their efforts in making the journey to find their own wholly original sound, which they would go on to perfect in subsequent albums IMHO. Listen to the 40th anniversary edition to hear on the bonus tracks how differently these songs could be performed live!

Wore thin pretty quick with me. I gravitate more towards doom/sludge than thrash when it comes to metal.

Important link in the folk tradition. To me this music is like vegetables that are good for you on a crudite plate and not like a cheeseburger or a slice of pizza. This analogy depends heavily on your opinions of vegetables on a crudite plate vs cheeseburgers and pizza but I think the analogy still holds up regardless of differences of opinion.

Appreciate the minimalism but the mood and inflection stays so flat. Somehow weirdly comes across as both emotionally distant and melodramatic at the same time. Nothing really bothered me but I can't say I enjoyed it... Actually this started to annoy me around the second half of the record. Sounds like a woman numbed up on pain killers having a moaning session with a lovesick zombie.

REM is one of those rare bands where I like pretty much everything they put out throughout their entire career. This album might be their most dramatic. Has some really iconic songs on it. This was one that was in the CD players of the cars I would ride in back in it's day. Favorite tracks are Man on the Moon and Nightswimming.

I must say I don't love the virtuosic bass. I feel it interferes with the piano rather than supporting or driving and is simply playing too many notes and often too high for my taste. Wish their had been more individual mics on the drums. Sounds of the club atmosphere aren't too distracting but don't really do a whole lot for me either. I like a good jazz trio but the bass dominates to my ear so much I feel like it should be called the Scott LaFaro Trio not the Bill Evans Trio.

Dig the chill down tempo vibe. Unique and very friendly/comfy sound.

Not my thing. Kind of drifted off while listening. Could be I'm just tired but I also don't find this very compelling. As usual, it is mostly due to a distaste for the vocal style. This sort of sounds like it is a from a musical to me. There's this sense of a forced theatricality to it.

I love Ray Charles and was obsessed with him for awhile. I love his phrasing on nearly everything. His music is like a comfort food to me. The Atlantic years are definitely my favorite period but the recording on this album is kinda harsh, especially when listened to on headphones. Wish I had this on vinyl. Definitely prefer side B with the more low key arrangements that allow you to hear his piano playing more clearly. Kinda wish the whole album was in that more restrained style but "Let The Good Times Roll" from Side A really swings.

Listenable. Very of it's time. Bittersweet Symphony stands out. Nothing else really grabs me.

I think there is a strong case for this album being their best.

This first album comes off like a more laid back Sonic Youth, but with a sense of humor and a sensibility for brighter/catchier hooks. Stephen Malkmus' approach to songwriting, particularly his lyrics, blew me away when I first started really paying attention to them. Largely free of rhyme schemes, yet utterly memorable. Obviously very well educated with vocabulary and obscure references in spades, yet he pops his own intellectual bubbles by tempering it with whimsical goofiness and the mundane. The delivery and phrasing also underscore this in their playful and "casual" nature. Although this may sound very "normal" and familiar now, it is because their sound and approach have been so completely absorbed into modern indie music that it is almost difficult to recognize their originality in hindsight. One of the main tributaries of influence in indie rock. An absolute pillar. Loosen up.

Kinda comes across as a semi throwback to earlier hip hop than it's own era. Very listenable but nothing really stuck out to me.

I really enjoyed this one. Quirky and all over the place and very of it's time for sure, but what a time. Particularly like the wild guitar playing on this one.

On repeat during high school and college years. Perhaps the most accessible jazz album of all time for those more inclined towards rock music. So solid and catchy. Dictionary definition of a groove from start to finish. Might be the funkiest thing I've ever heard.

Hands down my favorite Cure album. This is one of the most sonically gorgeous albums I've ever heard and is exquisite on headphones. The atmosphere is so intricate and detailed it's like your ears are on drugs. The contrast of the shimmering/stereo panning chimes and then the deep hit of the bass/synth at the beginning is like a 1-2 punch that just immediately knocks me out. The first two tracks are my favorites and pair so well together. Reverb, delay, and EQ all brilliantly balanced in such a way that they create this practically narcotic effect on me where I just want to shut everything else out and listen to this album over and over again in the dark as I go in and out of consciousness. I want to stay in it forever. The contrast of elements throughout the album from delicate to saturated and intense is so thrilling and dramatic in the best possible sense. A masterpiece.

I did not enjoy this. Don't particularly like her obviously proficient voice. The production is too crisp and clean for my taste. Ohh man I really don't like when the male vocalist comes in at all. It's funny cause the selection of material tries to come off hard edged and cynical but the execution makes it seem so inauthentic and unbelievable. I don't buy it. Most interesting track was the last; Scope J. If more of the album was like that one I'd be more interested.

I cannot abide The Eagles for some reason and I'm not sure if I can fully articulate it but here goes. It's weird cause I generally like the solo material of the individual members, but when they work together they all seem to hold each other in check in such a way that the music just sounds like a compromise. Rather than push each other to new heights they all seem to collectively agree to play it safe instead. Their massive success has often baffled me. But I guess it makes sense that in the country where Subway is the largest fast food chain and Bud Light is the most popular beer, that people would actually prefer the absolutely mediocre sounds of The Eagles.

So intimate it almost makes me uncomfortable at times. Such rich details throughout. Singing style and lyrics and even structures are so unique. Not following any formulas. Even though it's considered her masterpiece, it's not my personal favorite album of hers. Somehow this is too pure and clean for me.

Can't think of a finer example of a person who carries on in the spirit of Woody Guthrie. He does so with the appropriate modern flair so as not to sound like a retro/nostalgia act. The fact that he is very politically active and backs his words in that way is a rare and admirable quality in a modern musician.

So soulful and expressive. Feels deeply heartfelt. Would've been intense to see live.

Not my thing. Got that Bob Ezrin atmosphere but it just makes it sound even more ridiculous. Grateful this album is only 34 minutes long.

My favorite electronic dance album of all time. Listened to alot of electronic music from this era but most of it was more IDM headphone music. This is extremely danceable while managing to keep it moving in such a way so as to keep it interesting throughout. Remember riding a bus across town to go buy this at a store in a strip mall as a lad. More memories of playing this at impromptu dance parties at college in the dorms. Holds up.

Very pretty and moody. I like it but got a bit bored as it went on.

Wanna like this more than I do. Some of the beats are really eccentric and I like that but it just doesn't completely gel for me. I think it's the combination of the more r&b sung elements that throw me off. Favorite track is "Izzy Izzy ahh" where she's doing this kinda laid back ODB thing. I like it when she gets more nonsensical and playful like that.

Kinda reminds me of The Kinks. I'd much rather listen to The Kinks.

Thought I liked this one but in listening to it again I think I love it. Never owned this one back in the day cause one of my roommates had it and it was so ubiquitous anyway. But this really is a masterfully crafted album of it's era. Got that "cinematic" Fugees sound steeped in soul. It's impressive that she carries the weight of this long album pretty much single handedly. Though I love Wyclef's The Carnival, this may be the best Fugees solo album. Easily my favorite female hip hop artist and one of my favorite albums by a female artist. So strong, so honest, so intense. Feels deeply personal. She gave it her all on this album. In a class of her own.

Their first great album. Like how Blur can sound kind of all over the place and very consistent at the same time. Oily Water is one of my favorite tracks of theirs.

Though I'm not as big of a fan of Dylan after Desire, I must say this is quite an enjoyable record where he seems to have established a sort of template/persona of sorts for his subsequent records. How Dylan got his groove back.

Oh man samples galore. I sometimes listen to playlists that are all sources of hip hop samples. This seems to be a treasure trove. One helluva novelty record.

Oh man the drum machines on this! Especially the 808s! The interplay of the MCs sounds a little dated now but if you think about it that'd be hard as hell to pull off - like constantly doing alley-oops on the basketball court.

Fun and warm. Captures that New York dance club feeling really well. Groove is in the heart is a standout in many ways. Like the heavy infusion of soulful elements throughout.

I'm amused by the oddness and looseness of this album but not much more than that. Holy Shit! Wait a minute... did they invent the template for Black Sabbath in the first 1:10 of "Ever since the world began"?!?! Other than that, somewhere between the sound of The Who, Kinks, and Stones from the same period with a touch more psychedelia. Kind of liked listening to the mono version more than the stereo.

Our second Dexys Midnight Runners album. Seriously? I'm definitely starting to see the UK bent the list has that others have mentioned in reviews. It's not bad I guess but did I really have to hear this before I die? Strangely enough my favorite track is the last one Reminisce with all the talking.

Love their voices. Especially Mama Cass's. Their best album by far. Sweet spot in pop music progression.

Don't love the dramatizations and skits throughout. Particularly at the beginning -wish it just went straight into the music. I really like "Juicy" alot but the album is CD-era bloated. I also don't love Puff Daddy's weak backup vocals throughout. Can't ignore the misogyny and the graphic sex stuff is a pretty big turn off. I like his voice alot and I like the beats/samples but as an album it doesn't gel for me.

Love Roxy Music with or without Eno. The godfathers of art-rock. So ahead of their time.

Some of this fun but some is so ridiculous like "Gutter cat vs the Jets" that I can't take it seriously as an album.

I like about half of this album. Songs like "Heart attack and Vine" and "Downtown" are great but I really don't like the songs with the string arrangements.

Kinda falls between the sounds of the 70s and 80s. I like the songs that lean towards more of the 80s sound with the funkier bass and synths like on "Secrets" and "Stand Up."

Really miss hip hop like this. Love it's eccentricity and humanity. So inviting and warm.

I like Pet Shop Boys' earlier work and was excited to see Harold Faltermeyer as producer. I'm a big synth wave fan in general, and I normally stick up for this sort of thing, but I just can't get into this one. I find the singing style and lyrics mildly irritating to cringe worthy throughout. And the production is simply too clean for my taste. They claim to have been inspired by Depeche Mode's Violator, which I think is a five star album, but I don't hear any of that album's depth or richness reflected here. There are moments of cheese on this album that I find almost unbearable and I have a huge threshold (and even an appreciation) for cheese (Orchestra Hit!!!).

Wow. What a downer. Guess that's the point though, right? Well, fuck that. Not only is the mood consistently dour, it's consistently boring as well.

Fun stuff. Very animated and playful. Only heard "passing me by" back in the day and love that track. Think it's a standout. Like the interplay of emcees and their different voices/styles.

Probably my favorite "neo-soul" artist. Regret sleeping on this album in the past. Like the atmosphere throughout. Very earthy and organic. Really flows. Perhaps a bit too long.

Discovered this one in college and was a favorite among friends and roommates. Wish punk on the whole sounded more like this than say The Ramones or The Sex Pistols. So many ideas crammed into such a tight space. Love the way it moves along. So efficient and refined in it's execution. No fat to be trimmed here. Many songs are short but all completely satisfy. Art-punk at its finest. The song "Strange" is in my musical spank bank. The album leaves me wanting more.

Not a huge fan of the big band sound. I can appreciate it but don't necessarily enjoy it.

Never heard this one before. I would have liked it more at the time of it's release had I been aware of it. Like the atmospheres created.

Had "Mighty Joe Moon" back in the day but never really listened to any of their other albums. Like their sound. Sort of like Jangle Pop with a little more punch.

I like some later Sebadoh but I find much of this album annoying (and it seems intentionally so). Says it was their first album recorded entirely in a professional studio. Sure doesn't sound like it to my ear.

I have really only heard Liege and Lief before. I like that album and this one quite a bit. I love Sandy Denny's voice and Richard Thompson's guitar playing. I also like the bass playing and drumming quite a bit as well. The fiddle is not typically an instrument I am partial to but it is balanced well in the mix and really adds to the intensity when they start jamming out like on "A Sailor's Life" - holy sheeeit...

I wish Donald Fagen would have laid some sarcastic vocals on these smooth ass grooves.

I love Jonathan Richman's heart on his sleeve honesty and directness. He is like an anti-rockstar and yet things like Roadrunner epitomize rock and roll to me. He's so comfortable with who he is and just putting it out there. Really brave, and to me, relatable. Some of these tracks were recorded in 1971! They're like The Stooges' sensitive, goofier little brothers. Ahead of their time. 5 stars for Roadrunner alone but 5 stars for all of it.

Bowie in transition. Always surprised he didn't stick with this sound for a couple more albums being as it was successful commercially, but he just kept on mutating. This is like a sort of musical palette cleanser between main courses/phases of his career. Also, definitely worth pairing this with the "Gouster" outtakes of the same period from the "Who Can I Be Now" box set.

I love this album's big sound. It's simply one of the most passionate albums I've ever heard. I would say it was raw passion except that you can tell the album was very carefully crafted - channeling that passion into a thing of beauty - striking a near perfect balance. Springsteen displays more authentic passion on this album than many artists seem to be able to muster in their entire careers. I have tried, but can't seem to get into, Springsteen's first two albums, and I think alot of it has to do with the lyrics. On this album, while going for a bigger sound musically, he chose to go in a more refined direction lyrically, foregoing his more cryptic Dylanesque approach of the first two albums for something more direct and heartfelt than intellectual, and it makes all the difference. Though you definitely can hear the Dylan influence throughout, especially in songs like Jungleland, I think this is where Springsteen really comes into his own and becomes "The Boss." This is one for the ages. Coincidentally, I just listened to this on vinyl the other day with the family. It's in pretty regular rotation in our house and everyone enjoys it.

I like the slower number "They're hanging me tonight" but the rest is just okay to me.

It's very pleasant and moody and all but honestly I find it a bit of a yawn.

It's got motorik beats and synths all over it. Of course I like it. Even got Malcolm Mooney on "Ravenspoint"! Love the balance of instruments and electronics. I'm a sucker for female voices paired with electronic music.

Love it. The companion piece to Graceland. The real heart and soul of that album on full display here. So pure and recorded with just the right amount of "space" and reverb. Feels very present but also very comfortable. Love the balance and stereo play between the ears on headphones. The unaccompanied human voice is the purest and sometimes most powerful way to experience music. Would love to hear this performed in person so I could really feel the vibrations of those voices.

Man, I hope this is not the only John Lee Hooker album on this list... It's alright but I would much rather listen to an earlier record of his without all the guests.

Starts so goofily but really lifts off with "Spanish Castle Magic." There's a loose almost carefree feeling to the album. Sounds like they are having fun creating things in the studio.

Though this is not my personal favorite John Cale album (that would be "Fear"), I am going to give this a 5 because I'm pretty sure this will be John Cale's only solo appearance on the list. This is a beautiful album and I find his voice oddly comforting.

This started tolerable and ended up becoming torture as the album drug on. Some individual tracks are okay like "When I Dream" for example but as an album I find it irritating.

Had this on cassette back in the day. It's where I really start liking The Beastie Boys. They are transitioning out of their earlier sound into something much more complex. Bursting at the seams with samples. Love the flow of the tracks, almost especially when they suddenly smack up against one another, culminating in the collage-like "B Boy Bouillabaisse." The album moves along at a good clip while covering alot of different moods/sounds, but mostly exuding contagious excitement and fun. Wish more contemporary hip hop had this kind of manic ADD energy.

These kind of blues jams are very much not my thing. Couldn't make it through most tracks. I find this kind of stuff utterly boring and tedious. Can't even imagine trying to make it through the deluxe edition .

On second listen it is apparent to me that this is quite a unique album. Love the production. Title track is dope. Strength of Strings is a great way to follow it up. Was expecting everything to be fairly standard country rock but this is a tasty cocktail of influences. I just so happen to be heading to Mendocino where this album was conceived later this week.

In every baby boomer mom's top ten. Some big classics here but ultimately not my thing.

These guys were definitely listening to Big Star and Cheap Trick. Power pop to the max. Though this tends to stick more to the mellower Big Star sound than the slightly more fun/upbeat sound of Cheap Trick. Probably one of the worst album covers I've ever seen. Did they have a 5 minute conversation about what the cover should look like and then go straight over to MS Paint and crank it out in 5 more minutes? Nailed it! And the whole business with Gene Simmons owning the copyright to the image of a cash bag with a dollar sign on it is mind bogglingly ridiculous. Reason #473 why Gene Simmons is a fucking piece of shit.

Not in the mood for this tonight but it's alright. I'm more a fan of later Sonic Youth.

What a thunderous cacophony! I'm surprised I've never heard this. I can't say I exactly enjoy a whole album of it but for a track or two this is kind of stunning in it's intensity. Two sets of drums recorded with some significant reverb and dueling saxophones going at it all at once is quite a unique arrangement. Really stopped me in my tracks when I first put it on. My ears took a minute to even be able to process what they were hearing. I like this but I'm giving it a 3 because I know I'd never put this on as an album or tolerate it if someone else did. There's very little variation of mood or relief from the intensity. Again, a track or two is exhilarating and would be mind blowing live but any more than that gets exhausting real quick.

The grand daddy of concept albums. Features, arguably, the greatest Lennon McCartney collaboration, A Day In The Life. I always used to play that tune on the juke box at the pool hall when I was a kid cause it had that secret track on it at the end and it would temporarily disrupt the place into a state of surreal confusion, much to my delight. It's only a matter of seconds but it felt like ages each time. Love the idea of them pretending to be an alter ego in order to free themselves from being The Beatles and all the expectations that went with it. Studio as an instrument on full display here. What a combination of dreary reality and escapism. Goes together like peanut butter and jelly. Listening to this on headphones, I'm hearing little details I've never noticed before. Guessing it's also partially the remastering.

Listened to this kind of early rock n roll with my dad on road trips and around town in the car. Solid.

Oh man. You know what... I'm not going to even listen past the first song. That's right. I'm not even going to give it a chance. I just can't stomach this right now.

I like Liz Phair. Makes me feel nostalgic. Wasn't a huge fan back in the day but had many friends who were.

This may be the only band I actually like that Eric Clapton was in. And that is mostly due to the rhythm section if Jack Bruce and Ginger Baker.

Elvis Costello was huge for me and my friends in college. Got a taste for his music in high school from my stepdad. Especially the 77-80 albums. Some of the most brilliant lyrics. So intelligent yet they still have have real emotional punch.

Just kind of washes over me.

I have Pata Pata on vinyl and it's a popular one around the house. I have loved her since college when I heard her on the college radio station and had to call in to find out who it was. Her music always lifts my spirits. Gonna knock this down to 4 though cause the song with Charles Coleman and the Flea Song throws the album off a bit for me.

Don't really know what to say. She has a nice voice but the arrangements don't do much for me. Can't honestly say I enjoy this.

Solid Stones album. Not my favorite but very listenable.

Had to throw on my vinyl copy for this one. One the best $1 records I ever bought. Hands down my favorite Billy Joel album. Starts strong with Moving Out. Then goes all over the place for the rest of Side 1. Feel like "Just The Way You Are" is a response to 10ccs "I'm Not in Love" but more positive and sincere. "Scenes from an Italian Restaurant" is like Showtune-Prog. Wouldn't be surprised if an actual full blown Broadway musical is made out of this song someday. Then onto Side 2, beginning with my all time favorite Billy Joel track, "Vienna." Feel like you gotta have some mileage behind you to appreciate that tune to it's fullest, but it's really a message for the young - so listen up kiddos! This ain't cheese, it's a rich and complex flavor best appreciated by a refined palette.

I think this is gonna be my first five star rating that's going to an album I hadn't already heard previously. Such moods and grooves here. Downtempo numbers are absolutely my thing. Uptempo numbers are breezy and enjoyable too.

Ice Cube is easily my favorite member of NWA and this is the album of his that I remember the most. I like his voice and I think the beats hold up really well.

I like this for about 3 tracks or so. I can see how some individual tracks could be used really effectively on a soundtrack or something but an entire album kinda wears out it's welcome with me.

This has some nice moments that sort of waft in and out throughout the album but mostly it just sounds dated in an awkward way to me. If you give it enough time I'm sure it'll come back into vogue aesthetically at some point. One thing that will always hold it back though, like any good CD era album, is that it drags on a few songs too long.

I absolutely respect his effort to get more reflective and even somewhat sensitive in-between the swagger, but the beats are so weak! It's like a movie with a good story but terrible cinematography. So much heart but no atmosphere. Never been a huge fan of the west coast g-funk sound with all the glissando on the synths. I really respect "Dear Mama" though, and I think it's a standout, perhaps because the track is a little more stripped down and seems to foreground his voice in a way that the other tracks don't.

When you get into these sub genres of metal it kind of ends up sounding like a parody of itself. This certainly isn't so over the top so as to be unbearable, and there are instrumental moments I enjoy, but when they flip the switch and do the high-speed kick-drum thing with the bark/shout/growl vocals it just comes across as comical (at least the first 10 times they do it). And they do that gimmick so often it becomes tedious and even exhausting. If they just used that technique like once or twice per album it would come across much more powerfully. But when they do it all the time it's just constantly being jerked in different directions, which I'm sure is the desired effect in the mosh pit, but on record the effect wears off quickly. Aside from that, the music is fine by me. Never got into this type of nearly unintelligible, exaggerated vocal delivery though. Can't really take it seriously. I'm more of a stoner/doom/sludge kind of guy when it comes to metal. If all music genres had drug equivalents this would be meth metal.

Hypnotic and seductive. Interesting atmospheres that are simultaneously textured and smooth.

Every album CCR recorded between 1968-1970 is solid fucking gold. In those 3 years they put out 6 albums! An average of 2 stone cold classics per year. This album is the apex of their most productive year, 1969. They were absolutely on fire here. I often shy away from rootsy music but John Fogerty oozes such authenticity and passion in every phrase that I can't help but fall under the spell. The playing is so tight and focused, but isn't overly technical or showy, so it comes across feeling very natural and relatable. These songs sound nearly timeless. Every one an anthem. It's almost as if they could be traditional folk and blues songs with bad-ass rock and roll arrangements. Hard to believe that, besides the final track, they came from the mind of a then 24 year old who was somehow able to channel and express what sounds like at least a century of experience and perspective. He didn't just catch lightning in a bottle here, he was a veritable musical lightning rod at this point.

