I love the electric piano, the bluesy jazzy fusion feel, the political lyrics and his pained voice. GSH sings like he has lived every word (the opposite of Paul Simon). My gripe is that 1001 shouldn’t have picked this album over his 1971 release “Pieces of a Man”. While I may grumble a bit about their choice of Allman Brothers or Alice Cooper or Steely Dan albums, not including “Pieces of a Man” is a serious oversight. It’s a historic release, with the epic “The Revolution Will Not be Televised” who many say was the first hip-hop song and there’s at least a half-dozen other epic tracks. I’ll never get tired of “Lady and John Coltrane” or “Home is where the Hatred Is”. It’s a highly listenable LP, back-to-front. I was going to post a complaint on reddit/1001 but I didn’t want to interrupt a heated discussion about the merits of Napalm Death.

This is the first Bowie album I listened to over and over again, because my girlfriend at that time owned it. For the next few years I bought all his new releases and then started buying up all the older ones in my twenties. It’s an epic album, especially listened to within the context of his everchanging output from Hunky Dory to Lodger. I think that the one song he didn’t write, Wild is the Wind, is maybe his greatest vocal performance of all time and by-far the most creative interpretation of that standard (at least until Esperanza Spalding’s).

This album delivers the 2 things I felt were missing from Monday's Fela album, so I have no choice but to give it a 5. The album cover alone is worth a 5. Sue and I drove to Toronto in 1987 to see them at Lamport Stadium and the concert was cancelled due to "VISA issues" which, in retrospect, I understand to mean the Nigerian government didn't want Fela travelling the world singing about Zombie Soldiers. I have a much greater appreciation listening all these years later, after hearing his influence popping up in the 3 decades of Acid Jazz that have been released since.

I've never been a fan of the Beasties because of their shout-rap, their gaudy party anthems and the fact that white boy DJs at CKCU, who would never think of playing rap, played Licensed to Ill to death. I was therefore pleasantly surprised by this LP, especially the highly entertaining sampling/production. It sounded like it couldn’t be the same guys, and it wasn’t - it was the Dust Brothers. And they still shout.

I remember there was a radio station whose motto was "we play country without the twang", which I saw as a bad thing since country is all about the twang. This is definitely twang-free country. Country pop with an empahasis on the pop. I can see people liking this. The melodies are fairly catchy. I won't give her a 1 because that would put her in the same chapter in my book as The Circle Jerks, George Michael & those fuckin' Eagles.

By the time this album was released, I was growing weary of the Smiths, and especially Morrissey’s whining vocals. Guitarist Johnny Marr says that this is his favourite album but it could be because this is their last album, I think, and artists tend to become embarrassed of the earliest more sophomoric works. Bigmouth Strikes Again is one of my favourite Smiths songs, fabulous guitar, and There is a Light that Never Goes Out, based on the number of cover versions out there, has staying power, not to mention a hilarious chorus. The rest, meh.

It’s hard to believe this album was released just a few months before their opus, Paranoid. It is much more raw, bluesy & the arrangements aren’t as tight. Very representative of the late sixty’s jams. Iommi’s riff-heaviness and reverb on solos gives us a glimpse of what was a few months away.

I only feel sadness for people who spend their lives listening to this type of music.

An uninspiring cover of the much-covered Who do You Love that morphs into what sounds like a post-concert jam and goes on much longer than it should.

It's great that he's not afraid to be relentlessly political and socially conscious. "Idealogy" is a song still relevant, especially the day after the US anaugaration. "Levi Stubbs Tears " is a classic. Billy's voice can wear on you after a while and the production is sparce, I prefer the piano arrangements to the guitar whcih I find harsh at times. Thoughtfully crafted lyrics. It would be nice if some of these got covered (as Dylan's have)

True to its name, this album really rocks. I like the dueling solos between guitar & organ which became their trademark. Ian Gillan has a great hard rock voice, like Robert Plant. Lyrics are lame.

The best thing I can say is that it wasn't as bad as I was bracing myself for.

Nice arrangements, I like the background vocals. The songs aren't punchy or catchy but they grow on you.