I loved this period in the 90s when the floodgates were temporarily opened to allow for truly unique and idiosyncratic music to make it's way into the mainstream. Record labels were taking chances again, trying to find the next unpredictability big thing in the wake of Nirvana's success and the creation of the "Alternative" classification. Is Alternative still a thing or has that simply evolved into Indie? Had Beck come up in any other time period I think he would have remained a fascinating sort of semi-outsider artist that was beloved in hip circles, but because he came up when he did, he was able to really let his musical ideas run wild and we're all the better for it. As a lad, I really identified with Beck's whole approach. His melding of genres, his surreal lyrics laced with humor, his thrift store hodgepodge aesthetic, his back catalog of smaller indie records that revealed his true range and depth, and then of course records like this one that showed he was capable of practically creating a genre of his own. In my opinion this record temporarily broadened the palette for pop music in the 90s and early 2000s; loosening genre barriers, interweaving samples more fluidly, allowing for more esoteric material, and essentially popularizing a sort of free wheeling collage aesthetic outside of a purely hip hop context. Though "Mellow Gold" is great and "Loser" was, and still remains, his biggest hit, I fear Beck would have remained a one hit wonder had he not met up with The Dust Brothers. They were able to give his musical vision the scale, flow, and shine it needed to cement his appeal with a mass audience. Together they made something that was not only unique and innovative and fresh, but something that was fun as hell. One of the first real big shows I ever went to was seeing him play on the "Odelay" tour with The Roots as the opener. Man, it was a good time. Almost as good a time as I had blasting this album on repeat from a boombox in the backseat of my friend's car during the summer of '96.

I find this to be a major improvement over "Five Leaves Left." Though still generally mellow, there is much more range and vitality to the arrangements.

The Kinks are, to my ear, the most consistently listenable of the big British bands from this era. I put 'em up there with The Beatles, Stones, and The Who. All of whom were shuffling towards the concept album at this time. This album is thoroughly enjoyable and I'd throw it on nearly anytime.

Definitely more of a fan of Public Enemy for my gritty hip hop realism in terms of both lyrics and beats. Not to mention consistency of sound and message. Having "8 Ball" a couple tracks away from something like "Express Yourself" makes it seems like they're throwing everything against the wall and just seeing what sticks. But man this album was absolutely contagious even despite limited radio and MTV play. They certainly tapped into the zeitgeist and pushed the envelope content wise further than anyone had done before. This may well be the most influential hip hop album of all time. Still hearing it's influence today. Favorite track is "If It Ain't Ruff" for the stereo panning bass. Also surprised by (and kinda like) the album's last minute electro conclusion "Something 2 Dance 2."

Man this is a total 3.5 for me. I like it but perhaps not as much as their first few albums. They are a very sonically consistent band which is sort of a blessing and a curse. I do like their general sound, but on the other hand no individual tracks really stick out to me more than the others. I'm going to be generous and round up to 4 because I absolutely love the simplicity and directness of the album cover - at once both bold and humble - which would also work as a pretty apt description of their sound.

I really enjoy coming across these kind of lesser known psychedelic nuggets. This one seems to be straddling a couple different musical trends of the era: 1) psychedelia and 2) incorporating more overt country influences back into rock music. Those seem like almost diametrically opposed musical directions but they blend it well. Plus, you have some Wrecking Crew members, and even Van Dyke Parks himself, adding some more sophisticated playing to the arrangements.

Practically a Faces album in disguise and easily his best solo work. Has a wide range of emotions throughout but on the whole is a very warm and enjoyable record. He certainly has a very distinct and soulful voice which is balanced well in the mix.

Brings together some of my favorite musical pleasures: stoner metal heaviness and krautrock grooves. Sprinkled with an almost poppy melodic flourish in the vocals. Hypnotic and catchy.

Hadn't ever listened to this before. I think I shied away from things that were labeled goth rock in the past for some reason but I quite like this sound. Favorite track is "Monitor."

Though I would never deliberately put this on, I didn't hate this as much as I thought I would. However, I must admit, I did listen to this in a private session so it wouldn't mess with my algorithm. Like many albums of this era, it is far too long, and the dark tone of the album becomes exhausting. Their general sound/message is one I hardly ever find myself in the mood for but I understand the appeal.

Probably their best album. A big change in their sound where they shed their rootsier inclinations towards a somewhat more experimental approach. This move definitely puts them more in line in with my personal tastes but there's something about Wilco that just fails to excite me. Perhaps it's what I perceive to be the persistently lackluster vocal delivery.

Had only heard singles off of "The Fat of The Land" before. Though I think I prefer this more electronic non-band format, the album wore thin pretty quick with me. I think I'd need a chemical enhancement or two to actually get excited about it.

I've found that pretty much anything David Bowie touched as a producer turned out to be among the best, if not the best, material that artist would ever put out. This album is no exception. Some nearly timeless and beautiful songwriting here presented with the perfect atmosphere and arrangements. Such a tight little package that still manages to cover many moods. Bowie does such a good job of sweetening Lou up without completely removing his bitter edge. Sounds effortlessly brilliant.

I'm a bigger fan of Spacemen 3 as they had a raw quality that was more compelling to me. Though I do like much of this album and respect it's ambition, it's too damn long and gets boring in places.

This reminds me of a much more raw and rock based Prince who is way into The Beatles. After reading Kravitz played most instruments on the album himself, the parallels to Prince increase even more. I had really only heard "Are you gonna go my way" before and I am pretty impressed with the first half of the album. But it wears thin for me after that. Especially when he starts dropping in Christian lyrics and moralizing.

Such manic oddball fun. Overseen by Bowie and Eno in Conny Plank's studio near Cologne so it comes with some serious avant-pop pedigree. I really like their "dehumanized" approach and the bizarre concept they have going. Probably the best album of their career, hitting a home run right off the bat. Certainly among the greatest things that ever came out of Ohio.

This one really brings me back in a good way to when I was starting to become more aware of music outside of my parent's collection. I remember alot of these songs quite well. Makes sense as there were so many singles from it. They are really having fun with the new capabilities of the sampler all over this record. I think it was really brave of her to go for a concept album that doesn't avert it's eyes from some harsh realities immediately after her first breakout success. And the fact that this became even more successful makes it all the sweeter. I love when artists are rewarded for brave choices and it proves pop audiences don't always want formulaic pap.

I love Gary Numan's dystopian Sci Fi music. As someone who occasionally feels like a robotic alien outsider, this album speaks to me.

In The Pixies discography, this is the first album that is merely very good. I feel like there isn't the same emotional range or weight behind the songwriting that they had in their prior material. A little slicker and more polished but loses some nuance. Still some great songs here. Always loved "Is She Weird" and "Ana" especially, but I feel like the album slowly loses some steam towards the end, even though it's relatively short.

Never quite lifts off for me. Like many albums, it comes down to subjective preferences regarding vocal style and I'm just not into the melodrama implied in the high pitched/breathy thing.

Fell in love with Bjork when I first saw the Michel Gondry video for "Human Behavior" on MTV when I was 13 years old. She is a true artist who is practically a genre of her own. She bravely follows her eccentric vision wherever it leads her. I have nothing but respect for her and nearly everything she does. Some of the sounds on this album are a bit dated now but man this shit was cutting edge at the time. This is just the tip of the iceberg in terms of her sonic explorations. Listen to the live version of this album to see a radical reinterpretation of these songs and the true capabilities of her songwriting.

This album makes a case for two of my pet theories: 1) bands thrive when they have at least two songwriters with widely different sensibilities in the group, and 2) bands tend to produce their best work when they spend alot of time together in a remote location in the country/woods. This album is a wonderful balance of melodic pop sheen and just the right amount of rock umph. All packaged in sophisticated prog structures with some really nice atmospheric touches throughout. Sure sounds like a concept album even though it may not be one.

Been into country music lately and I really enjoyed this. I like the more stripped down arrangements. Really well balanced. If this is a prime example of the Bakersfield sound, I'll take more where that came from.

A playful and warm psychedelic journey. I really enjoy this sort of thing.

I was 13 when this came out and it was a big part of my life. I even have specific memories of times and places I listened to this album. I think about it every time I pass through Cannon Falls on 52.

He writes some well crafted lyrics but I find this album comes across completely flat musically and honestly the cleverness of the lyrics kind of pulls me out of the experience in a distracting way.

Definitely reminds me of Jonathan Richman with the strangely intense sincerity, the vulnerable vocal delivery peppered with practiced emotional stammering, the old timey backup vocals, and the generally upbeat but cleverly knowing sound they have going. Despite these similarities it somehow comes across as completely original. Perhaps it's the strangely poetic and playful lyrics that definitely have a darker edge than Richman's, or perhaps it's the quiet loud dynamics and the way they can play with what seems like wild abandon and then just stop and focus it and go in a completely different direction on a dime. Or perhaps it's just that acoustic bass. Holy Shit. You can also tell who was listening and influenced by this (Frank Black and The Pixies). A huge link between some of the more cult acts of 70s and college rock and the alternative and indie rock that followed.

One small step for The Beatles, one giant leap for Rock and Roll.

Hadn't heard this before. Not sure if I needed to. Not bad but not remarkable. I think this only got on the list because British music seems to be graded on a curve.

Rather enjoyed this one. Really like the atmosphere she builds, especially with layers of vocals. For the most part fairly spare in terms of arrangements with plenty of breathing room to hear everything distinctly in the mix. Has a pristine sort of sound but the basslines and drumbeats keep it from being too delicate. Love the mixture of aesthetics from different eras blended together. Sounds great on headphones. Appreciated the clips of speech used as interludes - really adds to the atmosphere and grounds it in reality with a dramatic power. Ignorantly, I had no idea she was Beyonce's sister! This is a 4.5 for me but man I think I'm going to round it up to 5 because I can't believe this one slipped past me! Super impressed. Thanks 1001!

I love Robyn Hitchcock and I love this album. Not sure if I like this album or his first solo album more but this is certainly RH in top form. His songwriting is so immediately identifiable. The lyrics are idiosyncratic and bizarre in such an entertaining and even a dazzling way. But the weirdness in no way feels forced. It feels entirely natural and just part of who he is. I love looking at the world through his eyes. Some of his word choices just amaze me. I also think the humor is balanced perfectly as a sort of undercurrent throughout the album. It never quite bubbles over into laugh out loud moments but you just sort of smile the whole time. He does everything with such a straight face you sort of believe he really is one of his own outlandish characters. Would feel like real capital "A" Art to me if it weren't so much damn fun. I really enjoy the updated psychedelic sound. Very lean and catchy. And his guitar playing is almost as iconic as his lyrics!

If I close my eyes while listening to this, it sort of transports me to feeling like I'm in a period piece movie about the mid 60s. Seems to perfectly capture the spirit of its time in America.

This is one that comes down to the vocals for me. I simply don't like her voice. I know that's supposed to be part of the story with what she went through and everything but it just doesn't work for me. I do like the arrangements and atmosphere though. My favorite track is probably her cover of "Working Class Hero" - she makes it so sinister. And I must say "Why'd You Do It" is an hell of a way to close an album. Wow. Gotta respect that honesty. God damn.

I like psychedelia but this one gets kinda boring during some of the instrumental passages.

Fiona Apple will always gets 5 stars from me. She is one of the most authentic, human, and original artists that I know of. She puts herself out there in a way that can make her vulnerable and I think it's really brave. That she consistently manages to make that vulnerability sound so beautiful and powerful is nothing short of amazing. She is one of those rare artists who I view as having a nearly flawless discography because she only makes an album when she truly has something meaningful to express.

Almost certainly their best album. Like the big pseudo-symphonic psychedelic sound. Alot packed in there. Always respected Wayne for staying rooted in Oklahoma rather than moving to a coast or a larger metropolis.

Fun stuff. Love their theatricality.

Very average sounding EDM. British bias of the list showing here. If this had come out in say 1990 vs 2000 it would be a little more impressive but I still don't think I'd feel it either way.

Two Queen albums in one week! I must say that while this album is quite an achievement, Queen's high energy theatrical bombast can be exhausting over the course of an entire album. They have individual songs which are these completely brilliant shining diamonds but I find that those songs are often so amazing that it's nearly impossible to maintain that level of output. So, perfectly decent songs that might be standout tracks on somebody else's album just end up being filler here. Also, the pacing seems a bit odd at times. All in all, those brilliant songs easily make up for any comparatively lackluster moments.

Though I am more of a fan of his earlier work, especially his recordings with Lee Perry, Marley's music is consistently good throughout his entire career. The production on this album has some real nice touches and flourishes throughout that separate it from more standard reggae recorded in Jamaica at the time. Such a clean sound. Some real classics here. Bob Marley always feels so deeply genuine and authentic no matter the subject matter. So committed to every song. Can't even imagine how captivating and electric it must have been to see him perform live.

Sounds very dated in a bad way. This is the archetype of an aesthetic which became ubiquitous and that I find tacky. In time this sound will probably come to be perceived as merely quaint and passe but at the present it comes across as awkward and embarrassing. I was a teenager during the time period in which this came out. It didn't appeal to me then and I have no nostalgia for it now. Garbage indeed.

Oh my God. Third Queen album in a week. This earlier album is much heavier than what came after and I like it very much for that. Still has the sweeping Queen theatrics. Album flows really well. It's a fun ride. Oh man I wish Bowie had produced this!

I was a huge Beck fan beginning with "Mellow Gold" and I must admit that this was the first album of his that was a disappointment to me. From this point on in his career I started to slowly drift away from him. My difficulty with this album stems from a couple things: 1) him reigning in his lyrics to be more conventional, and 2) the consistently depressed tone. I get it, he's human and went through a shitty ordeal with his girlfriend. It's completely understandable that he would want to express his feelings about that, but perhaps for a song or two, rather than a whole album. I don't expect him to be some kind of postmodern cartoon his whole career but what I always liked about him was the way he was able to balance a wide variety of emotions on an album, or even in a single song. Another thing that bugs me on this album is illustrated by "It's all in your mind," which is a remake of a much older song of his. I love the original version of that song but somehow the dour tone of "Sea Change" as a whole kind of drags it down - takes some of the raw spirit out of it somehow. I can enjoy these melancholy types of songs of his in a different context but as they are presented here all together I find them slightly off-putting. I think what it really comes down to is this: I find this album to be too pretty, too perfect. The lush string arrangements being a good example of this. I can understand why he would want to try for something like this as an artist; to carefully craft something pristine and beautiful, but to me it lacks the loose soul he so naturally exuded in the past. It's like if your girlfriend never really put on makeup or dressed in fancy clothes and then suddenly one day she decided to get this total makeover and buy a Versace evening gown. It's not that she wouldn't look beautiful, but it would come as quite a shock, and somehow it wouldn't feel like "her." However, one thing I didn't have back when it originally came out was a really good pair of headphones to listen this album with. I do now and must say the sound of the album is pretty exquisite. If I separate it from my own personal baggage and hang ups I can at least appreciate it as a sonic achievement. For an album of his that has similar qualities but isn't so completely emotionally bogged down and humorless, try "Mutations" - it is more balanced, and I believe, a superior album.

Practically plays like a greatest hits album. Love their relentless pace. Pure rock and roll fun. A winning formula. Produced really well with some nice subtle touches throughout. Joey was such a sweetheart.

Developed an affinity for Iron Maiden after a particularly good My One Track Mind episode. I like this earlier, more raw incarnation of the band.

Never had this one back in the day but it was in the air. They have a very recognizable and consistent sound. Brings me back to that era but that's about it.

Though they are still not at the height of their powers here, this early, more stripped down version of the band may be my favorite incarnation in many ways. I think it's because you can focus so clearly on the songwriting itself, rather than it being somewhat buried in the dazzle of the production and arrangements as would start to happen on later albums. Love it all.

Love her voice. So emotive. Really enjoy the arrangements and the mix too. Stripped down to the essentials so you can hear each element distinctly with the perfect amount of reverb and doubling thrown on the voice. It's so well balanced. A very warm and comfortable sound. Plus, she is a total badass. Nothing but respect for the brutal honesty being conveyed here.

What a fucking bonkers album. Forgot how completely insane this is. I totally respect his efforts to make a big intricate piece of music with unconventional arrangements. However, although I own this on vinyl myself, I must admit I hardly ever put it on, except maybe for people who haven't ever heard it before, just to take them on the wild ride. I prefer the following album "Hergest Ridge" and feel it is a much more cohesive statement. Blows me away that this was accepted by popular culture in the 70s. Speaks to the open mindedness of the era.

AC/DC are like C average students in the school of rock to me. They understand the assignment well enough to pass but that's about it. I mean, yeah, it's rock and roll and all, their formula works, but I just can't take it seriously. I guess that's not the point, right? Should I just lighten up? The last song on the album says it all: "Rock and Roll is just Rock and Roll" Saying your favorite band was AC/DC to me would be like saying your favorite restaurant was McDonald's. They both make a very reliable product but I absolutely guarantee you can find something 10 times better and more interesting elsewhere.

This was one of the first CDs I owned but I don't particularly have a ton of nostalgia for it. Kinda surprised it's on this list.

A hypnotizing cinematic sound and a masterpiece of reinvention by way of ingenious layering. Amazing dynamics along the way on this head-bobbing ride. I could stay inside this postmodern collage all night.

Sounds like some mainstream pop rockers trying their damnedest to sound like Radiohead (and mostly succeeding due to Nigel Godrich's production). Still, a pale imitation which seems to lack depth.

Quite an achievement. Very brave and adventurous but still pretty listenable for the most part. Brought together an incredible crew of voices here. Makes sense that a singer would want to more fully explore the possibilities of the human voice.

I consider Steely Dan to be one of the most exquisite pleasures in all of music. Some of the most intelligent and sophisticated songs you will ever hear. They are in a category of their own. I could listen to their entire discography on an endless loop. Though purists of the Aja/Gaucho camp may scoff at this, I really enjoy this enjoy this early incarnation of the band.

Two Steely Dan albums in a row! And in chronological order no less. This is where they really start to refine their sound. Not a dud in the bunch here. I see some people disparagingly calling this "dad rock" but I think that's a pretty big misnomer. Cheese this ain't.

I know Beth Orton mostly from her vocals on Chemical Brothers albums. I like the way they use her voice in a more ethereal way. I don't particularly enjoy the combination of folk and electronic music on this album. It's too heavy on the folk side for my taste.

This is the Smashing Pumpkins album I'm most familiar with. Not that I've ever owned it, but it was on the radio, MTV, etc. To be honest my friends and I used to mock this one a bit because of lines like "despite all my rage I am still just a rat in a cage" and Billy Corgan's melodramatic and whiny vocals. Only ever heard the singles before, but listening to it as an album it feels bloated and oddly paced. The first song on the album seems to be entirely ornamental and placed there in an effort to dress up this collection of songs with something that seems more serious and higher minded, posing as a concept album - which I absolutely do not think this is. The comparisons to "The Wall" are completely daft. It's not the size that counts. Not that I would enjoy it that much more but I wish they would have shown a little more discretion in their track selections. I couldn't make it all the way through. Honestly I'm sort of baffled that this was as big as it was.

Discovered this one in college through a friend and it really floored me the first time I heard it in a way that only a handful of albums ever have. I was a little obsessed with it for awhile and tried to spread the love for it to anyone I came in contact with. Of course, like many intensely emotional albums, I associate this one pretty strongly with an equally intense relationship I was in at the time which has long since ended. So, I don't revisit this one often for that reason because it calls up some fairly painful memories, but it doesn't diminish this album's power for me in the least. I enjoy the first few songs for their strong dynamics but the first song on the album to really gives me goosebumps is "Lilac Wine." His voice is so powerfully emotive that I find it is more effective in a sparer arrangement. It's funny, normally with most singers I wouldn't enjoy the way the vocals are so intimately recorded with nearly every breath audible and presented so front and center in the mix but his voice is such a marvel that I enjoy soaking up every detail. Then of course you get to his cover of Leonard Cohen's "Hallelujah" which is one of those rare songs where his interpretation is so masterful that it has become the definitive version in my eyes, in the same way that something like Jimi Hendrix's version of Dylan's "All Along the Watchtower" eclipses its original. His ability to see the power inside that song and draw every last ounce of emotion out of it is not only a stroke of genius but also an amazing feat of talent in its flawless execution. It left me nearly breathless the first time I heard it.

I'm a big fan of everything Sabbath did between Paranoid and Sabotage. This album marks a slight change in their sound, expanding their range a bit. I especially love "Supernaut" on this album for it's unexpected sudden turn into an acoustic/percussion jam like a miniature parade going right through the middle of the song. Sabbath always entertains.

I'm a sucker for this kind of monochromatic music.

Like the combination of influences/genres here and nostalgic for alot of the synth tones but somehow it doesn't coalesce as an album for me.

Love the drum machines on this. Despite being a big step towards "hardcore" rap their tone is largely positive. In this way it sounds very balanced and refreshing.

Love his voice and the way he spans genres. I think it's hilarious when he name checks Sam Cooke and Ray Charles on "Can't nobody love you."

Peter Tosh and Bob Marley are like the Lennon & McCartney of Reggae. Both are absolute pillars of influence in the genre. While Marley gets the lion's share of attention, this album proves how capable and even masterful Peter Tosh was in the absence of Marley.

Picked this one up at Hidden World the night of the FoD show. It's a trip to be sure. Definitely has a chaotic atmosphere from the synths that I feel a kinship with. A landmark album really considering its use use of synths for its time. I like that the synths are a bit more crude than keyboard controlled Moogs and that they were also used to process other sounds. Definitely drawing from a variety of atypical influences to produce a very unique sound. Wish they were able to go on to make more music and refine their sound but I'll take this wild ride of a record. A very enjoyable experiment.

The first in the trilogy of albums Dylan recorded in 1965. Three iconic pillars of rock that changed songwriting forever. Three. In. One. Fucking. Year... Let that sink in. Dylan could have never recorded anything again in his life after "Blonde on Blonde" and we'd still be feeling the shockwave he produced to this day. He set a new bar for what was possible in terms of songwriting. Blowing the doors wide open. Furthermore, perhaps moreso than, and certainly before The Beatles, he was, like an alchemist, transforming rock music from something largely considered lightweight entertainment for teenagers into something that was worthy of study. He elevated rock music into high art and in doing so inspired others to join him, including The Beatles. He's drawing from so many places here, some musical, others more literary, and all filtered through his brilliant and chemically altered mind - soaking in everything around him and synthesizing it all into stunning cryptic diamonds. How did he do it? It's almost as if he were channeling the divine at this point. As if he's simply writing the language of the future as it pours out of him. He is without a doubt one of most unique and distinct lyricists of all time. And certainly the most influential. While I said above that he elevated rock music into something to take seriously, that doesn't mean he took out the fun. He can be quite lighthearted in fact, albeit in a dazzling, stream of consciousness kind of way. He can also be quite humorous in this regard and I really appreciate that range. For example, on this album, going from something like the surreal romp of "Bob Dylan's 115th Dream" to nearly any of the emotionally piercing songs from side 2. Speaking of sides, this is where he takes his first step solidly into electric rock territory on side 1. But he still keeps one foot planted in his ever evolving stream of consciousness brand of folk on side 2. I think it's a brilliant way to break up the album to make that transition and I think he did it in the correct order, even though it seems somewhat counter intuitive. Lead with the new, the thing that is unexpected, then give them the thing they are more accustomed to while they recover from that initial shock. Side 2 is also much heavier emotionally than side 1 and I think that makes alot of sense to weight it that way too. He would of course go on to be accused of being the Judas of the folk scene but Dylan didn't look back. I love this album. I have listened to it so many times I don't really need to listen to it again as I have it nearly memorized. But it's such a joy that I will listen to it again, several times in fact.

I unabashedly like Christmas music and always have. This is a bona fide classic in heavy rotation around the holidays in my house which is beloved by all ages. It's in my top 3 Christmas albums of all time, along with The Vince Guaraldi Trio's "Charlie Brown Christmas," and Nat King Cole's "The Christmas Song." I love Phil Spector's big sound and densely layered arrangements. I do not love his personal message at the end of the album however, and I usually scramble to try to skip the track when I hear his creepy little voice come on. Hands down the best Christmas album ever produced by someone who would go on to become a convicted murderer.

The Fall is one of those bands who have a vast and largely consistent discography, which makes it hard to know where to begin. So, thanks to 1001 for pointing me to this album. I do enjoy Mark E Smith's idiosyncratic vocal delivery but I can see why it wouldn't be everyone's cup of tea. It's like a drunk man under hypnosis.

A very even keeled album. Solid and dependable to the point where it verges on being boring for me. Just kind of starts blurring together after the first few tracks. I like Jay Z's voice but the mixing on the album sometimes sounds a bit wonky to my ear. Some details stick out more than they should and maybe I just want more reverb or something to smooth it out and give it more atmosphere. As is it's a bit too clean to the point of coming across kinda flat.

I'm not sure I can do this tonight. Not in the mood for Morrissey's moody brooding. I don't hate it and I can't say I even dislike it, but I very seldom want to listen to it.

I love Stevie Wonder and I feel this album is underrated in his catalog. Goes down easy all while making some genuinely heartfelt and poignant statements. No small feat. I used to put "They won't go when I go" on mixtapes and we'd get high and listen to it in silence and it would give us chills. Stevie is the real deal.

Even though I'm not the biggest Led Zeppelin fan, I have to admit this is an iconic album that deserves respect. And it's another great example which supports my theory that bands often produce their best work when they go off into the country and record in the comfort of relative isolation; encouraging jamming and exploration. Produced really well with some interesting sonic touches throughout, but nothing so overbearing that it's distracting from the songs themselves. I don't know if you'll ever hear a more badass drum sound than on "When the Levee Breaks." This album is a near perfect balance of their influences, from blues, to folk, to Tolkein. Yeah, you know they were fucking nerds.

Has a sound somewhat similar to Public Enemy from the same era, but lyrically more focused on hardcore street life than political awareness. They definitely have unique voices and flows. But where they shine, in my opinion, is when they incorporate Latin percussion and Spanish lyrics. Ultimately, I find the gangster rap thing kind of exhausting over the course of an album though.

I like Talk Talk's final two albums: "Spirit of Eden" and "Laughing Stock," but I am largely underwhelmed by this one. It's a transition point for them, only hinting at the nearly genreless direction they were about to go in. This one's just kind of there and doesn't really grab me even after repeated listens.

Despite having origins in my hometown of Cincinnati, I somehow completely missed the boat with The National. Now, listening to them consciously for the first time, I can see why: it's very competent music but it also sort of just blends into the general milieu of the indie rock of its time. And since they seem to almost exclusively dwell in a state of heavy melancholy, the album collapses under its own weight rather quickly for me. Come to think of it, "Heavy Melancholy" should be a subgenre of indie rock. If it were used as a label it would be really useful, because it would make it so much easier for me to avoid exhausting albums like this one.

This is where Dylan began to establish himself as a serious songwriter and accidentally ended up changing songwriting itself. Starts incredibly strongly with the first three songs being absolutely timeless pillars of music that will last through the ages. It's almost as if Dylan was a human version of the monolith from "2001: A Space Odyssey" and everyone who came into contact with his music began to evolve after listening to it. He's still in the shadow of Woody Guthrie here when he wants to be, but at this point I think it's more to temper the sheer power that is pouring out of him with something more down to earth.

Sounds like a crazed R.E.M.

I have a soft spot for hardcore punk. Had this one on cassette back in the day and they had the album 2xs back to back on side 1, and side 2 was just blank and you were encouraged to record what you wanted on it.

Not a huge fan of live albums in general and this one is particularly annoying in that the crowd is continually hooting and howling and whistling in the middle of the songs, which was absolutely a conscious choice to mic them and incorporate that element prominently in the mix. The guitar playing seems to be the centerpiece here but unfortunately I feel like the songs themselves are just mediocre so that it all comes across flat. The final strike against it is that it's simply unnecessarily too long as a double album.

Starting with "Hidden Place" it seems to pick up where her previous album, "Homogenic," left off, but then "Cocoon" takes the album in a more intimate direction. Definitely lends itself to headphones. Really like the textured beats, especially as they mesh with the string and vocal arrangements.

Although I respect her as an artist for rerecording her own material to reclaim ownership from her label, and even perhaps as a person for her acts of generosity to independent record stores, I can't say I enjoyed this. I have tried to listen to these two more recent albums of hers being touted as experimental and I had high hopes of being pleasantly surprised but I just don't hear it. This sounds very much like other pop music of the past 20 years or so. Granted, she herself has informed that sound for at least 3/4 of that time, but it is a sound that I generally dislike and that occasionally makes me cringe. The guest artists only seem to make it worse. I really tried to stay open minded and give this one a chance, but in the end it's just not for me. I'll write this off to me getting older and becoming a curmudgeon. Sorry TSwift fans.

Definitely their most commercial sounding record. Wild atmosphere but still very melodic and generally pleasant. Very playful, almost like a psychedelic cartoon.

Can't believe I've slept on this one all these years! So much forward momentum to the beats. Love the positive vibes.

I found this to be mildly boring and frequently irritating.

Pretty much sums up the sound of 1987 as I remember it. The late 80s was a transitional time in pop music production. Like a teenager awkwardly growing into their new features. It's funny cause if this album were recorded just a few years earlier, or even a few years later, I would probably like it alot more than I do. As is, it just sounds too clean and polished to my ear, to the point of being antiseptic to the soulful qualities that he obviously exudes. The best track by far is "As Yet Untitled" where he is unaccompanied by instruments and you can finally get a real sense of the raw power he is wielding.

I dig Dr John's unique brand of psychedelic funk. There's nothing quite like it and it's timeless. At some points it genuinely feels like it's part of a voodoo ritual, other times it's all mellow feel good vibes. Either way it's always dripping with soul.

I enjoy this type of "conscious" rap and it makes me nostalgic for the time period when it was a bigger part of the pop culture landscape.

We all love CCR in my house. This is probably their most fun record on the whole. It's still got some heavy hitters though, like "Run Through The Jungle" and "Long As I Can See the Light." They really make "Heard It Through the Grapevine" their own too. I'd listen to this nearly anytime.

I don't typically like live albums but this one is an exception. I suppose it's technically a hybrid of live recordings and studio overdubs, which is maybe what makes the difference for me. Neil is so emotive, whether it's on a delicate ballad or a sing-along rocker. Great performances here. I find "Thrasher" to be especially moving. I consider this his last truly great 5 star album before he fell into the morass of the 80s. Like so many other musicians that came up in the 60s and 70s, he had a hard time adjusting.

T Rex is consistently good throughout Bolan's all too brief career. This is easily my second favorite T Rex album, just a smidgen behind "Electric Warrior." Every song is so enjoyable and they all mesh well together. He makes rock and roll sound so fun and inviting. Doesn't take itself too seriously but at the same time feels very genuine and heartfelt. Lighthearted perhaps, but by no means "lightweight." The songs still manage to resonate emotionally without getting too down or sorry for themselves; something people tend to equate with "serious" music. "The Slider," by contrast, is a nimble celebration of life and is a joy to listen to in that regard. I think it's an absolutely valid take, which is often overlooked artistically for some reason. I guess most people, or perhaps critics, would rather stew in their own heartache and misery? Not me, give me T Rex any day.

I think this might have been the first album I ever owned. I had it on cassette, and if I remember correctly, I got it for Christmas from my Mom. As a child of the 80s this was completely omnipresent and I was definitely a big fan. He has an amazing voice and the production is incredibly dynamic. An exciting ride with all kinds of unexpected twists and turns in its layers and details. There is so much to love here but I feel like the album is unfortunately sort of mortally wounded by the inclusion of "The girl is mine." If you removed that one song, this would be 5 stars for me, but that song is so cloying it's almost nauseating.

Can't say I enjoyed this. The vocal delivery style is so flat and lazy I don't understand how he was the vocalist. I don't find him a particularly effective screamer either. Certainly someone else in The Blockheads had to have had a better voice? Also, obnoxious cleverness really isn't my thing when it comes to lyrics, especially when it's just a relentless barrage of it. Musically it's fine I guess? Nothing that grabbed me enough to distract me from the vocals or lyrics though. Definitely wanted to skip a few tracks as I went through but I persevered, for what it's worth, which wasn't much. Seemed to get worse as it went on. Will be avoiding in the future.

This album has its moments. Some of those moments are inside the side-long multipart first track, some on the tracks from side 2. I kind of wish the songs on side one were just separated out into distinct tracks of their own. Not being a big Rush fan I was unaware how much their earlier material sounds so much like a proggier Led Zeppelin. They seem to be on the road to their own more distinct sound here but it's still a ways off from something like "Moving Pictures," which I enjoyed much more. I can see why people like this, it's fun and sort of peak AOR classic rock in a way, but ultimately it's not for me. 2 stars for Ayn Rand references.

Though I like the general sound of this, after listening to it several times nothing really stuck out to me.

I love The Kinks. Especially on albums like this where they weave a tapestry of these down to earth musical short stories.

Absolutely iconic. I love that, in addition to some crate digging, they recorded their own music to sample and loop. Just brilliant. I'm a sucker for the downtempo beats and the general moodiness.

Had this one on vinyl back in the day and have always enjoyed it. It's his most popular album and it deserves to be. Though I may like some of his other albums slightly more, this is still a masterpiece. It has a little bit of everything, from the wistful folk and country flavored ballads that seem to be his forte, to the intensely arranged pieces like "A Man Needs a Maid" or "There's a World," to some genuine sing along rockers like "Are You Ready for the Country" or "Alabama." He covers alot of ground and even sneaks in some live material while he's at it. You might think it would come out as an incoherent mess but it all seems to blend together quite well. Ends up sounding like a cohesive album to my ears. The 2009 remaster sounds gorgeous.

All I had to do was look at the cover to know it was some British thing I've never heard of. This could be an exciting prospect except that it turned out to be some kind of thoroughly bland nostalgia act. Wait, can you even call it a nostalgia act when the person making the music wasn't alive during the time period they are emulating? He sounds very reverent to his inspirations and all, but he also sounds utterly boring. Not only that, but the clean modern production kind of neuters the aesthetic. And his voice just simply isn't capable of pulling off what he's trying to achieve. I'm five songs in and I really don't want to finish this...

So hard to listen to this without constantly comparing it to his father's music. I really wish he had gone in a completely different direction so that you could listen to his music more objectively. I can understand why he would want to build on what his father had built though, especially as at this point his father had pretty much stopped recording music altogether. He does a good job trying to maintain his father's legacy I suppose, but to me this just sounds like an edited down Fela with a dash more Juju/Highlife thrown in here and there. Being recorded so crisply doesn't help it to my ear either. It has its moments but mostly it just makes me want to go listen to Fela instead.

Though I prefer "Fear of a Black Planet," as I feel that is where they perfected what they established here, this is the breakthrough. This album holds up amazingly well over time, even when you compare it to other albums that came later in its wake. Chuck D's voice is absolutely commanding, and I even appreciate Flavor Flav for his levity and the contrast of style he provides, but it's the beats that completely floor me. I love the fast paced, noise-filled collage. Skillfully controlled chaos. It's high art.

I like the general sound of this album but somehow nothing ever seems to stick even after repeated listens. It loses its momentum whenever they wander into a looser instrumental jam section. Cute album cover though.

Starts super strong on the first track! This whole thing sounds fantastic on headphones too. However, over the course of its long, double-album duration, I end up liking about 1/2 of the tracks. I am partial towards the more upbeat and percussion heavy numbers from the first half of the album. Love the arrangements and creative structures. Would be 5 stars if they would've pared it down to a single album.

If this came out just a couple years earlier than it did I'd be much more impressed with it. But to me it's got nothing on artists like DJ Shadow, Daft Punk, The Chemical Brothers, Fatboy Slim, etc. I mean it's fun and all but it just seems to lack the depth and range of those artists I mentioned above that preceded them. And as impressive as the number of samples on this album is, I don't think they utilized them as well as artists like Girl Talk or J Dilla would go on to do a few years later. I could see this working in a much more interesting way as beats for MCs to rap over, but as is, nothing really sticks out to me, with the exception of "Frontier Psychiatrist," which I feel is a standout track.

This was huge when I was a kid and I have a sizable amount of nostalgia for the 80s pop sound in general - rife with synths and drum machines. Pop music from this era can come sometimes across as "soulless" because of it's tendency to be rather clean and polished but that is impossible in the hands of Tina Turner. Her imminently soulful voice provides a powerful foil for the slick, synth dominated tracks, and I enjoy the contrast very much.

As someone who was more into the indie rock scene, this was one of the few metal albums my friends and I would listen to in college. There is something about the ferocity of the pace and the athleticism of the performances that kind of knocks the wind out of you, especially considering when this came out. They take it to the edge without going over the top, and that is what makes them more palatable to me than some other metal. Takes itself seriously enough to give you chills but not completely freak you out. Those high notes in the vocals are like a reassuring wink to the audience that it's all in good fun. Not something I'd put on every day but would be very welcome in the right context/mood. Stands head and shoulders above other metal from the era and holds up remarkably well over 30 years later.

I was going to say Portishead did it better, but as this thing goes on, it just gets more and more odd, in a way that Portishead isn't. It's definitely got its own thing going on, but it's a thing that I frequently found irritating.

My main reaction to this is that I find it astounding that it came out in 1980! It sounds remarkably fresh and vital after all these years. Very ahead of its time and certainly holds up well. Love their heavy sound, especially when they incorporate the electronic elements. Love the atmosphere. Only thing I didn't care for were the modulated vocals on "Wardance."

This is one of the most creative and unique albums in all of hip hop. A sprawling 2 CD set that essentially functions as two separate solo albums packaged together. I feel like it was a brilliant way to reconcile the age old problem of artists wanting to go in separate directions. I was a huge fan of Stankonia and Aquemini in college and was elated when this was released. I must admit I have listened to the Andre 3000 disc many more times over the years but Big Boi's disc is completely solid as well, and much more akin to their previous output. It's just that The Love Below is such a strange genre bending cocktail that I find it completely irresistible. Reminds me somewhat of Sign o the Times era Prince in many ways but goofier with and more lighthearted (for the most part). I feel like both Big Boi and Andre 3000 were both being completely true to themselves here and I love seeing things from their unique perspectives. For being iconoclasts of a sort, it's amazing how casual and natural it all comes across. I only wish they would make more music together again, but this album would be hard to top.

What's not to like? Passed this one up on vinyl awhile back and now I regret it.

This is the Kanye I miss. He broke the mould for the mainstream hip hop of the time here. Expanded the palette lyrically, beatwise, and, I'd argue most importantly, emotionally. He had the audacity to simply be himself rather than hiding behind a cartoonish projection (except maybe on the album cover). Yes, there's tons of over the top boasting to be found here for sure (par for the course), but he's just as likely to be introspective, even self critical, or, heaven forbid, vulnerable. I love that he is so transparent and open in telling his story through music. It sounds funny, but for somebody who has gone on to practically become the dictionary definition of an artist who is out of touch with reality, he started his career being eminently relatable. This album is absolutely bursting with ideas and emotions. All over the place in a contagiously exciting way.

Cloud Nine is a standout track. I wish there were more tracks like it on the album. Runaway Child stands out too, but not in a good way - some of the production choices kinda irk me. The rest of the album is pleasant and all but it literally put me to sleep.

This is at once her most experimental and most casual sounding record. I appreciate everything about it - especially the way she emphasizes the percussion. She lets her voice rip here in a way that she never really has before, and it stops you in your tracks. She's holding nothing back. This album captures both her intensity and her playfulness equally well. Love the message and love Fiona Apple.

I've always been kind of surprised that The Roots' model of hip hop with live instrumentation wasn't a more popular format. They have a very dynamic and punchy sound. Don't really understand the "Water" track in the middle of the album. I could see it working as a "secret" track at the end but, ironically, it just kind of breaks up the flow. Same goes for "Something in the way of things" - it's nothing against the tracks per se but rather their pacing and placement. And the high energy/clubby final track is just out of nowhere and feels kind of tacked on. The album seems to suffer a bit from CD era bloat.

Starts really strong on the first couple of tracks but I feel it loses momentum whenever singing is brought into the choruses. I like it when she leans more towards the experimental. Beats are very moody and atmospheric and it's a real 3.5 for me but ultimately it feels more like an assemblage of fairly distinct singles than a cohesive album so I'm gonna round down.

REM are the godfathers of indie rock. They were the epicenter of what was then called college rock, which would then mutate into alternative, and finally become indie rock as we know it today. I feel like people take them for granted now, partially because their sound was pretty much completely absorbed by others in their time, and partially because they don't have a particularly aggressive sound - something that I actually appreciate them for. I get tired of rock and roll having to be cranked to 11 all the time. This is easily one of the most important and unique debut albums of the 80s. The jangly guitars, melodic basslines, and toe tapping beats are certainly nice, but I think the real secret sauce is in Michael Stipe's poetic lyrics and seemingly casual but subtly emotive vocal delivery.

This may be their most refined and engaging album. It feels very conceptually unified as they begin to focus more on something closer to pop song structures with lyrics, at least on Side A. The fluid 3-track song suite of Trans Europe Express / Metal on Metal / Abzug on Side B is like a mini railway version of their masterpiece Autobahn, but with a much funkier beat. Quite a ride. This album is also a big step for them in becoming the robots they were destined to be in Showroom Dummies. And I must say I geek out every time when they name check their real life rendezvous with Bowie and Iggy on the title track. Absolutely historic. They were electronic music pioneers who were so far ahead of their time that they were essentially in a league of their own. You may not dig their schtick, hell, you may not even care for electronic music whatsoever, but, like it or not, these affectless Germans changed the sonic possibilities for music across multiple genres, some of which they nearly single handedly created. Hard to pick a favorite album by them but this just may be it for me.

I'm starting to think I might be allergic to Southern Rock. Either that or I have a Southern Rock intolerance. If I drank enough whiskey it might help me to be able to digest this deep fried pork chop of an album. Either way I think I might end up puking.

I have not listened to much Coldplay besides their biggest hits on the radio, etc. I know they are both extremely popular and extremely disliked. And perhaps the fact that they are extremely popular is a part of why they are extremely disliked... I don't really feel strongly about them either way. They sound like U2 trying to imitate Radiohead with a dash of Oasis thrown in here and there. They're very competent at crafting these dramatic dynamics but I'd rather just listen to their influences. They don't really seem to add much to the conversation. In fact, I'd have to say it comes across as a bit watered down. Like Radiohead for people who don't want to be challenged.

I listened to this twice and it completely washed over me both times. Absolutely nothing stuck. I'm actually kind of amazed at how completely neutral this music is. It's like reverse osmosis water.

This sounds like The Cure trying to overcome a horrible hangover by taking a bunch of speed and ecstasy to power through it. I find the whole thing pretty grating but the worst element is definitely the singer's voice. He makes every song annoying with his strained wailing. So jaded it's dull.

I thought it was just okay at first, but you know what, I'm not feeling it.

Janelle Monae is one of those artists that sounds so good in writing but when I actually listen to her music, it doesn't end up doing a whole lot for me. My expectations play a big part in how I respond to it of course. My main issue is that I want/expect her to be more experimental, closer to the way she seems to be described in the rave reviews. But when I listen to the music, it comes across way too poppy/pretty/polished for my taste. It sounds like this could be a Broadway musical actually. Maybe someday it will be? The Sci Fi concept album is right up my alley but it doesn't sound particularly Sci Fi to my ear with all the pianos and strings and such. I mean it's pretty and everything but it's not out of this world.

This is what I wish Jakob Dylan and The Wallflowers sounded like.

I'm normally not a huge fan of live albums but I'll have to make an exception for this. The energy is electric, with a feedback loop between JB and the crowd. I find it completely enthralling.

On the first side of this they are pretty much on fire. Loses some steam on side 2 but still very enjoyable. Psychedelic pop gets a modern makeover. Genuine fun.

I'm not a big fan of Eric Clapton or Duane Allman but I was gonna let this pass with a 3 after listening to the first few tracks. It's at least more engaging than Clapton's solo stuff. Then I noticed there's an hour and 15 minutes to this blues rock wankfest! And I've got not one, but two guitar heroes trying diddle my ears - sometimes from both directions at once! No thanks.

I like the 50s Elvis and I even like the later "comeback" Elvis but this stuff in the early and middle 60s just doesn't hold up for me over the course of an album. I think the backing vocals of The Jordanaires are what blow it for me actually. I'd rather just have Elvis front and center with a stripped down backing band behind him like in the Sun days.

Oh man, I think I just fell in love... It's funny cause I've listened to this album before and enjoyed it and everything, but for some reason, listening to it tonight, this album just absolutely knocked me out. Maybe it's because we're now two years into a global pandemic, in a time of increased social unrest/polarization, and quite possibly on the brink of World War III, but this album is really speaking to me right now (in a way it didn't a few years ago when I listened to it last). There is so much I love about this album but the thing that impresses me most is probably its casualness and playfulness. It's so loose and laid back that it somehow comes back around to coming across as cocky and confident to me. Like the genius just rolls out of him so naturally and effortlessly regardless of his mood. He doesn't have to be "on" to express the truth. Some real honesty here. And that's the other thing I really appreciate about this album: that it captures these states of mind that are not often put into songs, especially at the time it came out. Really shows you that funk isn't all just feel good party jams and I appreciate that. Another thing that I appreciate is the incorporation of the drum machines. Not only is this album an absolute pillar of funk, but it's the album that pretty much single handedly legitimized the use of drum machines in popular music - so I have to give my thanks for that. All that and the mysteriously murky mix give the album a very distinct sound which, to my ear, keeps it a surprisingly fresh and intriguing listen after all these years.

I can definitely see why Metallica has a mass appeal beyond a strictly metalhead audience. They are at once the epitome of metal and yet they sort of transcend the genre in many ways. Although I ultimately find this album fairly exhausting, I definitely have a newfound respect for this output from their prime.