I wonder if "Paper Planes" wasn't such a smash hit, if this album would have been selected. I've enjoyed her music in moderation but, not being a hip hop fan, a full album is too much, as much as I like the diversons into other types of music . More diversions like the song "Jimmy" would be welcome by me.

Really soft, as in, soft rock. The thing I dislike the most is his voice, which is bereft of soul and totally out of place on the two bluesier numbers. 2 points for Fire & rain.

Nice compact power pop songs. Straight up, not over indulgent, good sound for a live recording. I was only familiar with the big hits but the other songs stand up well.

By the time grunge hit the scene, I had been listening to metal, punk & post-punk for nearly two decades, so I dismissed it as a louder, raunchier version. Of course, some of the anthems cranked out by Nirvana caught my attention, but their riffs and choruses get recycled a lot on this later album. I like some of this album’s more melodic tracks like “Heart Shaped Box”, but I find the overall sound too limited and familiar.

I would have given this a lower score without 3 listens (on YouTube while reading comments about the life-changing impact of each song). Bowie influenced vocals and very different sound to other Brit bands of the day. I like the start of the album but it becomes too ballad heavy for me. Lyrics seem smaltzty, then I read about the William Blake and Lord Byron references in them so WTF do I know?

I’ve never liked listening to straight up dance music in an (unmixed) album format. And this one is 75 minutes long – so 40 minutes of filler. The 90’s technology – specifically the Chemical Brothers inspired noisy bits – hasn’t aged well, but the bass lines still rock and the disco-sampling French style that they popularized is still going strong 25 years later.

I’m not a hip-hop fan but there’s lots to like on this 2XCD. Creative, experimental with lots of funk, jazz and humour!

Nice angst & humour in the vocals. The first thirty seconds had me chuckling. I like the addition of strings & horns to some of the songs. It gave them a mid-sixties feel and more of it would have reduced the overall sameness of the songs.

Good energy, straight-up, poppy.

So many hits on one record (movie). From that era I think I preferred their balads.

On one of my milestone birthdays, Sue surprised me and took me to my first concert at ACC. It was a double surprise because the band playing was Coldplay and as far as I knew, neither of us listened to Coldplay! But I didn't mind since their songs on the radio were ok. It was a splashy energetic concert, great effects and a good performance, but I couldn't help thinking, while the crowd, yet again, sang along to the chorus of another innocuous ballad, "I just don't get it". I still don't.

How many people would have heard of the Fugees if not for the Roberta Flack & Bob Marley covers? Lauryn Hill, on the other hand…

Smooth, elegant & timeless. When I listened to it 25 years ago I thought there was a bit of "filler" on side 2 but not now.

This album has a lot of twang, which is/was a refreshing alternative to the "new country" that had taken over around that time. Nice accordian and violin arrangements and hurtin' lyrics. Bakersfield, Dixie & the title track are standouts IMO.

After listening to what I thought was a cover of No More Heroes I wasn't surprised to read that the Stranglers successfully sued them. I like the edgy, electro punk sound - nice riffs. If this had come out 10 years earlier it would have been more on-target.

Catchy songs, lush orchestration and production, kooky lyrics and song titles. Singer sounds a bit like Neil young at times. I've listened to them in bits over the years but remember that all the cool people liked them.

While I prefer pre-sixties, less produced blues, this still rocks, esp. the version of Mannish Boy.

It's good to hear Ella in her prime. And how can you not like those Gershwin Bros. lyrics> Why did I have to succumb-bah To that rhumba? Can you imagine anything dumb-bah?

Hearing this in the shower I thought I was listening to Diamond Dog out takes. Lots of Bowie & Roxy influences. I prefer the drawn out, dirge-ier, pieces like Seductive Barry & the title track.

Gloomy & sparse. I find the intros to the songs catchy (esp the first two + Forest) but Smith’s voice over the minimalist tracks doesn’t do it for me in the long run. That said, they were a boon for personal hair care products in the 80s.

I remember seeing a video of JLL live and he played every song like it was the last song of the night. This performance has that same energy. The tunes are a bit tired so many decades later, having been etched into my brain from weddings and highschool dances.