The big retro arrangements are putting lipstick on a pig. Same goes for the album cover. And an ironic joke for a title? Har har har... Holy fuck there must be eight dozen albums from 2008 alone that deserve to be on the list in place of this one.

This is where The Cure really started forming the identity they would come to be known by. I am a recent goth convert so listening to this makes me feel right at home in the gloom. Could've done without "The Final Sound" but other than that this album is a solid skeletal framework for what was to come and I really enjoyed it.

Songs from this album keep showing up in my Spotify Discover Playlist and I'm not sure why. I guess it's because I generally like the kind of 70s singer-songwriter albums he's trying emulate (or lampoon - I'm not exactly sure). But I don't like his take at all. I can't stand his constant stream of cleverness. This album is like one big ironic joke that's lost on me.

I deeply revere his 60s and 70s albums, but for me personally, he has a sharp cut off date in the 80s. His voice got flatter then and his style of arranging changed to where I no longer enjoyed the sound. Still a great songwriter all the way through to the end but honestly I'd rather hear other people interpret these songs. Hearing him croak them out on his deathbed is just sad. While listening to this album I just kept trying to imagine the songs being sung in his youthful voice.

This is where Brian Wilson truly started to shine in his songwriting/arranging and studio alchemy. I used to have a nice copy of this on vinyl that I picked up from a thrift store back when you could still find decent records in thrift stores for a steal. I really like that they play with the album format and had different moods for each side of the record. The inclusion of "Bull Session with Big Daddy" at the end is sort of baffling but oh well - ah youth... Favorite tracks are "When I Grow Up" and "She Knows Me Too Well."

I deeply, madly love The Eurythmics and I feel they are severely underrated. To me they are THE sound of the 80s. One of my first real musical memories is being in my Mom's Honda Civic, hearing "Sweet Dreams" come on the radio, and being completely hypnotized by it. I can even remember the street we were on. As dark as this album tends to be, I associate it very strongly with my childhood. It is definitely where my fascination with electronic music began. I have always admired the way The Eurythmics combine cold, dark electronics with warm and soulful elements - Annie Lennox's incredible, shape-shifting voice being the warmest and most soulful element of all. It's an approach that seems like it would be easy to replicate but honestly I don't know if I've ever heard it better than on this album.

I could appreciate this if I was drunk and someone who was really passionate about the album put it on and talked it up to me as we continued to pound em down. Being sober I don't really have any sort of emotional reaction to it whatsoever. It sounds like Dylan and The Dead getting loose with a producer who fetishizes a really clean sound. It's that clean sound that I find subtly off putting.

Some of this I like, some of this I find fairly annoying. I definitely like Bjork's voice but I wish the dudes would just leave the singing to her.

It worked for me until it got to "It Was A Pleasure Then." Had to skip that one. Definitely has some beautiful moments, but also has its share of painful ones. Wouldn't put on for my own pleasure but wouldn't leave the room if someone put this on. I know she didn't like the string arrangements but I honestly can't imagine it working without them - it'd be too spare. The flutes are a different story though - I feel like they are a bit too ornamental and out of place. Definitely uncool those arrangements were added without her permission, but it still ended up being a halfway decent album.

I admire the brave vision of scale and structure in this album, but when it comes to jazz, I tend to like smaller arrangements where individual players are easier to isolate. I can definitely see this album working well as the soundtrack to an avant garde dance performance, as was the supposed intent, but it's not something that I'd really want to listen to on its own. I'm definitely more of a "Mingus Ah Um" fan.

Starts as a psychedelic fever dream but then kinda goes all over the place, ending on a bizarre sarcastic joke. If the material were more consistently psychedelic like the opening track or "Get Me to the World on Time" it'd be 4 stars but I have to round down to 3 for the jarring tone shifts.

Holy shit, this was recorded at Pachyderm in Cannon Falls! Another masterpiece recorded there by Steve Albini. This album really has room to breathe and feels very natural and three dimensional with some nice production touches in the right places to punch up the drama. Her semi-unhinged performance is breathtaking. Quite a thrill ride and it brings me right back to that era, although, I'm ashamed to say, despite being peripherally aware of her, I slept on this in its time. I regret that now. If this came out today it would still sound as fresh and relevant as ever.

So smooth and polished there was nothing for my ear to grab onto.

Vibrato vox very much not my thing. First track is undeniably powerful but I can't take a whole album of it. Emotionally exhausting.

The crown jewel of Pink Floyd's discography and perhaps the greatest headphone album ever made. Incredible how far studio wizardry had come in such a relatively short time. I can listen to this over and over again. I find it every bit as thrilling as the first time I heard it. The fact that something as experimental and adventurous as this, is also one of the best selling albums of all time, will never cease to amaze me.

Probably my favorite Smiths album but I'm so burnt out on them from Morrissey's overrepresentation on the list that I'm not sure I can muster anything more than a 3.

This is my favorite OutKast album. I listened to this so much back in the day that it almost sounds like a greatest hits compilation to me now. Especially those first 3 songs! It's like a three punch combo ending on an uppercut. Though I love the bursting-at-the-seams creativity of Speakerboxxx/The Love Below, this album is the absolute peak of Big Boi and Andre 3000 working together fluidly. Two things I love about OutKast: 1) their uncanny ability to cover such an incredibly wide range of emotions/subjects (and somehow blend it all together in a way that feels natural and smooth), and 2) their fearlessness in simply being themselves. Perhaps it is being outside of the East Coast/West Coast scenes that allowed them/forced them to sort of go all out in terms of forging their own unique identity? Whatever the reason, I am thankful they put it out there.

Obviously this isn't going to be everyone's cup of tea, and honestly I can see why this is hardly anyone's cup of tea, but goddamn I have to stick up for Robert Wyatt. First of all, the fact that he became paralyzed while in the middle of making this record, and that he then carried on to complete it and continue his music career, is nothing short of miraculous. I have always found his music both haunting and comforting, particularly his voice, but if you listen to this album through the lens of what he was going through at the time, this album takes on a whole new depth and dimension. Yes, this album is challenging, but to be the cathartic, soul searching record that it is, it has to be challenging. If you have an immediate negative reaction to this album, I get it, feel free to move on. But if you find yourself not quite sure how to feel about it, give it another spin. I promise you it becomes more rewarding with repeated listens (particularly on a good pair of headphones at night).

I could maybe appreciate this in a weird ironic/nostalgic way after a few beers? Not that I was into this when it came out - not in the least. But it is very much of its time, and it brings me back in a way that more timeless music of the same era somehow doesn't. The main thing that would get in the way of actually enjoying it on some level are the laughably bad lyrics. Even if I was totally shit faced, I'd still cringe.

Though I slightly prefer their debut "Exit Planet Dust," this is still a great sonic landscape to get lost in. Always love the way their albums fluidly transition from song to song.

Listened to this quite a bit back in the day, along with most of the other big NYC bands of the era. Karen O's vocals are definitely the best part. She keeps it fun, even exhilarating, throughout - even on the slower songs towards the end of the album. She's like a hyperactive Chrissie Hynde. This remains their best album. There are alot of great tracks here but "Pin" was always my favorite and still is.

This album should be called "Mediocre Megalomaniac." Even his band mates hardly wanted to go near it. I can't even imagine what it must be like trying to work with Kevin Shields in any capacity. It's no wonder Billy Corgan admires this album so much. It's his fantasy: a musical autocrat seizing total control while holding his label hostage. And for what? Perhaps the biggest fuss ever made over something so utterly boring. I've tried to listen to this in the past and never understood it. Still don't. It just leaves me feeling numb. I strongly believe that the best music is made by collaboration, despite differences, rather than fetishizing these stories of lone geniuses forcing their inarticulate visions on everyone else. Learn to fucking communicate rather than judge and belittle everyone around you. This album is not the hard won labors of a misunderstood genius, it's the creative death throes of an insufferable prick.

The production is lauded as being cutting edge and innovative, but this is from 2017 so I don't really understand why. If this was from 2007 I might be slightly more impressed. Perfect for mid-range clothing retailers who want music to make them appear hip while blending smoothly into the background.

This and "Beggar's Banquet" used to be my go to drinking albums and honestly I can't think of a better backdrop to a rousing night. Practically makes me feel like I'm in a Martin Scorsese movie. Merry Clayton's voice cracking on "Gimme Shelter" is one of my favorite moments in all of recorded music. Sends a shiver down my spine nearly every time. This album is completely solid from start to finish. And goddamn if I don't know a stronger opening/closing song combination than "Gimme Shelter" and "You Can't Always Get What You Want." Absolutely iconic.

I much prefer the raw intensity of "Live Through This." I feel like the move towards a more polished, poppier sound was a mistake, even if it was partially done ironically.

The thing I like most about Pavement is that they are both intelligent and lighthearted at once. They make music that is mostly fun and carefree without being simplistic. They don't take themselves too seriously but they don't come across as a joke or a comedy act. I think it's because Stephen Malkmus uses a really down to earth form of stream of consciousness that is as conversational as it is surreal. I find their music completely relatable. Comfortable like a well worn pair of jeans and a t-shirt.

When I was 15 or 16 I went to an older guy's apartment to get some weed and I remember this album was playing as we made chit chat. Not the typical classic rock I had come to expect in the situation but a great soundtrack for a stoned mind to get lost in with all the loops and layers and mellow vibes. He was probably a real cool dude but I had to be on my way.

This is light years ahead of "Music for the Jilted Generation" in terms of sequencing/pacing, song structures, and having a more consistent tone/identity - but still not my thing.

I could swear that we'd done this one already, but maybe it was just me listening to the album on my own that I'm remembering... That pretty much tells you how I feel about Air right there. I love getting lost in their lush soundscapes. They have this vaguely nostalgic retro vibe to them, and yet the way it is all layered together so smoothly and cleanly, using more modern production techniques, it ends up sounding somewhat outside of time. This album and "Premiers Symptomes" are my favorites. Nothing else ever seemed to quite match the seductive qualities of this early material. They went on in subsequent albums to get a bit goofier in a way that sort of breaks the spell for me. But this early stuff man, I think it might possibly be the best make-out music in existence.

Even though I was unfamiliar with this album, just looking at the cover I knew two things: 1) this was British, and 2) I wasn't going to like it (not that those 2 things are related). I like some of the arrangements, but not necessarily the way they are recorded/mixed. And the vocals really don't work for me. He seems incapable of pulling off what he's trying to achieve. I'd actually like to hear Mike Patton have a go at some of these songs. I think Mike could get across that tongue in cheek ironic quality they're going for, while evoking a more genuine range of emotions and reverence for the influences. Heck, even Jarvis Cocker could do wonders with this material. I think Jarvis could play the part much more convincingly. This album comes across sounding like they're trying too hard to write Scott Walker a love letter and it's just awkward. But I'll tell you, the thing that really irks me the most is anytime he breaks into a spoken word segment. They each made me cringe, but the affected accent one on "Charge" actually made me shudder.

Certainly an important step in the evolution of alternative music but I found this to be a little too unfocused. The vocals don't bother me too much but I can see why they could turn people off. Some individual tracks are okay but I can't take it for a while album. Grew inpatient towards the end.

I love that Randy Newman largely eschews rock and roll for a more timeless sound. I consider him one of the most sophisticated and intelligent songwriters in all of music. He is able to examine and reflect on US history (as well as contemporary life) in a way that makes it seem so natural and compelling as a subject. He can also write these incredibly intimate songs about human relationships, or even just particular mindsets, that touch these uncomfortable places in a way that is painful but honest (and often funny). His details are so fleshed out and human - flaws and all. He is able to embody the complexity of so many characters so convincingly that it's uncanny. I think his folksy vocal style is his secret weapon. It's so effortlessly expressive that I find it relatable even if he's playing some asshole character (as he often is). This album is a remarkable achievement in creating a portrait of a place and the people in it. I can listen to it over and over.

I think I just fell in love. One of the most soulful records I've ever heard.

I have a soft spot for synth pop. The dynamics on this album give my eardrums a workout. Nothing really tops "Take On Me" but the whole thing brings me back to the sound of my childhood. I had no idea they were Norwegian. If someone came out with an album that sounded just like this today, with slightly more contemporary lyrics, people would flip out over it and say it was amazing. We need a synth pop revival on par with the garage rock revival of the early 2000s.

Competent Rolling Stones worship. Not really adding a whole lot to the conversation.

Listening to this is like eating cereal for dinner.

My favorite Hendrix album and quite possibly the greatest debut in rock history. Absolutely bursting with creative energy. Brought a potent heaviness and deep soulfulness to the Summer of Love. I only wish he would have lived longer so he could have continued to bend genres until the lines disappeared. Forever in awe of the way he rewrote the book on electric guitar. He plays so brilliantly but never comes across as overly technical or flashy because his playing was always in complete service to the songs. And you couldn't have asked for a better rhythm section! Such a muscular sound with just the right amount of psychedelic flourish in the production. Plays like a greatest hits. Five stars and a chef's kiss.

I want to like this more than I do but it really does sound like a group on their 11th album; struggling to redefine and update their sound. My favorite thing on the album is the guitar work, especially that fuzzy phaser tone.

Loose, hypnotic, and rich with atmosphere. Goes down smooth. The group's approach of sidestepping media interaction and live performances is intriguing.

Listened to Orbital back in the day. This is like comfort food to me. A headphone ride to say the least. It all flows quite smoothly except "Quality Seconds." The way the vocal samples are used is a quaint reminder of the time period in which this came out, but I think they add to the rhythm and body of the songs.

Elvis Costello nearly always works for me. I've never actually listened to this one before though, as I don't usually go past the 80's with him. This sounds like a nice return to form. His best work is always with The Attractions.

I feel like Curtis Mayfield had THE definitive soul sound of the 70s. His aesthetic was infectious and caught on like wildfire. Listening to this, you can tell Marvin and Curtis were listening to/influencing each other. This one just got better and better with repeated listens.

Here's my track by track analysis: 1) Definitely doesn't start off how I would have expected, but ultimately "Battery" ends up sounding like a bizarre Duracell commercial. 2) The weird time signature on "Master of Puppets" feels awkward and now I'm agitated. Perhaps that was the intended effect. 3) Did he really just say "death may die" on "The thing that should not be"? Sounds like the soundtrack to a mountain dew fueled dungeons and dragons session. 4) "Welcome Home" kinda sounds like proto grunge during the first half of the song (before they get into the thrashing and soloing). I'm sure the guys in Alice in Chains were listening to this. 5) "Disposable Heroes" is perhaps my favorite track. More straightforward but intense and kind of fun in a way that the other tracks aren't. Almost has a punk energy to it. Kinda reminds me of The Misfits. 6) I think "Leper Messiah" is the blandest track on the album. That double kick pedal really massages the eardrums though. 7) Instrumental metal can work really well! You can showcase more interesting musical structures and techniques without the distraction of the often over-the-top lyrics and/or grating vocal styles common to the genre. Not to say Metallica are guilty of those things, but it's a nice sort of intermission. "Orion" is definitely kinda proggy, but that's not a mark against it in my book. 8) I like the intro to "Damage, Inc." Kinda wish this track was swapped with "Battery" and this track would open the album and "Battery" would close it. This song would be such an intense way to open the album and you could drop F bombs on everyone right off the bat.

Pounding down a couple cans of lager while listening to this feels more than a little wrong, but perhaps calling this an album while clocking in at under 22 minutes is wrong too? It's been a busy weekend so I'm not going to complain about the brevity today. It does raise a good question about what constitutes an album and what separates it from an EP though. Number of tracks? Running time? Some kind of combination of the two? All that aside, I'm generally a fan of hardcore punk, and I have nothing but respect for Ian Mckaye. He might just be the most authentic punk that ever lived. Guess it depends on your definition of punk. To me it's more about idealism than nihilism though, so I'd vote for Ian Mckaye over Sid Vicious any day.

Definitely my preferred Joy Division album of the two. I like that they split the sound between guitar based songs and synth based songs. It all blends together quite smoothly since it is so tonally consistent. Certainly a dark and heavy album. I've always appreciated this sort of thing, but as I get older, I find myself much more attracted to this sound and feel a fairly strong "kinship" with it. I don't know what that says about me. It might just be the natural perspective of aging, or it might just be the dumpster fire of the past couple of years in the pandemic, who knows? I loved reading about their process of jamming and rehearsals to build the songs. Especially the bit about how they would "talk about banal subjects until they couldn't talk about banal subjects any longer" and at that point pick up their instruments and play. Interesting psychological state to put yourself in just before a creative exploration. I find Ian Curtis' vocal delivery to be hypnotizing and very "honest." I mean, he's not putting on an act here, it's not an affectation. He lived this.

This album hit the spot like a slice of New York pizza. I'm a Beastie Boys fan from beginning to end, but I think this and "Hello Nasty" are their absolute creative peak. They have matured a bit here, and are slightly more reflective in places, but they haven't lost their playful spirit. They bring so many styles together - even going back to their punk roots for perhaps the best example of a rap-rock hybrid ever with "Sabotage." One might argue that the instrumental numbers slow it down, but I think that it showcases their versatility as musicians and I appreciate the change of pace. This album is kind of all over the place but it just keeps moving. Played this alot during the summer of the boombox in the backseat.

I can go for this. He's like the Mancini of Bollywood. I genuinely enjoy these types of 60s and 70s soundtracks. Super entertaining. Love the blending of so many genres.

As I wrote in my Minor Threat review, I really respect Ian Mackaye alot. And I do like Minor Threat a good deal, but Fugazi is so much richer and more rewarding. It's astonishing how ahead of their time they were. Probably only held back from a wider influence by not being on a major label - but that's an important part of their story and their credibility. Indie in the truest sense, before it became a nearly meaningless term. Although I do like the two singer approach for its dynamics and contrast, whenever Ian MacKaye starts singing, I half wish he was the only singer in the group.

Though my favorite Wailers album is probably "African Herbsman," this and "Burnin'" are really well recorded and have such a rich and spacious sound. An incredibly talented group. I only wish they could've lasted longer together. The Beatles of Reggae.

Super fun. Like a punkier and less mature Squeeze. Thoroughly enjoyed it. Has to be one of the daftest album covers of all time, but I can't help but like that too.

There is something about this album that makes me want to get drunk. Would be a fine album to put on during a good drinking session with friends. Has an easygoing earthy soulfulness to it that feels very natural and genuine.

I know this is a big one, but I've never spent the time with it until now. It's pleasant enough I guess. I don't really understand all the hype that surrounds it, but I can certainly see how it paved the way for Britpop.

Common leaves me feeling underwhelmed. He's trying out alot of different things here, and he's assembled quite a production team, but it never quite coalesces.

One of the lowest rated albums on the list and I can definitely see why. It's not so much the music style that bothers me so much as it's the singer's constant gutteral singing/shouting that turns me off. Though I must say, their choice of samples doesn't help matters much. An incredibly melodramatic sound. Hasn't really aged well - especially the way the drums are recorded. I made it 8 tracks in before having a genuine urge to stop listening. Kept going despite my better judgement and wasn't rewarded for my patience with any pleasant surprises. I will say they are very consistent in what they do.

I consider this a perfect album. Completely solid from start to finish without a wasted note. They struck the ideal balance between good old fashioned rock and roll and new wave synth flourish. Some of the catchiest tunes ever recorded.

The only Jefferson Airplane album I'm really familiar with. It's sort of inconsistent in tone. I prefer the heavier psychedelic material to the lighter folkier stuff. But man, those iconic songs like "White Rabbit" and "Somebody to Love" are so powerful they give me chills, and certainly make up for the lighter tracks. The folkier stuff isn't necessarily filler, it's just very of it's time. Pleasant enough but just doesn't hold up next to those big anthems. Grace Slick has such an incredible voice. I wish she sang lead on every song.

I want to like this more than I do but meh.

Some of Elton John's best tracks are on this but I don't think his style of songwriting holds up over the course of a double album. Needs more of a narrative thread or something to do that. Still, it's a four for me just on the sheer strength of the singles that came from this.

Historic, groundbreaking, and... kind of boring.

I've never been able to get into Tom Petty for some reason. That smirk on the album cover might have something to do with it. He sounds like he's literally finding his voice here. Like he's some kind of A.I. generated rock star, created in a secret lab by the other members of The Traveling Wilburys and sent back in time to defeat Bruce Springsteen. Unfortunately, they had to rush the process and sent him back through the timegate before he was complete, so he ended up being kind of unstable and ultimately failing his mission. Just look at that face on the cover: that's not the overconfident young face of a rock star at the outset of his career, it's the face of a lab created monster acknowledging that he failed.

Generally not a big fan of Alice Cooper but I must say this album is produced quite well. Bob Ezrin gives it that big layered sound he is known for and I appreciate the effort that went into the details. Bonus points for having both Donovan and Marc Bolan on it.

I haven't listened to this album as much as the other two Creedence albums on this list, but still a 5 for me. A bit heavier and looser than their other albums. Some serious jams.

Sort of like a wallpaper that is so out of fashion it comes back around to being curiously compelling and quaint. You think to yourself, "huh...that's kind of interesting..." and then it simply fades into the background again.

In terms of my personal enjoyment I'd say this a 3 but the story behind it and the fact that he recorded pretty much everything on it by himself makes me have to round up to 4. Gotta respect that. Plus, Dave Grohl seems like a solid all around dude.

I think this album is amazing. One of the most emotionally intense folk albums I've ever heard. I love it all but "Calvary Cross" is the one that really hits me hardest. Also one of my favorite album covers of all time.

Enjoyable at first but the horn blasts start to grate on me after awhile. Can you imagine listening to this with a hangover?

So they pumped up their obnoxious sound with horn and string arrangements to make it even more obnoxious? Has no business on this list. I could think of several dozen albums from the era that could take its place. Would normally be 2 stars but I'm feeling crabby today and the shitty font choice and graphic design on the cover are pissing me off. At least Photoshop that grey speck out near the scorpion's right pincer.

I like the beats but I don't like his voice so I'll split the difference and call it a 3. He doesn't sit well in the mix and sometimes sounds like he's just reading poetry over music rather than actually flowing with the beats. It ends up leaving me feeling exhausted.

I thoroughly enjoy The Monkees and don't hold their origins as a manufactured group against them. I think it's rather remarkable that they were able to gain creative control in the process of making this record. And on top of that, the fact that they were talented enough to make that transition sound fairly seamless to their previous output is kind of amazing really. I appreciate their sense of humor and playful nature. It's not complete fluff as some would have you believe. Their music easily stacks up to other psychedelic pop albums on this list (Electric Prunes come to mind for example) and they're often much more enjoyable because they don't take themselves too seriously. Yeah, they are indebted to The Beatles, but who wasn't? They're not simply Beatles clones by any means.

I like metal the same way I like comic books and in that regard this is a great album. Just look at that album cover: you know it's obviously gonna be a little dark, but in a fun and entertaining way, rather than being overly morbid or taking itself too seriously. Definitely my favorite Maiden album.

Hippie Country sounds like an oxymoron but it works for me.

Me and my friends couldn't find jobs one summer and so instead we'd get together each day and drink Miller High Life. We'd usually start the day around noon seeking sustenance, either cooking a big batch a scrambled eggs, or going to Burger King because they had a special on Whoppers: two for $2.22. Most nights we'd get to the point where we'd throw Iggy's mix of this album on a boombox and beat the shit out of each other Fight Club style. "Search and Destroy" was a particular favorite. This is rock and roll in its most potent form. For all it's snarling menace and brutality, it doesn't lack subtlety though, which is probably due to Bowie's careful production. He was able to refine their energy without overcooking it. Raw Power indeed.

I love how Thundercat just comes out swinging with his idiosyncratic weirdness. I think it's brave and it feels like he's being really true to himself. He's got a very unique sound as a result. Like an ADHD kid in the gifted program who was raised on jazz and r&b but got into prog and electronic music. He seems to know no boundaries, musically or lyrically. Nothing seems to be off limits. It almost has this confessional feeling to it. Like he's getting a bunch of shit off his chest and being himself perhaps more completely than ever before in this really liberating way. He is a virtuosic bass player, and sometimes leans into that, but it never comes across as showboating or anything - just another part of the wild ride. Speaking of wild, I can't forget to mention how much I love that he got Kenny Loggins and Michael McDonald together again on the track "Show You The Way." I have a very special place in my heart for Yacht Rock, and obviously Thundercat does too, so I deeply appreciate that. I feel like a more apt title for this album would be "Insane," cause that's what I keep saying to myself while I listen to it: this is insane... in the best way. Not something I would put on every day but there are some real moments of brilliance here and I have nothing but respect for his ability to create a sound all of his own.

Was worried this was gonna sound dated upon revisiting it, but he captured a pretty timeless sound - incorporating various influences from the past fairly seamlessly with a more modern, at times even progressive, touch. The grooves are nice but I like it most when he gets more atmospheric and textured with the the arrangements, like on "Jonz in my Bonz" and "Cruisin'". This was a breath of fresh air compared to the more formulaic R&B of its era.

Thanks to 1001 I'm discovering I actually have a pretty big soft spot for country music.

This legitimately sounds like it comes from a seedy underground pre-internet version of the darkweb. They would fit right in playing a closing number at the Bang Bang Bar in Twin Peaks: The Return. I'd imagine the Venn diagram overlap of people who like gory B horror movies and LSD users is where you find most of your fans of The Butthole Surfers. This is only saved from being a 2 by "Human Cannonball" and its driving rhythm - which I genuinely like. Other than that it just sounds like some weird nerds that are into some dark shit getting revenge on the world by torturing people with their music.

Full of anthems. Practically a greatest hits, except "Sex Machine" does seem a bit like filler (though it might be a fun jam when live). Wish they would've swapped it out for "Soul Clappin II" and "My Brain" which ended up as bonus tracks on the reissue.

My favorite thing on this album is definitely the jaw harp. Really adds to the atmosphere and almost sounds like a synthesizer at times. Surprised that an instrument which seems so simple, almost like a toy, is able to be so expressive and versatile.

Totally C average rock. As enjoyable as a Big Mac and fries. Any song from this album would fit in nicely on the soundtrack to a 1980s teen comedy.

This is where the Stones really start to step it up and creatively branch out in the recording studio. Undoubtedly inspired by The Beatles "Rubber Soul" doing the very same thing the year before. I mean, The Stones started recording this album 3 days after "Rubber Soul" was released. I don't think that was a coincidence. They were in a sort of musical "space race" with The Beatles at the time. Beatles comparisons aside, this is a great album, and where they really start to come into their own as songwriters. They certainly have a distinctly darker perspective - which can sometimes come across as overbearing and sometimes as refreshing, depending on my mood. Although "Mother's Little Helper" was one of the first Stones songs I really fell in love with, I think I prefer the US version for its inclusion of "Paint It, Black." What a way to open an album.

Surprised at how nostalgic this made me feel. This has a generally uplifting vibe that I really miss in more modern pop music. The beat production and sampling technology had reached a place where the hop influence could be incorporated into the songs very fluidly. I think it holds up really well. The Prince cover was a nice touch and the Andre 3000 appearance at the end made me turn my head to check and see if Spotify hadn't gone on shuffle.

At her best she sounds like Kate Bush, who blazed her trail more than 30 years before this album came out. At her worst it's just more contemporary pop product that could work well on the sales floor of any major clothing retailer. The album is definitely appropriately named. I don't know if that's her way of pulling a Led Zeppelin and turning what was originally used as criticism into a badge of honor or what. If so, I respect that, but it's a sort of lazy melodrama. The music has these sweeping dynamics and everything but her voice kind of stays in what must be her comfort zone with this ever present whine to it that I just can't endure for a whole album.

Some of the heaviest, most unhinged rock you could hope to hear from its era. Blue Cheer were sort of at the vanguard of the turn towards a heavier, more primal rock sound for what must have been a matter of months before MC5 finally got their sound down on record to kick it up a notch. Hendrix and Cream presaged them of course, and Zeppelin also fits in there somewhere as well, but I'd argue what those bands were doing was a little more sophisticated. This sounds distinctly looser, and as such, is a ripping good time. The ultimate garage band.

The Jimmy Miller era was The Stones at their absolute best. The epitome of Rock 'n' Roll, with all its roots and influences unraveled and laid bare. Though there are many timeless anthems on this album, my favorite track is probably "Can't You Hear Me Knocking." I feel like that track is fairly unique in their catalog, in that they start with an absolutely infectious chorus, but curiously choose to put it aside, in favor of going into one of the most exploratory instrumental jams of their career.

This gets a little too spacey for me. I fell asleep while listening to this... multiple times. I prefer the more raw vitality of Spacemen 3.

This came out when I was 11 years old and "Under The Bridge" was one of the first songs I ever had a deeper emotional reaction to. It showed me that music had a much wider range of expressive possibilities than I had previously thought. It likely had alot to do with the simple coincidence of my own emotional development at the time, but it will always be an important song for me for that reason. The rest of the album is, on the whole, a fun, all over the place, almost wreckless affair. In a way I love it for having those extremes contained within it. Sort of runs the gamut emotionally. A quintessential example of CD era bloat, but I can't fault them for the excitement they must have felt at this creative peak - with a great producer behind them who understood them and encouraged them to grow. It's also a great example of an album recorded in a house, where life and work temporarily converged into the same thing. I'm a huge fan of this method and tend to romanticize the records which are produced this way. Certainly not a perfect record by any means, but chock full of passion and some real stunners and jams throughout.

There are some great individual tracks on here such as "Can't truss it" and "Shut Em Down" but overall I don't think it holds up as an album in the same way that "It Takes A Nation..." Or "Fear of a Black Planet" do.

I used to be way into anything Will Oldham/Palace/Bonnie Prince Billy put out after being completely floored one night by The Palace Brothers "Days In The Wake." Nothing else quite ever came close to that initial, nearly transcendent experience for me, but "I See A Darkness" is certainly a good representation of his general style, and undoubtedly considered among his best work. Will Oldham has this sort of laid back form of vulnerability that I can see could make some people uncomfortable. The kind of thing you either love or hate. And honestly, I can see how he can come across as boring too. But listen closely to those lyrics and you will come to know that he is a very unique songwriter who is able to capture these states of mind that are seldom put into words, let alone to music. His language can be incredibly poetic, even cryptic, but also, at times, disarmingly frank and direct. Both philosophical and mundane. I deeply appreciate that he tempers the one with the other. His voice seems to embody vulnerability to me. A brave and admirable vulnerability though. It has a sort of confidence in it somehow by paradoxically embracing its flaws and weaknesses. And I think that is underscored in the looseness of the playing. I could see how his songs could sort of collapse under their own weight if they were over produced. But the way they are recorded I get the sense he doesn't want to labor over things, to overthink it, or else he might stifle the spirit of what he's trying to do. It sounds as if he was simply recording things as they came to him. Like he was capturing a moment, or a mood, that was bigger than the songs themselves.

Familiar with "Lorela", but I hadn't listened to a full album before. Certainly a very unique sound. The closest thing I can equate it to is Kate Bush. I certainly don't begrudge the use of the drum machines and think they are a big part of the reason why this album sticks out in their catalog.

Though I prefer the more manic and experimental Os Mutantes when it comes to Tropicalia, I am sucker for nearly any 60s psychedelia - especially when it incorporates so many influences. Giro.

My kids have been absolutely obsessed with Dolly Parton lately after I picked up an old hits collection of hers on vinyl a few weeks back - so this one is very timely for me. I must say, in listening to her records with my kids, I have absolutely fallen in love with her music and the story of her life. I find myself singing her songs to myself in my head all the time (and my kids sing them out loud). The eponymous song from this album is perhaps the definitive example of how her life and music intertwined to produce some of her best work. My kids particularly love that track, as she adapted it to a picture book that is given away as part of her Imagination Library program, which gives out free picture books every month to any child under 5 - which, by the way, just might be the single most admirable and meaningful charity program I have ever heard of. If you have kids, or are close to any kids, under the age of 5 in the US, make sure they are signed up for the program. It is a Godsend for both parents and children. All her amazing charity work aside, this is the album where she really came into her own as a songwriter. She then went on an absolute tear from 71-75. And then there is her voice. Her voice is able to pierce me emotionally in a way most other country music isn't able to. She has another album a couple years down the line from this one, also based on her life, called "My Tennessee Mountain Home" that I can't listen to without choking up. "Coat of Many Colors" is her at the outset of her best work. Absolutely quintessential country music and some of the most sincere music of any kind you should ever hope to hear.

Probably my favorite XTC album. Never realized Todd Rundgren produced it, but it makes sense that he'd be the perfect fit for their unique arrangements and structures. Too bad he and Andy Partridge didn't get along, but they ended up making great work together.

If you close your eyes and pretend this is a lost Flaming Lips album it makes it even more disappointing.

I like "Back to Black" far more. My favorite of the lot here was the more laid back hidden track "Brother."

Ray Charles is his own genre. He saw no barriers.

I enjoy their singles but don't like their sound enough for a whole album. Synthesized brass is an acquired taste that I can't seem to develop.

The beats are very much my thing but the vocal pitch shifting and modulation ruin like 1/2 the songs for me. I'm so into the spare electronic sound though that I can forgive the vocals. I'd definitely prefer to have an album by The Knife on this list in its place.

The single most important album of my lifetime. Changed the record industry. In trying to find the next Nirvana, major labels were suddenly willing to throw almost anything against the wall to see if it would stick - which made the entire musical landscape much more unpredictable and interesting. In many ways I think modern indie rock is still riding the wave that was created here. On a more personal level, this came out when I was 11 years old, just as I was starting to listen to my own music. This album couldn't have come at a more pivotal time for me. I have completely internalized the entire album and basically consider it a part of who I am. Both aggressive and vulnerable, emotive yet cryptic, it rings true to me in a way that few other albums ever have.

Straight up does not belong on this list. I'm honestly baffled as to how this was even a consideration. Listened to this as a private session on Spotify so it didn't show up in my history.

Somehow managed to be both melodramatic and utterly boring at the same time. Gives prog a bad name.

Stevie Wonder is a musical genius and this is a perfect album.

The very reason Spotify has a private session feature. Don't want shit like this coming anywhere near my algorithm.

Dated production techniques have marred what could have been a much more interesting album. I want to like it but the out-of-the-box synth tones and the all too crisp and clean recording style make it sound like it was created in a vacuum.

New Wave Pop flirts with Jazz and Soul and I like the results. A very well balanced mix. It's consistently upbeat, catchy, and enjoyable. To take a term from beer parlance, I'd say this was crushable.

One of my favorite concept albums. Whereas Sgt. Pepper's contrasted a drab reality with an escape into psychedelia, Village Green escapes into a nostalgia for the past - and stays more grounded in doing so. It has a more consistent and even keeled tone. Okay, it does become a bit unraveled at the end, with the oddness of "Phenomenal Cat" and the jerky but dreamlike "All Of My Friends Were There." Other than that though, this album flows like The River Thames. These songs seem to come from a very real and direct place. The product of honest self reflection. It amazes me that Ray Davies was only 24 years old at the time of recording this album. He was able to articulate the wisdom and perspective of someone well beyond his years. An underrated classic that stands the rest of time.

The missing link between Iggy Pop and Nirvana.

Was kinda disappointed each time the vocals came in throughout the album. I wanted to stay inside the instrumental landscape they were building. Might have been a five for me had it remained entirely instrumental, but still, gotta give it some major love and respect for daring to create something outside of typical genre boundaries.

I remember first listening to this with my stepdad on a road trip when I was maybe 13 or 14 years old. It was one of the first albums whose construction made me pay attention to the album format itself, rather than just thinking of them as a collection of songs. It is also the album that made me really and truly understand the immense talent of The Beatles and why everyone made such a big fuss over them. I mean I had grown up with The Beatles and enjoyed them and everything, but had mostly listened to compilations of their earlier material, rather than proper albums. Abbey Road had a range, depth, and controlled experimentation that I hadn't quite experienced before. It's a journey to say the least. Almost like they knew this was the last hurrah so they had to get everything out they could. And thank God they got George Martin back on board to help them focus! You can bag on Paul McCartney all you want, but that song suite is a fuckin' marvel. Granted, this is also the album with "Maxwell's Silver Hammer," which is probably my least favorite Beatles track, and for which Paul is also responsible, but even despite that blemish, the rest of the album is so brilliant it more than makes up for it. There are great songs from each member that are suited to each of their strengths and personalities. It's particularly great to hear George finally begin to shine and produce some his finest work. On CD or streaming, the quick Side A to Side B flip from "I Want You" cutting to "Here Comes The Sun," has to be one of the most intense and beautiful moments in recorded music.

This album has a hard time getting off the ground. Begins with some Steve Reich type phasing, which I thought was going to break out into a beat, but never did. Then, the second track goes into another hard panned intro section of its own and doesn't drop a beat until it's 1:44 in. Once I got past my initial frustration with the prolonged opening, I enjoyed the rest of the album well enough. I like that they walk a line between more atmospheric headphone music and meatier dance material.

I've listened to this album countless times. Unfortunately it's one of those albums that I associate very strongly with a past relationship which ended badly, so it's hard for me to separate it from those memories and that state of mind. Her name was fucking Sarah too. So when "Lucky" comes on it's kind of haunting. Because of all that I don't listen to this often, but when I do, I am still hypnotized by what initially drew me in: the richly detailed and textured atmosphere that perfectly balanced electronic and rock elements, experimentation with hooks, and, most impressively, the way they were able to capture the zeitgeist with both the beauty and sadness it requires to truly do so. I think a big part of this album's success was due to simply not overthinking it. Most of it was recorded live together as a group rather than separate takes, and producer Nigel Godrich didn't overwork the mixes. It strangely gives quite the opposite impression though. When I listen to this on headphones I could easily be convinced that they labored over each take Steely Dan style, and that Nigel Godrich held them all at gunpoint over some minor production choice. This record feels as alive and vital to me as it did when I first heard it, and I consider it their best work. It flows gracefully through all its twists and turns, ups and downs. Computer voice and all, it's a perfect album.

A post modern, meta level, world music amalgamation. Definition of a banger.

Totally average latter day Neil Young record. I appreciate the idea of keeping it loose but not sure if I like the results. I'll give it a 3 because it's palatable to me, but I certainly don't think it belongs on this list. He's just taking up room that could have been occupied by a more deserving, younger group from this same time period.

I'm a pretty big fan of downtempo grooves so this mostly works for me. Nice and moody, almost haunting, touches throughout. Very textured and atmospheric, but still sounds lean and uncluttered. He seems to largely work in the spaces between genres, which I always admire. I like that he chose to have a female singer to be his foil. Provides a nice contrast. Perhaps a bit too long though. Got kinda bored towards the end. I'm not sure how I feel about his hushed vocals either. Sometimes it works, and sometimes I find it kind of frustrating. "Aftermath" is the standout track to me.

Delightful balance of glam rock grooves and mad scientist experimentation. A mysterious concoction, where you're not exactly sure what the ingredients are, yet it still manages to go down fairly easily. There is definitely a sinister edge to many of the songs, but it comes across more as mischievous spine tingling than actually being menacing or disconcerting. All part of its charm. I like his ambient albums and all, but I wish he'd stuck with these more rock oriented albums throughout his career. He has a gift for wordplay that I feel he largely abandoned after '77. And I like his voice, even when he is openly mocking Bryan Ferry's affectations.

A bit like chugging a large Pepsi. Many people are partial to the taste I suppose, but to me it's a bit too syrupy, and leaves me with a stomach ache.

Sounds pretty middle of the road to me.

Not familiar with this album and didn't really know what to expect. Lots of surprises throughout: the strong disco feel of the first track, the atmospheric police sirens and brief quoting of West Side Story on "Pedro Navaja," the chanting during "Maria Lionza"... It's hard to resist these rhythms.

I prefer the folky Leonard Cohen to this by far. This sounds like a satire of late 80s production values. Almost painful hearing him trying to reinvent himself. I don't think it's the songs themselves that are bad necessarily, it's the arrangements (and how they were recorded). I take that back, "Jazz Police" is just plain bad all around. Is it intentionally ironically bad? "Guys like me are mad for turtle meat?" WTF? It's like something from Tim and Eric's Awesome Show... If I want to listen to some deep voiced 60s/70s icon reinventing themselves in the 80s, I'd much rather listen to Scott Walker's "Climate of Hunter."

A mixture of songs I find just okay, and, as the album goes on, songs that I actively dislike. I'll give it the benefit of the doubt and call it a 3.

If Bob Dylan could play guitar and sing like this, he might have never gone electric.

Absolutely ubiquitous in the 90s. So ubiquitous that I have a hard time judging it. It's like judging bottled water. It does make me feel nostalgic though, and it really captures the mainstream zeitgeist of its time very well. The fact that she was 21 when she made this amazes me. She is definitely getting some real shit off her chest and her vocal style is intense - like a human bagpipe. I'm gonna say I absolutely respect this, but ultimately, I never felt compelled to go out and buy this back in the day, and despite a fun nostalgia detour, it doesn't grab me on a deeper level than that.

McCartney detractors can take a flying fuck. This album is better than half of John Lennon's erratic solo career. People act like John was the true genius behind The Beatles just because he was the most outspoken prick of the bunch. People can't help but love a good quick witted, silver tongued asshole who lives out their fantasies of being an unfiltered bully and getting away with it. Don't get me wrong, I do too... And Lennon reached some unbelievable heights in his solo work - some really intense and profound music to be sure. But he also had some periods of really sloppy floundering. And just because Lennon went on this deep, soul-searching musical journey half the time he went into the studio, doesn't mean McCartney should be expected to do the same thing, nor does it detract from McCartney's brilliance as a songwriter. Yes, Paul McCartney has a softer, more light-hearted approach in his solo material. It reflects him as a person and where he was in his life at the time. He was a dad, and not a largely absent one like his former songwriting partner. So yeah, I get that he wanted to put out something more fun and playful into the world, rather than introspectively crawling further up his own asshole.

Destroy rock and roll? With this? Bwahahahahahahehehehohohoahhurgh... *cough* *cough* *cough* *cough*

Nothing against Cheap Trick, but I prefer the studio versions of these songs...by far.

Damo's glorious Swan Song with Can. His era was their best, and he left on a beautiful high note. There's nothing else quite like this album, except maybe some of Miles Davis' fusion material? I used to listen to this album to go to sleep to all the time. It has this completely intoxicating, hypnotic sound that just transports me to another place. The atmosphere is exquisite on headphones. I could also see it working well at a chill social gathering. It has such a tranquil and pleasant mood, yet it is far from fluff. In a word: sublime.

I love the mood of this record. It feels loose but also builds some really compelling atmospheres and structures. Very cinematic, especially with the sound effects on LA Woman and Riders on the Storm. Some real nice production touches to smooth out the jams and make it punch in all the right places. Channeled their raw energy into something really well crafted. A personal favorite of mine has always been "Hyacinth House," where I feel you can hear the weight of Jim and the band living a lifetime's worth within their 5 short years together. He sounds world-weary and grizzled throughout most of the record, and he was only 27! Wish they could have kept going with him, but at least they went out on top here.

More familiar with her later material but I really enjoy this rawer/punkier debut. I'm a closet goth.

I don't dislike these songs but they don't really gain anything from being on a live album.

Every bit as good as Kid A and perhaps more enjoyable. Amnesiac doesn't have the same dense overarching structure to wade through, but still maintains a richly textured atmosphere. Almost like something between OK Computer and Kid A. Best of both worlds if you ask me.

Heard "Blue Flowers" on a CMJ CD sampler and was captivated at 15. Bought the album on CD and it was a cult hit amongst me and my friends in high school. I put these songs on more than a few mix tapes. It was a perfect blend of elements for me at that time in my life. The absurd and often immature sense of humor had a lot to do with it, but really, the main things that appealed to me were Kool Keith's sheer willingness to embrace his eccentricity, and Dan The Automator's gorgeous genre bending beats. Both of them dared to defy the mainstream sound of the time, both sonically and lyrically. Their bravery in willing to be themselves paid off, and inspired more to follow, not the least of which was MF Doom.

Reminds me of a much more soulful Joni Mitchell. Can't believe I've never heard this album before, but that's what I'm here for.

I can't give Kraftwerk anything less than 5 stars for their pioneering contributions to the evolution of electronic music (and music in general). This album seems to have the least amount of overarching concept of the albums in their prime, and is more of a collection of songs - but it definitely has some of their most memorable and catchiest singles. This is where they went from being showroom dummies to full fledged robots, with more danceable rhythms. I like this album because Ralf and Florian finally let Karl Bartos in on the songwriting and rather than too many cooks making it too busy, it actually made them tighten things up and refine their formula. A well oiled machine.

I have soft spot for the organ sound but man my ears really perk up when I hear Steve Cropper's guitar. So bright and twangy. Some real jams here. All elements balanced so nicely. Really miss the days when instrumentals could still be hits.

There are plenty of things I like about this album: the multiple singer approach, the jazz and soul inflected rock, the guitar playing... They definitely have a very distinct, identifiable sound that I enjoy... but it's simply too long...far, far too long...