The songs on this album are more homogenous and less adventurous than prior Steely Dan albums but the production, arrangements, and the cast of thousands (including Wayne shorter) who played and sang are brilliant. Full disclosure: I watched the making of Aja on Classic albums (Youtube) a few years ago. For one track they had different studio musicians submit guitar solos and then they picked the best one. Definitely not rock n’ roll.

Our second GM album in a month! This time I took a different approach. I read about this groundbreaking album: the sales records it set; the awards it won; the critical acclaim; the fact that GM produced the album & played most of the instruments. Alas,I gave it the same score.

So this was the first album I ever bought at 13. To say my mother was disappointed that I stopped binge-listening her Tom Jones and Sadler & Young albums to binge-listen Black Sabbath is an understatement. I first hear it when an older brother of a friend played it for us. So heavy, dark & riff-centric. For me, all hard rock that came after paled by comparison. I read a review of this album about 10 years ago and the guy said just ignore Ozzy (happily) and the heavy guitar and listen to nothing but the bass and drums and you will get a better idea of what a great band they were. I see this is the 7th highest ranked 1001 album so I will not resist.

This is the first Bowie album I listened to over and over again, because my girlfriend at that time owned it. For the next few years I bought all his new releases and then started buying up all the older ones in my twenties. It’s an epic album, especially listened to within the context of his everchanging output from Hunky Dory to Lodger. I think that the one song he didn’t write, Wild is the Wind, is maybe his greatest vocal performance of all time and by-far the most creative interpretation of that standard (at least until Esperanza Spalding’s).

I thought I knew this outfit but I was getting them mixed up with Stereo MCs. Very Low Fi, I like the move back n' forth from English to French. Definitely grows on you. Some good tracks - a Velvet Underground influence, not too crazy about the Nico-sounding vocals on some. I'm sure I'd give it a higher score next year.

the Bittersweet Symphony remix was on high rotation in my spinning classes back in the day & I became obsessed with ensuing lawsuit, which made no sense to me, until I found out that the evil Allen klein was involved. Anyway, nice enough songs, laid-back psychedelic indie folk. Grows on you...

What an album cover! What a band name! And they are a true protest band, something rare! Hard to stomach the aggressive music and shouting though.

I love the way Mark E Smith adds a vowel to the end of the last word of every sentence. Makes his rants sound more caustic. I like his attitude and style, and while the first song is a classic, a whole album is a bit much. Hard to believe he/they released 30+ studio albums.

I think that JB's most influential works came later in the sixties and early seventies. If you're in a bar/club or listening to an old school set you won't hear many of these 50s inspired songs, maybe with the exception of Night Train.

An unmistakably american sound from an era where Brit bands ruled. John Fogerty had the perfect voice for his rootsy music & he was a hit machine (5 on this album). I like the occasional changes in tempo, like in the lead off track. A nice version of Grape Vine but it didn't need to be 11 minutes.

"Put a quarter in the jukebox and let the sad times roll on!" While country music hasn't found it's way onto my playlists much for a few decades, I do believe I can tell good country music from bad. And Buck Owens is good (shame about Hee-Haw). As an added bonus for me, The Streets of Laredo is an eclectic outlier and I didn't realize until this listening, the connection with the Irish ballad popularized by Eric Bogle and The Pogues!

This '93 release is much more melodic & accessible than their '79 release, without actually being very accessible. I was suprised to see Nile Rogers name on the song credits. Lots of catchy tracks that grow on you by the 2nd or 3rd listen. I gave their debut a 3, which was actually a 2.5. I'll give this a 3 as well, but it's more like a 3.5.

I listened to this on my Bose headphones (MC says they blow) on the way to the coffeshop yesterday and was reminded that when I first heard the full album as a teenager, I was amazed by the production. I'm not sure what it was: the falsetto backup vocals, the strings, the sax, the full-time conga player maybe? It's a great headphone tester. The psychedelic, fairytale lyrics wouldn't cut it today, but the music sounds as fresh as it did 50 years ago, and many of the songs are classics.

All my Curtis Mayfield favourites in one package. I like the lush strings and his signature falsetto voice - all while singing about drug trafficking. Some real classics here.

I listened to this and then decided to listen to her release from last year that all the critics were raving about, and that spotify keeps sending my songs from. I think her recent release is more experiemental while this is more melodic. Nice enough songs. They grow on you. With a few more listens I could become a fan.