I may be a closet goth, and I'm all for minimalism, but this one falls a little flat. Perhaps intentionally so, but still. The cover kinda cracks me up. Almost looks like a parody of a goth rock album from a sketch comedy show or something. It screams: Yes, I'm the mysterious and moody genius behind the creation of this record... and this other person behind me in the shadows kinda helped too...

Some bona fide Jams. Especially when the string sections are woven into them. Amazing dynamics along the way within each of these 4 musical journeys. Love his long spoken word set up in "By The Time I Get To Arizona." Brave long form soul.

Ack! Morrissey again?! Just when you thought he couldn't possibly have another album on the list, there he is again, the King of the 3 star rating, staring straight at you from under his carefully groomed eyebrows.

"Our House" is mini-masterpiece, and I enjoy the sheer Englishness of it all, but the rest of the album is just okay. And perhaps it's simply because "Our House" outshines everything else by so much that it comes across this way?

An audiophile's wet dream. The classic album to test stereo systems and whatnot. Meticulously detailed but has a seemingly effortless flow to it. Perhaps the greatest confluence of jazz and rock music outside of Miles Davis. Smooth as the baby powder that cut the cocaine they used while making this album.

The first Pixies album I ever owned and probably still my favorite. Has a raw energy to it, almost an unhinged quality at times, that I find really thrilling. They really seem to embrace their inner weirdo while laying down their abrasive but addictive hooks.

With music from the last 20 years or so, it seems harder to pick what the really BIG important albums are - but to me this is one of them. I can see why this isn't for everyone, as it definitely is an experimental album, but they tempered it with... I wouldn't go so far as to say a poppiness, but there is a certain sweetness that makes their experimentation into a thing of thrilling beauty. They constructed such an incredibly rich, cinematic sound that it comes across like a constantly shifting sonic environment, which is particularly dazzling on headphones. Like a series of carnival rides all linked together, where you start on the gravitron, then transition into the roller coaster, and then smoothly onto the swirling teacups, one right after the other. Animal Collective sound like they come from an alternate timeline in which Brian Wilson and the Beach Boys completed and released Smile in 1967, whereupon it set the world on fire, forever changing music as we know it. I want to live in that world. Listening to this album may be the closest I will ever get to feeling like I do. Something else I remember feeling when I first heard this album was that they had truly found a new sound. A sound that felt unique and modern, while still remaining largely pleasant and palatable. Eschewing both the standard guitar/bass/drums of rock, as well as the dance oriented tendencies and cliches of most electronic music, they carved out new territory between the two somehow. I think that is quite an amazing achievement really. At the very least, they have a truly original, identifiable sound of their own. Career wise, it took them awhile to find the right balance of elements, but they figured it out here and undoubtedly produced their best work.

I only like Meatloaf in Rocky Horror, where he has his place but is used sparingly.

I dig the blues and all but for some reason BB King never really did a whole lot for me. He's certainly a great showman and guitar player, and maybe that's my problem; that it comes across too slick and polished - even in a live setting.

I generally like this as it stirs up a fair amount nostalgia for this aesthetic. The fact that this came out in 1989 simply blows my mind. I can't think of any electronic music from that year that is as sonically dense as this, balancing samples, synths, and drum sequencers so fluidly. I have newfound respect for their place in the evolution of electronic music. Kinda prefer the Utd. State 90 version that starts off with Pacific 202.

I've noticed this as one of the lowest rated albums on here so I have some serious trepidation going in. But on the first song I hear yeah okay, they're going for this raw, abrasive thing sure, but nothing too offensive really. The second song could definitely be played live at The Roadhouse in Twin Peaks. Third track is back to the raw, abrasive thing. I'm not gonna say I love this but if I had a few in me I could really enjoy this in a live setting. Kinda like an angry young amalgamation of Tom Waits and Ian Curtis fronting a surf-punk band. I have nothing against this. Bad dirty fun.

I fell in love with Dusty Springfield while listening to "Dusty In Memphis," and while that album has a particular magic of its own, this album, "A Girl Called Dusty," is no less amazing. Some truly iconic songs here. She puts so much into every song. If you're in the US and want to listen to the original UK tracklisting on Spotify, try this playlist here: https://open.spotify.com/playlist/502kIR00kWHE9mhHS1EnFd?si=kpLMLADVRIO_tDZRKGz9kg&utm_source=copy-link This track order is far superior to what was released in the US.

Kind of surprised there are two albums by this band on the list, but it's fun, catchy stuff.

Ground zero for hardcore punk. Used to listen to this in high school quite a bit.

Anything but chill, and it definitely didn't give me an orgasm.

It's a vibe. It's a mood. It's a groove. It's smooth.

As you know, I'm a big Prince fan, and I like his albums previous to this, but "1999" is his first 5 star masterpiece in my opinion. It's where The Revolution really gelled and he perfected his signature Kinn Drum sound that I love so much. It's a double album so a bit self indulgent in places, but that's part of Prince's appeal in a way. He needed to have this manic, no holds barred brainstorm session so he could really explore and push boundaries to get to the point where he could refine that energy on his piece de resistance: Purple Rain.

I like quite a bit of this. Loose and fun. Sounds like some our jams at different points. Very catchy in its own odd way. I'd go as far as to say I feel a sort of musical kinship with this. Reminds me a bit of a rougher/looser Robyn Hitchcock at times.

The music's okay I guess, a bit dated perhaps, but he sounds like a real piece of shit as a person.

Never actively listened to this before, though I'm sure I heard it incidentally back in its day. I was surprised this album wasn't longer, as it is peak CD era, but man it sure feels longer than it is. I gave it a fair shake but can't get into it... at all. This is cringe for me.

Can't deny this super fun metal. Every song is an anthem.

This came out the year I lived in Providence. I think the first time I heard it I was going to a Stop and Shop grocery store when I heard "Seven Nation Army" come on over the PA system. The line about Wichita really made me perk up my ears and feel homesick after having lived in Kansas for so long. The pitched down guitar basslines really stuck out from their previous records. Seems like they got a little slicker on this record, and started throwing on more bells and whistles - much to my delight. Had a friend Brian who was living up in Detroit and helping Jack White's brother build a geodesic dome around this time. Brian made sure I became a White Stripes/Jack White believer for life. This album became a big part of the soundtrack to my life. A beautiful time when something so idiosyncratic and, how should I say... analog, could be massively mainstreamly successful. Good times.

Bjork was always my main music crush, but the more I listen to PJ Harvey, the more I'm starting to fall for her.

Don't love the dual-lead, double vocal thing. Generally pleasant I guess, but nothing that really excited me. Just makes me wish I was listening to Squeeze.

This was the first Sabbath album I ever listened to and where metal really clicked for me for the first time. I may prefer "Master of Reality" by a smidge, but this is definitely their most iconic album, and a major breakthrough in the creation of heavy metal as a genre. I absolutely love how derpy the album cover is too.

Begs the question whether this is an album or an EP. Without the spoken word pieces I don't think you could call this an album. Despite it's relatively short length I was growing impatient with its pacing. The deluxe edition might be more of a proper album but I'm not gonna to be listening to it. The things that Spotify auto-played after this was over; Solange, Lauryn Hill, I love, 5 star level. This, not so much.

I got really into jangle pop for awhile when my friend's band got slapped with the label in a review. I was curious about the term and found the music to be super melodic and catchy - including The La's. There She Goes is a brilliant pop song but I always liked the closer Looking Glass most of all.

The thing that always struck me about Syd Barrett was his odd sense of timing. It's so wonky it makes you feel like you just stepped off a carnival ride and you don't quite have your bearings.

Arguably their best album cover but by no means their best album.

Missy and Timbaland are a creative match made in heaven. They balance subtle experimentation with catchy hooks. The thing I like most about them is just how playful they both are. Missy will have these more serious interludes throughout the album that seem very heartfelt, rather than contrived, but she usually follows it up with humor to temper it, and I appreciate both. Some real interesting recycling/reusing samples of very identifiable beats and clips from older iconic hip hop albums such as Public Enemy and Beastie Boys. Even the Method Man song is more or less a remix/reimagining of his older version.

I generally like the approach to percussion throughout the record, as well as all the chanting. It's charm wears off a bit by the end, particularly on "Jolly Roger," but I'll forgive that one since he developed a fairly unique sort of hybrid sound. At times reminds me of Brian Eno's early solo albums. Also, I loved the era when shooting album cover photos off of TV screens was en vogue. Particularly when they paired it with a bright red font.

The Minutemen are a very special and unique band. There is nobody quite like them. Doesn't sound much like your stereotypical punk rock by any means, but embodies the DIY spirit of punk more than almost anyone in the sense that they are doing whatever the fuck they want, and doing it lean and mean - jamming econo. One thing that sets them apart, almost in a category of their own, is their sheer range, and of course the musical abilities it takes to pull it off - incorporating all those wide reaching influences. Even their covers are completely unexpected and they make them completely their own. This album was a big creative step for them and I admire the almost oxymoronic chutzpah of them making a huge double album filled with short, stripped down songs. But the thing I love most about them above all is their ability to be so sincere and heartfelt one minute, and then turn around and be such fucking corn dogs! Always appreciate when bands can be so confident with the full range of their emotions. What really makes this music so special comes down to the deep bond D Boon and Mike Watt had with each other. Such mutual respect, love, and trust. Theirs is perhaps the greatest bromance in all of rock music - certainly more pure than the likes of Mick and Keef, John and Paul, etc. D Boon's early death is so tragic. I can only imagine all the unexpected ways that they'd have evolved over the years had he lived on. True iconoclasts.

Serenely washes over me. I don't really have any strong feelings for it one way or the other. It's generally pleasant, and I do like the drum programming and sequencing, but it's just kind of "there."

The best Prog sandwich I ever had.

It's fine at first but the schtick wears thin halfway through. The murder ballad was a bit too much for me.

Thelonius Monk has the oddest sense of melody and timing. So mysteriously compelling. A sweet spot for progressive jazz.

One of the most ambitious and heartfelt artistic statements ever recorded. It covers so much emotional ground it's staggering. After 17 studio albums, this is Stevie's creative supernova before he became a neutron star.

Big part of the soundtrack to my college years. I couldn't listen to this at night because it would be too intense. Instead, I opted to listen in the day to take the edge off. I don't always want to wade in melancholy, but when I do, Elliott Smith really hits the spot.

Grew up on this and Angel Dust in junior high/high school. I may not like some of the things that spawned in its wake, but this is some seriously original genre bending metal, especially for its time. One thing that I don't love is that some of the synth tones are so dated/out of the box, but in a way it's charming because it brings you back to that very particular time period. Mike Patton's voice is definitely their greatest instrument. He convinces you he is completely unhinged at times, yet what he is doing technically assures you he is in absolute control. Though I prefer Patton's more experimental work with Mr Bungle, etc., this still will always work for me due to nostalgia.

Brings me back to my childhood. "Love Song" with Prince was a pleasant surprise. Only knew the radio/MTV hits before, and of course those are the ones that resonate with me most due to nostalgia. Feel like the album loses steam halfway through. Nothing could really hold my attention after "Cherish."

A real turning point for music. Although the stereo mix sounds a bit lopsided on headphones now, this is a huge evolutionary step in using the studio as an instrument. I'd say Sgt Pepper's is a bit more polished and has a more unified concept to thread it all together, but Revolver is an amazingly impressive trial run. The ultimate balance of experimentation and catchy accessibility.

Nice traditional folk. She has an undeniably beautiful voice.

I'm a big fan of John Martyn, particularly around this point in his career. Such a unique hybrid of influences that is miles ahead of its time. Martyn has such a natural, casual soulfulness to him that it makes his more experimental tendencies go down easy. Love that they recorded parts of the album from across a lake to capture the natural reverb/echo. Yet another example of artists creating their best work while in remote country locations.

More familiar with "Pieces of a Man" but I think I enjoy this more, for both the musical arrangements and the singing.

I remember when The Modern Age EP came out it went through the college town I lived in like wildfire. By the time this album was released we were in a fever pitch of excitement, and, when they finally came through on tour, it seemed like the whole town had a collective orgasm. I think Julian Casablancas described it really well when he said they sound like a band from the past who took a time machine to the future to make a record. More specifically they sound like a New Wave Velvet Underground to me. Similar to many other bands of the era (White Stripes, et al.), they weren't doing anything radically new per se, just putting the pieces together in a new and novel order. Like an irresistible sort of processed food that has refined their formula to become completely addictive. The hype surrounding them was enormous. So big that it was inevitably unsustainable. After they came through on tour and we all had our collective orgasm on that one night stand, it never felt quite the same again. At the time I was convinced the album title was a reference specifically to the impossible-to-live-up-to hype that surrounded them and I thought it was quite a clever way to address it. Is This It? Indeed it really was that simple. But man they really caught lightning in a bottle here and I was deliriously giddy being swept up in Strokes mania.

I like the female backup singers throughout the record, and he is certainly a talented lyricist, but nothing particularly grabs me here. Not sure I understand the need for this to be an hour and 22 minute double album either.

Probably my second favorite release of theirs after Premiers Symptomes. Like it when they keep it mostly instrumental. Love the way they balance acoustic and electronic elements.

I'm not sure if I prefer spare Nick Drake or Nick Drake with arrangements but I do know that this is the album of his that I have listened to the most, and that counts for something.

This is my favorite Leonard Cohen album, and it's largely due to the unhinged quality of "Diamonds in the Mine."

I'm in touch with my gentle sensitive side and can appreciate this.

I find this pale wank showcase rather grating. Ground zero for so much mediocrity.

I'm captivated with the idea that they took over a hotel and recorded this with a mobile unit to capture more of a live sound. Fantastic idea and it produced the best album of their career. Definitely some iconic riffs here, but it drags in the middle for me.

Michael Jackson is alive and well and secretly producing albums in France. Here is your proof.

Knew this was always thrown around as the first punk record but I had never heard anything except "Cars and Girls" before. They clearly laid down the core of the NYC punk sound and attitude on this album, and they absolutely deserve some major credit for that, but I'd say others went on to perfect what they established here. Irreverent good time though.

One thing that I was surprised to learn about myself through the 1001 project is how much I enjoy David Lee Roth era Van Halen.

I like it when they get heavy but not so much when they get folky. I think it'd be more compelling to listen to this with the track order reversed. As is they sort of blow their load too early on the first two songs.

Michael Jackson made some impeccable pop music at his peak. He seemed to define the sound of the 80s while only putting out two albums within the decade. While I may not enjoy this as much as Thriller, in a way I feel it's more consistent as an album.

I was never a fan so I didn't have to be disappointed when it turned out Win Butler was a piece of shit.

Interesting combo of psychedelic ear candy on one side, and one enormous proto-metal sludge fest on the other. Though I am usually fairly partial to psychedelia, the side long ripper is the clear winner here.

This album centers around the strength of "Papa was a rolling stone." Though I'm sure the single version was edited down, I absolutely love that long, exploratory album versions were not uncommon during this era. Nice to get lost in a real jam.

This was the one Beatles album I picked up on CD during the 2009 remaster reissues because I didn't have it in any other format already. It made me appreciate the earlier Beatles much more. Some real nice songwriting and choice covers. Such great energy.

It's almost as if LCD Soundsystem is custom tailored specifically for my musical taste. His influences are impeccable and he brings them together in such a way that makes it seem fresh. I think it largely has to do with his more down to earth, at times even vulnerable, lyrics and vocal delivery. Perfect balance of electronic and human elements with just the right amount of humor thrown in. Love pretty much everything about his approach and never get tired of it. If there were only one band we could use as a model for what we are doing musically, this would be it for me.

Two of my favorite musical flavors: psychedelia and soul, perfectly balanced here, with early drum machines to boot! I remember when this was reissued on CD in 2001 and me and my friends devoured this album. Hearing these irresistible tunes and finding out it wasn't particularly well received in its time blew my mind and sent me on a neverending quest to find similar "lost" albums - but I'm not sure I'll ever find one that is both as amazingly ahead of its time and downright enjoyable as this one. Dude was 21!

It sounds like Bowie working out what he would later go on to expand and perfect on Blackstar. Not sure I would've included it on this list but enjoyable nonetheless.

Always love Fela's monster jams. You gotta have some serious fuckin chops to keep up with Fela, and Ginger Baker definitely passes muster.

Moody and cinematic but unnecessarily long to the point of being almost absurd. Appreciate the dense rhythms but some of the synth tones are cringey.

Moody and haunting. Maintains its freshness all these years later. Multiple vocalists keeps things varied. The sampling of the Tuvan throat singing on "Karamacoma" blew my mind, and I like nearly every song on this album, but it definitely loses some momentum towards the end.

A perfectly balanced record. Miles may have downplayed this in later years because he had to move on and continue to innovate, but this is a thing of beauty.

Depeche Mode's masterpiece and synth-pop"s exquisite dying breaths. A more democratic approach to songwriting and recording redefined their sound. Dark hooks abound within a rich, textured atmosphere. I consider this a perfect album.

I guess I'm not as open minded as I'd thought. I'm not having this though. Not what I came here for. Honestly, this may be the toughest thing I've had to entertain listening to so far in the course of over 600 albums. Even just clicking through the tracks this started to make me agitated and uncomfortable in a way that nothing else on this list quite has before. This music would repel me from practically any room. Sorry.

Up there with The Kinks and The Stones. Must've felt like a bolt of lightning in its day. A call to arms to bring out the heavy artillery in rock n roll.

I know it may be sacrilege but I prefer "Protection" to this. Certainly a genre breakthrough, but I don't think they'd quite dialed it in yet here.

Genuinely surprised I hadn't heard this before. Not sure it deserves to be on this list but it's alright. Kinda like it when they get noisier and more experimental. Wish they'd lean into that more.

Respect this but honestly I found the album to be a bit exhausting. It felt long with nothing to relieve the constant intensity. Even Public Enemy had Flavor Flav to provide some levity... I think I prefer Evil Empire for its more varied and slightly hookier approach. Zach de la Rocha sounds like a human tie fighter, especially at 3:12-3:17 on "Township Rebellion."

Honestly appreciated and enjoyed the spoken explanations throughout the album. Like a mini crash course on the rudiments of Indian classical music. I have only really heard this type of music via its pale imitation in 60s psychedelic rock. The real deal is far more dynamic and exciting. Really love the interplay of the percussion, drones, and soloing sitar. Exquisite jams.

I usually give AC/DC a flat 3, but I must be feeling grumpy today because this is really getting on my nerves. Some of the most unimaginative rock of the 70s.

Much more loose and jammy than your average Britpop. Because of that it's also much less hooky. Listening to this was like asking your friend to toss you a candy bar and instead they toss you a bag of homemade energy bites they concocted in their kitchen. Alright I guess.

This album is really quite varied compared to most other electronic music of the time. The fact that they have a dedicated singer kind of sets them apart too. Very versatile sound. Electronic anthems. Favorite track is "Pearl's Girl," probably because it sounds the most like "Born Slippy."

Amazing guitar work. Very enjoyable from start to finish.

This album deserves to be up there with the big iconic albums of the 80s. You can definitely hear the echoes of Michael Jackson and Prince, but there's so much more going on here than mere emulation. A brave, bold synthesis of styles. Above all, it is genuinely fun to listen to. You can tell he had a great time making it and that joy is contagious.

Jane's Addiction sound as if they are deliberately being obnoxious half the time, largely due to Perry Farrell's vocal technique. If you were a teenager looking to piss of your parents in the early 90s, playing this album on repeat would do the trick. I remember being captivated by the video for "Been Caught Stealing" as a kid and have a little nostalgic feeling for that tune. Other than that though, the rest of the album literally put me to sleep. I understand why this is on the list in terms of influence but I don't personally enjoy it. It was a strange and awkward adolescent time in the late 80s and early 90s for "alternative" music before Nirvana kicked it into full on raging puberty.

I'm a huge fan of the Nuggets boxed set, which features 3 of these songs; The Witch, Strychnine, and Psycho, so I was familiar with those tracks, but for some reason I never explored their music any further. While those previously mentioned tracks are included on the Nuggets compilation for good reason, their other originals, and even their R&B covers, are performed with a raw intensity that was noteworthy for the time. The effect is reinforced by the lower fidelity recording, but all credit is due to the performers. Undoubtedly one of the earliest examples of proto-punk, but I guess the wider world wasn't quite ready for that yet. Would have been an absolute blast to see them live around the time this was released.

Like the playfulness of this album quite a bit, but I feel it lacks focus. No single track stood out for me. Not being on Spotify didn't help the experience.

Sometimes you can judge an album by its cover. Saw the band name, album title, font choice, and awkwardly stylized image of the lead man's face, and I had a bad feeling. I tried to remain cautiously optimistic but boy was I ever right. Speaking of album covers, I think simply using the lead singer's face, no matter how stylized, is always the absolute weakest creative choice possible. It's like you have this opportunity to express something visually you're just like "nah." As to the music, this might be the most baffling 1001 choice I've run across yet. Just painfully, embarrassingly bad. Doesn't stand the test of time to say the least. It's almost as if they deliberately wrote songs to emphasize the cringiest cliches of late 80s studio production techniques. I'm still listening to it as I type and considering how much further I should go... I give like 99% of things on this list a fair shake but after the first song I knew I'd heard all I needed to hear. Okay I'm pressing on here... It doesn't necessarily get better or worse, but simply maintains a constant state of melodramatic shittiness. Well, I hereby nominate this album to be the first in line for the chopping block to make room for something more worthwhile in the next edition of the book.

The absolute pinnacle of The Dead's studio albums and probably the best starting point for someone new to their music. Rather than continuing to get lost in studio experimentation, they perfected the approach they began with "Working Man's Dead," where they focused on distilling their songwriting skills and myriad influences into these tight, well-crafted anthems. These songs would then of course go on to become mere starting points for further musical explorations in live settings on subsequent tours - particularly their 72 European tour (my personal favorite). For a band who isn't necessarily best known for their studio albums, this is a nearly flawless masterpiece. 5 stars for "Ripple" alone. Seriously, that is one the most timeless pieces of music I've ever heard. It's up there with things like "Amazing Grace" to me. Beyond Rock and Roll, or any genre for that matter.

Powerful, dramatic, soul searching, relatable folk-pop. Is folk-pop an oxymoron? Folk music is a tricky thing with me. It walks a fine line and can go either way very easily. I guess it all comes down to authenticity, and I believe Cat Stevens has it in spades. The way he emotes while singing convinces me that he is living these songs in a real way. "Where Do The Children Play," "Wild World," and "Father and Son" is an amazing songwriting hat trick. Three timeless classics on one album. Quite a feat. He was like what? 22 at the time? and he sounds like some kind of ancient sage. All that said, I do find that it's hard for me to continuously listen to this as an album. I prefer his music in small doses, a song or two at a time, rather than all at once. Perhaps this is because it is so potent.

Has alot going for it, particularly when they go hard, but I think it gets bogged down when they do the old timey thing. Do love the male female vocal mix though.

A bit whinier than your average Britpop. Kind of like sour patch kids for the ears. Not my favorite type of candy, wouldn't want to eat a whole bag all at once, but okay in small doses.

Definitely had a Sex Pistols phase after watching The Great Rock n Roll Swindle and Sid and Nancy back in high school. Can't deny the impact this had, but ultimately the nihilism on display here rings pretty hollow. Sounds like it could use a good remastering too. It's funny, for how much punk seems to center around authenticity, this band, which is considered a pillar of punk rock, is essentially a big cynical prank at its core.

I prefer Nick Cave when he's more unhinged than somber. Sounds like he's doing his best Leonard Cohen impression here. The constant miserable bellowing gets old pretty quickly. Sounds like it would be one of those amazing farewell albums if he had made it when he was like 75 years old something, but he was only 24 at the time. Just look at that face! Do you think when he was born he had the appearance and demeanor of a fully formed teenager, like he was some sort of Greek God's punishment to his mother?

Almost laughed out loud when the singer started singing for the first time. His warbling sounds like an affected joke. I can't take it seriously. Musically I'm basically on board I guess, but the singer breaks the mood every single time.

Love, love, love Os Mutantes. I'm big fan of psychedelic rock in general, but they are probably my favorite psychedelic group of all. They are both more experimental and more fun than most other psychedelic bands. They have a very unique and diverse sound that manages to escape many of the cliches of psychedelia, while feeling more like a real trip. Almost surreal at times. Love the variety of their instrumentation, and their use of the studio to collage everything together.

Pretty much the perfect way to reinvent yourself towards the end of your career. Put your faith in a visionary producer, open yourself up to unexpected material, strip it down to basics, reinvent said material (including your own) with the sheer weight of your life which is reflected in your voice. Johnny Cash was both incredibly open minded and supremely humble to be able to put his faith in Rick Rubin. Likewise, Rick Rubin had absolute reverence for Johnny Cash and knew just how to focus on his strengths without overdoing anything. Perhaps the oddest pairing of producer and performer I can think of, but man they made one of the best parting gifts to music of all time.

I think this may be the first album on the list that I genuinely hate. It's such a strange combination of venomous bile and cheesy melodramatic musical techniques - the combination of which just makes me nauseous. The spoken interludes are overused to the point of being eye rolling. I can see what they're trying to do, to reinforce their bleak worldview with the words of others, but maybe just focus on one or two? The whole album is trying to do too much, trying too hard. They also can't seem to make up their mind on what they want to do. They don't even seem to have their own musical identity - they just sound like a loose amalgamation of so many other early 90s guitar based alt rock bands. I thought I actually liked the last song but Spotify had simply gone and auto played a track by The Verve right after the album was over. Not that I'm a huge fan of The Verve or anything, but it was like a breathe of fresh air after being locked in Richey Edwards' dingey apartment for 56 minutes and 25 seconds. Will not be listening again.

Soul Jazz comfort food. I like the tracks with Kenny Burrell on guitar best, particularly "Messy Bessie."

Besides recording quality, there is very little that would distinguish this from jazz 30 prior to when this was recorded. I suppose most jazz hit the same plateau after the fusion experiments of the 70s. Since the title track wasn't available on Spotify, I listened to a live recording of it with his trio and I preferred it by far to anything on this album. As usual, I prefer jazz in smaller arrangements. Anything beyond a quintet is generally too much for me, unless we're talking about Miles Davis' fusion stuff.

Dripping with soul. The fake live sound is odd but believable. Would have been a spectacular live show. Not something I'd put on everyday, but the passion in their playing is undeniable.

My absolute favorite period for Bowie. Love this and its sister album "Heroes." They go hand in hand. "Heroes" is certainly a standout track, but as an album I probably prefer "Low" on the whole. I feel "Low" has a wider range of moods, and while "Heroes" is more refined, I kind of like how "Low" has more of a playful experimentation to it - still figuring out the formula. Speaking of the formula, I for one, really enjoy the A side = ever so slightly more conventional with lyrics, B side = off the deep end/largely instrumental approach. Best of both worlds if you ask me. All the playing on this is chef's kiss worthy. Bass, drums, guitars, synths, vox, harmonica, you name it. The production balances all these elements perfectly and feels very three dimensional and immersive. Man, if I could be a time travelling fly on the wall for the recording of any album, this just might be it. "Low" is that rare risky move album where he doubled down on experimentation to find a new direction and it paid off in dividends - we're still feeling its influence to this day.

Although I think you get diminishing returns from the studio albums of The Band as they move away from their debut, this album is just a notch below the mythic "Music From Big Pink." An A to Big Pink's A+. This album has "Cripple Creek" on it for God's sake - can't be anything less than five stars. Quite possibly the most soulful thing a group comprised mostly of Canadians ever recorded (besides "The Weight" that is). My second favorite track is definitely "Jawbone" with its triumphant chorus and swirling 6/4 time signature. This is the record where they really stepped out from Bob Dylan's shadow and established themselves as a complete creative powerhouse in their own right. I love that they have multiple vocalists, as they are each suited to different material, and I especially love the interplay between them, but I have always gravitated most towards the songs where Levon Helm's southern twang takes the lead. Man I just wanna get good and drunk and listen to this on repeat all night.

Enjoy her move towards an even jazzier sound, but it kind of just washed over me on first listen. Enchanted by the concept of a road album, and would love to continue to examine this with repeated listens, but the experience is hampered by the fact that she removed her catalog from Spotify...

The definition of mediocrity. And yet somehow, mediocrity, served just the right way, often manages to become wildly popular. I'm not gonna compare this to a McDonald's burger, because I don't think it's analogous. A McDonald's burger might not be a culinary masterpiece, but I can at least basically remember what it tastes like - even years later. No, this album is like a Wendy's burger. Although I've had Wendy's burgers before, I can't really remember what they taste like. There just aren't enough distinct characteristics to hold onto. I saw this album cover and I was like "oh yeah, that album...I remember that...No wait a minute, no I guess I don't..." It had basically completely faded from my memory, and I liked it that way. It kind of makes me sad that this list is going to perpetuate an album like this, even by a smidge. Just let it continue to die slowly from our collective memories.

They quit at the height of their powers and left a nearly perfect discography behind them. I say NEARLY perfect, as each Police album has at least one cringey song. It's a weird part of their musical signature that I've come to accept, allowing them that indulgence to get their ya yas out, and not letting it interfere with my enjoyment of the rest of the album. On this album it is of course "Mother." Beyond that, "Synchronicity" is a worthy Swan Song for them, featuring some of their finest work. I can't say it's my personal favorite, but it's probably their most musically varied and refined album. I love their sound and think it is largely due to the space they give each other as a trio. You can hear each instrument so distinctly in a way that you don't get from most other bands. Never simply washes over me. Each player has such a unique playing style of their own, and they are all adding really interesting touches throughout, but not in a showboating or proggy way. It's all in service to the songs. I believe another strength of theirs is that, in so many ways, they are such different people; ages, backgrounds, influences, temperaments, etc. They were able to bring all that together so fluidly, especially here in their later work.

To me this is a major improvement over "Screamadelica." I sort of enjoy the unfocused, atmospheric mess of this, and the influences are top notch. I hear wafts of Can beats, samples of Miles Davis' fusion material, some Stooges rock that slaps you in the face out of nowhere, and of course a strong Dub influence (with Augustus Pablo on melodica no less!). I'm into the hazy, druggy, loose, kitchen sink experimentation of it all. Using the Vader mask on "Motorhead" is a good clue that they weren't taking themselves too seriously and were just fucking around, having fun, and being themselves. Probably would've been a blast to hang out with them during the recording of this. Having disliked "Screamadelica" (I rated it a 2), I thought I was going to hate this. But I have to say, as I continue to listen to this album, I've gotta give them the Most Improved Artist award. Actually kinda regret I wasn't into this upon it's initial release as it would've been right up my alley.

Starts off heavy with one of the most intense and emotional guitar solos of all time, then reverses course, and goes on to lay down some of the catchiest funk jams known to man. A beautiful slab of manic-depression that I think would make Jimi proud. I'd argue that Parliament/Funkadelic is THE archetype of funk. By comparison James Brown is simply a genre of his own. Incomparable really in how he predated everyone by so far. I'd say he was proto-funk in the same way Iggy Pop was proto-punk. Only other major contender for the title is Sly Stone, and I love Sly, certainly another major pioneer, but he and his Family don't jam nearly as hard, nor were they as eccentric and flat out buck wild as George Clinton and his crew of fearless maniacs. And that's what I think it takes to be truly funky; that no holds barred eccentricity where you can really let that freak flag fly. Holding nothing back. Like straight up just overdub fart sounds into that last track. No fucks given. Definition of funk to me.

We used to play "Down By The River" on the jukebox all the time to get our money's worth. I like Neil when he has Crazy Horse putting some real heaviness behind his folk and country roots.

This is the best drinking album of all time in my experience. An emotional rollercoaster of anthems and sing alongs. The beginning of the Jimmy Miller era, where The Stones settled into the sound that would define them for the rest of their career. Man, if you wanna see the magic of them creating a song in the studio, watch Jean Luc Godard's "Sympathy for the Devil." That song began as a folky acoustic country campfire thing and just kept building and building like a drizzle into a thunderstorm. So many songs on this album seem to capture what I can only imagine was what it really felt like to be alive at that time. Especially a song like "Street Fighting Man." It's like the antithesis of "All you need is love." I'm glad they ditched the psychedelia and came back down to earth.

I like Elvis' Sun Sessions material, some of which is used here. It has a raw vitality and moodiness to it that he never quite captured again as he became a more polished pop act. This album was an absolute phenomenon, which, as we move further away from its release, becomes harder to understand the true depth of its significance. I know that culturally this should be a 5 for its impact. It's one of the keystones of rock and roll, upon which everything else is built, and sort of tipping point for the genre, but the thing that really gets to me is when he covers things like "I Gotta Woman" or "Tutti Frutti," and they just pale in comparison to the originals. Drags the whole thing down. Also, mixing the Sun and RCA material gives it a weird, unbalanced feel. I will give him one thing though; he is a hell of an emotive singer. As a purely subjective listening experience this is a 3 for me (though the Sun material is more of a 4-5).

What's worse than a bunch of vapid young dudes playing sleazy, overproduced glam metal in the late 80s? A bunch of vapid old dudes playing sleazy, overproduced glam metal in the late 80s.

Sam's voice sounds a little rougher here than I'm used to. I'm a big fan of his studio work, and while it would have been a great pleasure to be present at this performance, I feel like the recording doesn't really capture the full range of dynamics. That's largely due to the technology of the time, so you just have to be happy to at least have this document.

Not immediately off-putting or anything, but not sure how this ended up on the list. The album got more annoying as it went on, particularly when it hit "Ride On and Turn the People On."

Definitely my favorite album of the two. The atmosphere is spare, with the perfect amount of texture. Similar to the iconic cover in that sense. The reverb and mixing give it so much space to breathe and envelop you. I enjoy all the experimental flourishes throughout, and delighted by the dark hypnotic power they wield when they bring the tempos down. The stiff soulessness of it is like narcotic to me. Perfect pairing of artist and producer, and great example of how big a difference a producer can make. Practically pulled a new genre out of them.

Seems like the most common way to get into James Taylor is by way of your mom and you grew up listening to it. That wasn't the case for me, so I have no special reserve of nostalgia for his music, nor does it strike me as being noteworthy in any particular way.

I already wasted my time listening to one Slipknot album for this project. The fact that there are two Slipknot albums on this list is baffling to me. I can only hope this is the last time they show up. I don't understand why they need so many band members to produce this clown metal.

I prefer Pink Floyd without Syd Barrett. Would like to hear some live recordings from this era though, as I enjoy the instrumental numbers far more than Barrett's psychedelic nursery rhymes.

Certainly prefer this to X as far as LA punk with a dash of roots thrown in goes. Has much more of a raw vitality. You can definitely hear their influence in that "everyone who bought the album started a band" kind of way.

Love the idea of creating a soundtrack to a hypothetical movie as the driving concept, but I find the results here somewhat lackluster and unfocused, especially when he throws on covers of things like the "Alfred Hitchcock Presents" theme, then the concept doesn't even hold up.

Just happened to have picked up an old copy of this at a record sale a few weeks ago. Side A is fantastic. They have such a dynamic range! They can go from an incredibly intense, almost proto-punk energy, to sweet baroque pop on a dime. Always enjoy Arthur Lee's unique arrangements, structures, and phrasing. However, I feel the album is held down by the loose sidelong track "Revelation." It comes across like filler to complete a contractual obligation and piss label execs off.

I love the spirit of Funkadelic. Some of the most unfiltered musical expression you'll ever hear.

This is probably my favorite Tom Waits album. I don't know if I heard this or "The Black Rider" first, but I remember listening to WAIF, a sort of public access radio station at the lowest end of the FM dial, when I was about 13 or 14 years old, and recording onto cassette anything that caught my ear in the night. Tom Waits certainly did. I then tried to get my hands on an album of his and went out and got a copy of "Nighthawks At The Diner." I was sort of confused by it though. It sounded like two completely different artists. I appreciated both modes, but definitely preferred his more experimental material. Nothing sounds quite like his unique cocktail of influences once he hit his creative breakthrough in the 80s with "Swordfishtrombones." His music ages well too because he largely eschewed the recording trends of the time, and pursued something much more timeless. He never quite fit in anyways, so when he really started embracing his inner madman, he stuck out so much it was sort of astonishing. One of the most amazing mid-career reinventions since Dylan went electric. Waits is certainly a polarizing musical figure, and I understand why his sound doesn't sit well with many, if not most, but I've had nothing but admiration for him ever since he had me spellbound over the radio that night all those years ago. Above all I'm drawn to his focus on texture and atmosphere. Whether you enjoy it or not, he has one of the most instantly recognizable sounds in music. A genre of his own. It must have been a difficult road being such an iconoclast, bucking trends, and simply being himself in the face of showbiz, but I'm glad he took the journey.

Texture can be a very powerful thing. Sometimes texture can even overpower the underlying structure. As in food, where you might enjoy the flavor of something, but if the texture is off-putting, it can ruin the whole experience. With that analogy in mind, I can see why this album causes some people to have strong reactions. I for one enjoy the combination of abrasive texture and bubblegum hooks. If they were purely abrasive through and through, it would simply be repellent, but, since they pair it with such sweet, vaguely nostalgic melodies, it becomes a really compelling mixture. I admire their ability to take these almost skeletal little ditties and build such dense atmospheres around them that they feel practically cavernous.

Simply does not belong on the list. I remember the single "Novocaine for the Soul," and that is easily the best thing on the album, but the rest is just painfully bad. Every single song has lyrics that make me cringe, his voice is constantly strained and way too high and bright in the mix, and the production is awkwardly dated in that all over the place trying too hard to be eclectic 90s kinda way. Then there's that album cover: I'd put it in serious contention for the worst album cover of all time. I honestly can't respect an artist who would allow that kind of aesthetic nightmare represent their work.

I generally like Ice Cube's voice and the Bomb Squad production but I find this one fairly exhausting.

Oh no, not again. First time I ran across this fucker on the list I was too nice and gave him a 2. We'll, today you're getting a 1 my man. Not because it's an entirely unlistenable monstrosity - that would be much more interesting - no, it's because it is an emotionally disingenuous piece of mediocre melodrama. Just shameless watered down Scott Walker. And, and, and... It simply does not belong on the list. Just look at the skeletal Wikipedia entry for this one, it tells you everything you need to know: nobody gives a shit. This had goddamn well better be the last time we meet here Divine Comedy. The fact that you are taking up 2 spaces on this list, while Neutral Milk Hotel doesn't even get one, is preposterous.

Elliott Smith he ain't.

Love's masterpiece. I'd say this is up there with "Pet Sounds" in terms of its gorgeous production. A pleasure from beginning to end. And God bless Arthur Lee for keeping it real during the flower power era.

I find the concept generally repellent, and the execution just seems like some kind of half assed inside joke. Put this on the stereo and I'd be out the door before the first song was over.

I find shoegaze to be fairly boring but I at least prefer this album to their supposed masterpiece "Loveless." I guess I should say I prefer them as an actual band rather than a monomaniacal vanity project. They at least have a slightly more dynamic sound and variety of emotion while in full band form. Considering the year, this was definitely ahead of its time, and I can hear how it influenced things to come.

I find Yeah Yeah Yeahs imminently fun and irresistibly charming. The way they balance more catchy electronic elements into the mix on this album sees them expand their sound and make it poppier. They are an interesting band that kind of float back and forth between flirting with mainstream accessibility and more challenging tendencies. I enjoy both modes.

Probably my second favorite of Zappa's next to "Absolutely Free." I like him in this manic kitchen sink mode best. Though it's a real wooden rollercoaster of an album and there are all these bizarre interludes throughout, he's still keeping it relatively tight. If you don't like something, he's shortly onto the next idea. Whereas on something like "Uncle Meat" it just gets too self indulgent and becomes a mess. Always appreciate his bravery in experimentation, total embrace of humor, and willingness to call things as he sees them.

One of my favorite mixes I ever made started off with "White Winter Hymnal" from this album and went into "My Girls" by Animal Collective. It was probably around February 2009, and in retrospect it was a pretty great time for music. I don't usually go for most folky things but Fleet Foxes come across original enough that I enjoy it. Timeless in a way that really grabs you emotionally. Their arrangements and harmonies have a great balance of quiet beauty and bombastic joy. At once pleasant and haunting.

Undeniably influential and ahead of its time. The first proto punk band that basically sounds like early NYC punk... or a strung out Rolling Stones. Good sleazy fun.

That first track past the intro is an absolute stunner. But it sets the bar so high the rest of the album has a hard time staying up at that level. I'm intrigued by the spacey, atmospheric sound, but the vocals usually break me out of the hypnotic spell, with the exception of that first track, where the vocals are handled differently than on the rest of the album. Definitely one of the better albums that came in the wake of "OK Computer." I'd give "Svefn-g-englar" 5 stars but as an album it's just a 3 for me.

Funky as all hell.

Second album by The Pogues on the list, and I'm guessing it won't be the last. From here on out all Pogues albums will be getting a one from me. I'm not big on Irish folk music to begin with, but Shane MacGowan's drunken wailing makes it absolutely insufferable.

A buffet of genres and moods. They really started to branch out musically here and show that they were far more than just punk rock (while remaining punk all the same).

I'm a pretty big fan of The Boss in general, and I love many of his albums, but I think this may be his best. It's one of those instances where an artist's creative and commercial zenith were one and the same. He had refined the sound of his band to a well oiled machine by this point, and also honed his songwriting to a fine edge - losing his initial flowery Dylanesque poetics almost completely, trading it in for an incredibly refined and nuanced directness. Every song is an anthem of one kind or another, often misinterpreted as some kind of patriotic chest thumping heartland rock. I implore you to read the lyrics to "Born In The USA." It is one of the most emotionally complex pop songs you will ever hear. The music does such an incredible job of sweeping you up in these catchy sing alongs, that you often don't even notice that the lyrics are often telling a very different story. This album covers such an incredibly rich emotional territory, like a book of short stories about the contemporary blue collar life of its time. Capturing the essence of that experience in what I believe to be an honest, or at least authentic, way.

I can't help but enjoy this. It managed to surprise and delight me at nearly every turn. I can see why people would be annoyed by the vocal style, but I think it's funny and entertaining. Has a nice layer of texture and atmosphere throughout. Underlying it all there is a true playfulness I find endlessly compelling. It's experimental but still manages to be fun. I'm a sucker for iconoclasts doing their own thing. So far ahead of their time I'm not sure we've even caught up yet. I kept wanting to listen to this over and over again, and it just kept growing on me.

Up there with Wire as far as post punk pioneers go. I enjoy everything about their sound.

I prefer this to the Folsom Prison concert, and Johnny is certainly in top form here, but unfortunately I am just not a huge fan of live recordings.

Like some kind of British Anti-Doors on heroin instead of LSD. Keyboard punk is a rare sound, but I think it works well. Very tuneful, especially with that snarling bass. Singer is verging on The Fall type territory with the intentional flatness, but it has a little more menace to it, which I like. They make cynicism sound so catchy and seductive.

This is a very special album to me. It reminds me of my father more than any other album. I have a somewhat complex relationship with my father so having this as a positive association with him is a rare and bittersweet treasure. I remember listening to this and "Willie and Family Live" on many road trips with him as a kid. I would go so far as to say that this is the best narrative driven concept album of all time. The fact that it is also a country album makes it all that much more spectacular an achievement. Country has always been more of a singles driven market, but Willie bravely constructed an amazing outlier of an album that had more in common with the AOR of its time, weaving an enchanting tale of betrayal and tragedy. It has recurring musical themes that tie it all together and many instrumental pieces to allow it to breath. In fact, I think it is those instrumental pieces that are the reason this album is so effective. It forces the listener to have to emotionally engage with the music itself, rather than through being fed more narrative in the lyrics. The listener has to connect the dots in their mind. Willie doesn't overdo it or spoonfeed you. He gives you just the right amount of story to set the scene and no more. I feel that this is not only a stroke of genius, but it shows that Willie has faith in, and respect for, his audience. Listening to this as a kid in the passenger seat while my dad drive through the night, I found this absolutely spellbinding. Still do.

A worthy follow up to "Born To Run." More refined and down to earth, but every bit as powerful and dramatic. This is where he really seems to start embracing the reality of blue collar life in a more direct way, rather than using it as an evocative backdrop for fantastical poetic imagery and escapism. An underrated sweet spot in his catalog. Pair this with "The Promise" to hear how absolutely on fire he was as a songwriter at this point in his career.

I can go for a fair amount of EDM but I found this album to be grating and obnoxious. There always seems to be at least one repetitive element in each song that is placed there simply to be so annoying that when they remove it, you get this rush of relief. And the way some things are processed is so over the top it throws off the balance of the mix completely. Absolutely fatiguing. I'd honestly prefer to listen to the more "linear, close minded, shiny, robotic, superficial" electronic music they disparaged in interviews than have to sit through this high contrast carnival ride again.

Gotta love the sheer madness of this album. Just completely beautifully bonkers. Brave stuff.

Goofy in an annoying way. Their first album with Elvis Costello behind the boards is alright, but this is just unfocused mania. I can see how this influenced bands like Blur, but Blur used much more discretion in the way they incorporated this type of playfulness. Sounds like a band in the midst of an identity crisis.

Has this on cassette tape when I was a kid and listened to it quite a bit. Has always stayed with me. So many iconic, timeless songs here.

Title track is iconic for sure but the rest of the album isn't particularly noteworthy.

The music has its moments, as does all of Jarrett's ever improvisational style, but perhaps the most interesting thing about this record is the story surrounding the circumstances of its recording. Certainly says something about the triumph of the creative spirit in the face of adversity.

Equal parts soft and hard rock - pop at the core with a prog outer shell. Ends up kind of lumpy. Like ELO with more of a proto hair metal angle to it. It's okay. Fun but not overly exciting.

Compared to most bands of the 80s, U2 have a much more timeless sound. It comes across both spare and richly detailed, largely centering around the layered textures of The Edge's guitar. A sound which was their own and well ahead of their time. They found the perfect producers in Eno and Lanois who were able to shape these recordings into both atmospheric art rock and stadium filling anthems. Incredible dynamics of sound and emotion.

This album came out at a transitional time in my life, so my memories of it aren't as strong as they are with other Radiohead albums. It was right before I moved to Providence, away from everyone I knew, save for my alcoholic girlfriend who was moving with me. It was a fairly lonely, but eye opening year, and I was soaking in all kinds of new things - not least of which was a grim sense of reality that didn't so much start to sink in, but slap me in the face. This album is great - a natural extension of what they established on their previous two albums. It's Radiohead. It's amazing. But this is where my engagement with them starts to drift away. This was partially due to somewhat painful associations with ex-girlfriends and the fact that I didn't need their existentially sad sound at that time in my life. It would've put me over the edge to wallow in it. That and I think they were starting to repeat themselves a bit here. Not that I don't love the sound but it didn't surprise me in the same way that their previous albums had. I'm not gonna say there were no surprises, but I feel like they had settled into a creative comfort zone of sorts. Understandably so, as they were pretty much universally revered by this point, and could easily rest on those laurels. They were a big fish now, a whale really, and I suppose being that size it was harder to make sharp turns or change directions.

Never listened to this earlier, rawer Echo and The Bunnymen before. It's like a more manic Joy Division with a romantic nostalgia for 60s garage rock and psychedelia. I think I prefer their later, more atmospheric albums.

I found this fairly annoying, especially the King Crimson cover that they called by another name.

I like this musically but lyrically and vocally it doesn't do as much for me. Good case for a 3.5 but rounded down cause I probably won't go back to listen again.

I remember buying CDs one time with my friend in high school. You always got different stuff and shared cause they were so expensive. He picked up this album and I bought something completely forgettable. We took the CDs back to my house and we put this album on my Stepdad's stereo and I remember being absolutely hypnotized from start to finish. I was rendered speechless and just kept looking back and and forth between my friend and speakers in awe. When it was over I was so jealous my friend could go home and listen to it again and again afterwards and I couldn't. This album had a profound effect on me and I'll never forget that experience of first hearing it. I was familiar with several of the tracks from a "Best Of" comp I got from BMG, but the thing that blew me away was that all the other material was just as good. I felt like I had known these songs all my life somehow. Everything just immediately connected with me. I consider this a perfect album. Maybe the most perfect album I've ever heard. I never skip a track, not even the more experimental "The Murder Mystery" as I find it playful and thrilling. It's unconventional for sure but it's like a pop ditty compared to most of "White Light/White Heat." This album has it all. Such a wide range of moods and emotions. From joy to sorrow, everything in between, and then back again. And I think that's what I like so much about the album: it takes you high, all to knock on your ass and make you cry, just to pick you back up again in triumph. Just an amazing ride. Capturing both those highs and lows, that contrast, even those contradictions, really rings true to my experience of life. And coming from someone as bitter and cynical as Lou Reed can be, this album ultimately feels genuinely uplifting in the most authentic way possible. Truly, deeply, beautiful.

Easily my second favorite Tom Waits album and probably his best. I don't want to live in the world he depicts but goddamn do I love imagining it as he describes it one story at a time. He is the king of texture, especially with his signature outside the box percussion. "Anywhere I Lay My Head" is a fantastic closer, like a New Orleans funeral that tears you up, but also feels triumphant and joyful. Bonus: he mentions both Cincinnati and Minneapolis in the lyrics.

I was excited by the music... at first. I can go for this sort of textured electronic thing. Then the vocals came in and immediately started to get on my nerves. Like a weird piece of candy that has a curious flavor on its outer shell, but when you bite down it becomes sickeningly sweet, and you want to spit it out.

I love his voice and the way he does his own backing vocals. It's like he's dancing with himself.

Although I've never listened to this album before, the songs seem familiar. I thought I was gonna hate it, but it's okay. Has that very 90s indie Americana sound to it that adult contemporary heavy NPR stations everywhere love so much. That middle class rootsiness trying to pretend it's less educated and worldly than it actually is.

I found this fairly annoying overall but 3 stars for Guitar Hero.

I understand "Loveless" being on here, but this is like its afterbirth being delivered 22 years later. I don't want to listen to this musical placenta.

Awe inspiring. I have to go through her entire discography from beginning to end now. I'm reminded of this quote from Billy Preston: "I don't care what they say about Aretha. She can be hiding out in her house in Detroit for years. She can go decades without taking a plane or flying off to Europe. She can cancel half her gigs and infuriate every producer and promoter in the country. She can sing all kinds of jive-ass songs that are beneath her. She can go into her diva act and turn off the world. But on any given night, when that lady sits down at the piano and gets her body and soul all over some righteous song, she’ll scare the shit out of you. And you’ll know—you’ll swear—that she’s still the best fuckin’ singer this fucked-up country has ever produced."

A concept album that is actually fun and playful. Doesn't take itself too seriously. The concept is cohesive and works on multiple levels. Flows like butter with the radio broadcast thread. Brilliant editing and transitions, especially for the time. Some of the song structures are like proto prog with their sudden changes and vocal interplay, but still largely meaty, beauty, big and bouncy.

Though this album of (mostly) covers doesn't hold a candle to his creative breakthrough "Scott 3," I always enjoy Scott Walker. Some of the lyrics are hilariously coarse, especially considering the time period. "Plastic Palace People" hints at the direction he will go in next and is a standout track to me.

Dreamy Atmospheric Moody Nuanced

This one is a big hit in our house. Love the melodic basslines and sing-along choruses. Catchy stuff.

GNR sound like the unintended consequences of a coke fueled orgy hosted by Aerosmith, and attended by AC/DC, Def Leppard, and a bunch of groupies.

Once you get past the Curtis Mayfield cover the album opens up to become a very original mixture of genres. Can't quite pigeonhole it. I find it enjoyable in that vaguely nostalgic way, but it's a bit too all over the place for me to return to on my own.

Though I may prefer Funkadelic by a smidge, this is undoubtedly top shelf funk.

Steely Dan transitioning into their studio perfectionist mode. I could probably do without "East St Louis Toodle-Oo" but I'll forgive them that indulgence for the smooth brilliance of the rest of the album.

I'm a sucker for 90s Wu Tang. RZA in a creative fever pitch. To me his beats are THE quintessential hip hop sound.

A sprawling mess of an album. I appreciate his experimentation, but it is far too long. Needed some editing and refinement.

What if every song on an album was a mandatory overtime style jam? Well here you are. This sounds like the musical equivalent of experiencing schizophrenia. You can hear the influence it had on later Tom Waits albums, and I have respect for the insane bravery of this chaotic experiment, but definitely not something I'd listen to for enjoyment. I prefer his somewhat more tuneful output that followed.

Not a huge Sinatra fan but I find Jobim's music irresistible, so it ends up being a wash.

Though I don't like this as much as "To Pimp A Butterfly," in many ways this album is more down to earth and, if not relatable, authentic. You can tell it's coming from a very real place of friends, family, and environment. One thing I always love about Kendrick Lamar is his ability to have these reflective, almost confessional verses that somehow interweave the usual rap bravado with a brave vulnerability.

Respect for being pioneers, and love their wildness and weirdness, the whole Afro-Futurism thing, but this actually got on my nerves a bit.

This is my favorite Yes album, largely due to Starship Trooper, or more specifically, part C: Wurm. Might be my favorite 3 chord progression in all of rock. Steve Howe is a severely underrated guitarist. The thing that really gives Yes their signature sound though, are those super melodic basslines from Chris Squire. Love how they foreground it in the mix. Gives them a really dynamic, three dimensional sound.

This vacillated between being generally pleasant and somewhat annoying to me. I don't typically go for this latter day old timey revivalist fare that NPR stations across the US are so enamored with. The rootsiness feels a bit forced, but it's generally inoffensive.

The Beatles throwing down the gauntlet for original songwriting here.

An undeniably powerful and heavy debut.

I didn't hate this as much as I thought I would. I mean, I didn't like it, but it wasn't unbearable by any means. Musically it's actually kind of interesting, but the lyrics are pretty atrocious. They at least have a sense of humor, and I kind of enjoy the prog-like twists and turns throughout. Rick Rubin's production saves it from a 2.

I generally like their sound. People call this twee but listen to the lyrics.

I love this album, especially Neil Young's contributions - some of the best and most creative work of his career.

The whole is not necessarily greater than the sum of its parts.

The sons of AC/DC. I found this harder and harder to listen to as the album wore on. The cover looks like it was designed by a 13 year old boy, which makes sense, as that's probably the target demographic for this music.

Crazy... I had just put this album on the turntable earlier this evening! Marvin's working through some real shit here and I respect him for being so candid. Yes, this is a sprawling mess of an album, but in the best and weirdest way. Something like "A Funky Space Reincarnation" doesn't even seem to fit the concept of the album, but it's so batshit bonkers that I'm tickled he sandwiched it in there. Just shows you how off the rails he must have been at that point in his life. I think recording in your own studio tends to lend itself to this type of wild self indulgence. I'm glad Marvin had the opportunity to make such an artful and thorough public catharsis.

I know many say "A Lamb Lies Down on Broadway" is their masterpiece with Peter Gabriel, but I'd argue that album is too long and sprawling. While being prog, and naturally having long individual songs, this album is a much more refined culmination of their talents, with more memorable hooks amongst their complex structures.

I don't mind ABBA for a song or two, but a whole album starts to wear me down. It's like eating a whole store-bought birthday cake for dinner, all slathered in buttercream frosting and artificial dyes.

Pop slog.

Not something I'd put on myself but this works. Holds up surprisingly well - the beats moreso than the lyrics. Peak CD era length is exhausting though.

Saw so many similar bands during this era, riding that wave of rock revival, that I honestly can't remember if I saw them live or not. I was a fan of the sound in general but not necessarily The Hives specifically. I guess the lead singer's voice cracking all the time is a feature not a flaw, right?

There was a time when I would've given this album a 5, but listening to it now, it sounds a bit overproduced. Still, the power of their songwriting shines through, especially on anthems like "One." Perhaps their last truly great album.

This is about where I get off the train with Kanye, but man, what a sound. Some of the most intricately structured hip hop you'll ever hear. He omnivorously draws from everything he can get his hands on to make something beyond genres. And yet, despite its complexity, which might come across as the hip hop equivalent of showboating prog rock, the album has an irresistible manic energy that just sweeps you up in its audacious scope. Powerful stuff. Perfect balance of id and ego. Yes, Kanye is insane, but you have to be to have this type of boundaryless vision.

I generally like the mood and atmosphere of this. The dialogue samples on "Deus Ex Machina" kinda break the vibe a bit, but other than that, a pretty smooth ride. Nice headphone music.

As Matt Berry says, "I know it’s kind of fashionable to think the Doors are naff, but I don’t give a fuck about that." The Doors have a very distinct sound: a sort of dark and moody psychedelia, with organ as their melodic centerpiece. The guitar and drums give the perfect amounts of accent and space to frame everything up and complete the atmosphere. Finally, they have one of the most captivating lyricists and performers of the era as the frontman. And that's where many people probably take issue. I get the feeling that Jim Morrison is often perceived as some kind of pretentious egomaniacal dilettante for some reason. But if you watch interviews with him, he always comes across surprisingly down to earth to me. I think it's just a matter of separating the stage persona from the person. Outside of things like "The End," which kind of hints at where they are going to go next, and a couple genre excursions like "The Alabama Song" and "Back Door Man," this is largely a pop record. I find it quite impressive that they were always able to balance these different modes of operation on their albums. I suppose that is what made this era immediately after the Beatles/Dylan songwriting revolution so special; that bands were still expected to create these catchy hooky singles, but to also push boundaries while they were at it. Best of both worlds in my opinion. I think The Doors were one of the most original and talented bands of their all too brief era, and like Matt Berry, I don't give a fuck if you think otherwise.

I hate this album so much I'm not even going to talk about the music. Instead I'd like ask a few questions about the album cover. First of all, who stands like that? Were they deliberately trying to capture the most awkward, unnatural stance possible? Also, look at his skin. I would think someone with such a rootsy sound would get a little more sun that that. Is he some kind of weird substrain of folksy Americana Goth?

I can take Tim Buckley for a song or two but an album drags for me. Starts feeling a bit melodramatic.

Easily his best album. So much more focused and articulate than "Astral Weeks." Every one of these tracks could be a single. Not an ounce of filler. He has a natural soulfulness that feels completely worn in and authentic. Flows gracefully from song to song. Arrangements are so well balanced, with nice touches throughout, but nothing is overdone. Goldilocks zone. I consider this a perfect album. Watch him perform "Caravan" with The Band in "The Last Waltz" to see what he is capable of as a performer.

I absolutely love this album and have listened to it regularly since its release. What I love about it, above all, is simply the balance of electronic and rock elements and structures. That and the honest and dryly humorous lyrics hit me just right. I find it imminently relatable. And that's perhaps because of where I am in life, and James Murphy's own unconventional trajectory, plus his ability to make the most of being self deprecating. I find it very inspiring.

This is pretty painful. Country flavored indie is one of my least favorite musical subgenres, particularly when it's more cerebral than soulful.

A fusion experiment that sounds very dated now.

Right from that opening bass line and drum fill on "Love Song" you can hear how this is moving towards hardcore. I definitely prefer more omnivorous punk like this that draws from a wider range of influences.

This is THE Hole album. Such deep and genuine emotion here. There is a tragic ache that runs through it, but a righteous feeling of triumph as well. The songs are all anthems and make me want to sing along.

Some nice moments here and there, but overall this ends up leaving me exhausted. Their sound absolutely matches the album cover's aesthetic though; a high contrast pop collage.

Starts off strong with "Black Mirror," but as it goes on, it sounds more and more like some kind of Off-Broadway musical. The melodrama of it is exhausting.

I can't really take this seriously.

I was simply bored until it got to "It's Business As Usual," then I actively began to dislike it. As for the concept of being a faux movie soundtrack, this pretense comes across more like a weak way to justify this hodgepodge of half baked musical ideas. The spoken word sections are particularly annoying. It would be one thing if this were all just background music that romanticized the past, but you have these periodic, but extensive, sections that are absolutely jarring to the experience of the music itself. This album is at once both loosely constructed and overdone.

A masterpiece of new wave pop. Solid top to bottom - no filler. The album, and each song within it, is constructed so meticulously well. A perfect balance of electronics and the standard rock instrumentation. The lyrics are cryptic in an evocative, rather than a puzzling, way. It also has a surprising amount of soulfulness hidden in the grooves, which I think is what really sets it apart from the pack.

Spellbinding. A real sweet spot in his discography where he tempered soul searching experimentation with hypnotic grooves, all before he went completely out the window with free jazz.

This is the one that can usually convert the skeptics who are only familiar with the hits. Shows you his full range as a performer and a songwriter. Absolutely haunting.

Absolutely primal rock and roll. So pure and raw that it feels legitimately dangerous. This album is like a punch to the gut right before the final uppercut of "Raw Power" completely knocks you out. The live in studio sound suits them perfectly.

Never gave this one the proper time it undoubtedly deserves. This is partially due to my confusion over how to react to the initial release format. I kind of stalled out and just ended up listening to other people's copies/downloads instead of getting my own. I do recall listening to it on a particularly memorable road trip, but it's the trip itself that I remember, not the music. It just didn't grab me in the same way as their earlier material had. Listening to it now, it's basically like listening to a brand new album. I have no real memory of any of these songs. I do like it, there's plenty that I like here, but I guess that's simply the nature of one's relationship to any great band or artist that manages to last long enough; you eventually find a point of where you simply begin to drift a bit further away. Not to say that you won't drift back again at some point. This was a transitional time both in music and in my life. The music industry was trying to figure out how to better integrate with digital downloading and this album was a big step. A step that sort of overshadowed the actual music for me. As far as my life was concerned, I had just come off a major breakup and was starting my relationship with Janie. It was a rollercoaster ride, especially at first, but I was largely in a stage of a renewed optimism and infatuation. I didn't have much room for Thom Yorke's cryptic existential doom musings. It just wasn't the right backdrop for me at the time. Listening to it now though, there still does seem to be something missing from this album when I compare it to their earlier work (which might be unfair). Like I said, there's plenty I like here, but its more a matter of what I feel is a lack of cohesiveness overall. I definitely have a strong preference for Side A. But Side B, from "Faust Arp" on, it just sort of loses it's momentum and can't seem to recover from that stark tone shift. It could also simply be that I am somewhat desensitized to their sound by this point - having built up a tolerance of sorts.

Had only heard "Oh Bondage, Up Yours" before - never listened to a whole album. It's decent punk, but nothing that gets me too excited.

Like the best DVD menu music you've ever heard. Barry Adamson makes albums where they're supposed to be soundtracks to movies that don't exist, but I feel this album fits that description far more successfully.

Though I prefer Andrew Weatherall's other project, Two Lone Swordsmen, slightly more, I do appreciate this. Has lots of interesting layered pitch shifting and dubby reverb and delay all over it, giving it a high contrast blend of treble and bass. Very textured atmosphere, but it definitely has a harshness to it, so I can see why some people find it unpalatable. I gravitate towards the more downtempo numbers like "Duke of Earlsfield" and the one remixed by Portishead. If I heard this high AF at a 90's rave it might've broken my brain.

Average White Blues. Well, I suppose there are a few surprises along the way though: the extended breakdown on Shapes of Things, the subtle bagpipe intro to Morning Dew, and then it's all Merry Christmas with Greensleeves smack in the middle? WTF? All that, in combination with the inclusion of live tracks, kept making think the album was over and Spotify had moved onto something else. Very much has the feel of a compilation.

I absolutely love the mood and atmosphere of this album. I often think of music in terms of "day music" and "night music" and this is pretty much THE epitome of night music. Bittersweet and seductive. Romantic but honest. I feel like almost any professional musician would have to identify with that title track. I remember hearing Willie Nelson's version of it first when I was a kid, and I love that version too, but there is something about this version that is so much more haunting. The rest of the album doesn't quite have the same magic as that opening track, but it's still top notch crying-in-your-beer country. The playing, production, and arrangements are all spot on. I especially love that splash of reverb on the vocals. The fact that the songs all adhere to that theme of the trials and tribulations of life in the bar scene is what makes it so great (and believable). A perfectly executed concept album before concept albums were a thing. The intro is a bit goofy, but quaint in an old fashioned way. And goddamn that cover is so cinematic.

This sounds like Billy Corgan forced Radiohead and Coldplay to collaborate on an album about conspiracy theories at gunpoint.

First off, straight up 1 star for the song about John Wayne Gacy. One of the few songs in the world I absolutely abhor and find truly unlistenable. Second, he comes across like the David Foster Wallace, or better yet, the Dave Eggers of indie rock. I can see how some people are impressed by this brand of seemingly boundless, nearly absurd ambition, but for me it just doesn't work in practice. I don't know if he's trying to be oh so clever that it's supposed to come back around to being perceived as sincere and heartfelt? Ironically pretentious? But it's so over the top that it's a joke - get it??? Well, I don't.

Decent punk I suppose, but it got more annoying as it went on. A single by this band on a compilation or playlist would be fine, but a whole album just starts to sound fatiguing. Pales in comparison to their contemporaries like The Clash, The Sex Pistols, The Damned, etc.

Frank is an acquired taste. I want to say that at its core this is a pop record, albeit an extremely twisted one, but perhaps a better way to say it is that it's completely disingenuous. He subverts the pop sound of his time, and immediate past, at every turn, with a sarcastic flat tone, bizarre humor, experimental flourishes, kazoos, etc. It's quite difficult to ignore all that and simply enjoy the melodies, but they are there if you want them. It does sort of go out the window with the last few songs on the album, like he just couldn't hold back anymore, and finally had to let his true inner freak out. If you continue to listen to his albums in chronological order, this seems tame by comparison to what comes afterwards, but all his bizarre musical tendencies are present here. There are moments that almost sound like Mr. Bungle, or other groups that came decades later. At once very much of its time and way ahead of it.

This sounds like Smog but 30 years earlier. Nice blend of genres and surprisingly soulful. The Indian influence on the last song was an unexpected twist.

I like this better than "evermore" and her indie folk stuff but I still don't LIKE it. "Shake It Off" is a standout track though. I definitely prefer T Swift the more fun and carefree she gets. Conversely, the low stakes melodrama of "Wildest Dreams" gave me a significant impulse to skip the track. And the breathy double-tracked stereo-panned vocals on "This Love" made me feel like she was giving me an incredibly awkward and somewhat unwelcome ear massage. I wish she would do something that would truly surprise me. Like really let her inner freak out somehow. Or maybe just take some of the studio polish off. This is so slick I can't get a grip on it.

New Wave Prog Masterpiece. Equal parts warm soul and cold synths.

Love the laid back vibes and percussion.

The one thing this album does really well is showcase Kurt Cobain's songwriting ability by stripping things down. Practically Beatlesque when you take away the distortion. There is an interesting and eclectic selection of covers peppered in there, but it is Cobain's tunes that shine through (besides maybe that Leadbelly cover at the end). I love Nirvana and all, but I'm simply not a big fan of live albums, especially ones recorded so crisply and cleanly, with all the crowd noise and banter included. Secondly, although it is novel to hear their songs in this format, I have no great romantic feelings or aesthetic preferences towards acoustic instruments vs electric ones. In fact, I'd say it's just the opposite. When it comes down to it, I far prefer the original studio recorded versions of every single one of these songs.

Love the dualing guitars and percussion.

George was artistically constipated and he was finally able to let it out here. Must've felt fantastic. The Wall of Sound is gorgeous, both enormous and intricately crafted. Despite its length, I think this may be a perfect album (excluding the Apple Jam disc that is - not really sure why that was included honestly). At the very least it's the most consistently solid album from song to song by any ex-Beatle (again excluding the Apple Jams). This had its first major reissue when I was in college, and we listened to it on repeat.