I listened to this while cooking yesterday, then shouted up to Sue "come down and get yer mothafuckin’ lunch". When this was released, a lot of people, me included, didn’t like the lyrics which glorified violence. I saw the movie 5 years ago and got a better understanding of where they were coming from. DJ Dre is good & the first three songs are strong but it gets redundant fast. Overall sound and attitude reminds me of Public Enemy.

This is nice. Compared to their other albums I'm familiar with, it's more subdued and background-y (like a movie soundtrack). Though I can play Dead Bodies over and over again!

Again I'm struggling with metal-rap and in general shouting vs singing though in this case, at times, he does sing with a kind of 70s commercial rock voice. I don't mind the RHCPs, who they're compared to.

Bluesy feel. Easy to see why Ronnie Wood ended up with the Roling Stones. Nice that Rod Stewart didn't sing in three songs.

Having Tony Allen and Ginger Baker on the same stage is a big deal. The songs are quite punchy and I like the sax and piano solos. What’s missing for me is that two of my favourite Fela things - the call and response vocals with his female background singers, and the pidgin English vocals about corrupt government and military officials - are absent.

Of course the title track is a prog classic. I like the combination of longer grandiose pieces with the acoustic buck & change connectors. The thematic lyrics connect it all nicely. Very ambitious.

This album delivers the 2 things I felt were missing from Monday's Fela album, so I have no choice but to give it a 5. The album cover alone is worth a 5. Sue and I drove to Toronto in 1987 to see them at Lamport Stadium and the concert was cancelled due to "VISA issues" which, in retrospect, I understand to mean the Nigerian government didn't want Fela travelling the world singing about Zombie Soldiers. I have a much greater appreciation listening all these years later, after hearing his influence popping up in the 3 decades of Acid Jazz that have been released since.

A tough one to judge. Pleasant enough but not much caught my attention, even after two listens. Sounds more like the work of a solo artist than a band. I liked Mental. I would have given this a higher mark, but I didn't like to title track, especially the lyrics.

I like this style of post-bop-ish-borrowing-from-the-less-structured-60s-without-going-all-Ornette-Colman-on-us jazz. But, do I have to compare it to the 1001 jazz albums we must listen to before we die? I wouldn't have known it was Hugh Masekela until the last song. But I do like it. It's better than the pop covers he did in the 60s but I think the music he put out later in the decade was more influential (believe I said the same thing about JB). If the 10 point scale wasn't narrowly defeated yesterday I'd give this a solid 7.

My brother and I are debating who bought this album, but nevertheless, I remember playing the first song, Brighton Rock, over and over, because of the heavy, echo-y guitar solo. I had forgotten the rest of the album, but it sounds pretty good now, especially the sequence of tracks after the radio hit. Well-crafted songs & Brian May really rocks.

I listened to this with Sue and the experience went through three phases. 1) we loved the horn hooks, funky beat and scratchy guitars 2) we were surprised that we recognized so many songs and accused the other of having owned the album 3) We grew tired of the lack of edge or diversity. Pop music isn’t meant to be consumed in album format, I guess. A solid 5 on the 10-point scale.

I remember seeing this album cover in all the record shops in Sudbury but didn't listen to until CKCU a couple decades later. I remember really loving "Maybe the People". In the age of synths and samples it's hard to imagine that these youngsters wrote their own horn and string arrangements! Their sound is from a long-gone era.

I was going to give it a 4 from memory. Then I listened and remembered that MO played all those instruments plus so many great guitar solos. It was tempting to score higher, but I found some of the more raucous sections grating.

Did I really lend this album to Brent Nixon, the DJ at the President Hotel, so I could get it on demand when I was there? Did I get thrown out of somewhere for dancing too dangerously to Rock Lobster? It's all so fuzzy now. Listening to it 40 years later, I'd say the supporting songs sound better and the guitar licks are still great, if a bit unoriginal. I apologize to the brilliant Mike Oldfield for giving them a higher score, but the B52s were more part of the sound track of my personal coming of age flick.

I hadn't heard of this guy buy I'd heard of Gangstarr. I remember the song Bitches, which is catchy but... Overall, Smooth style. Easy to listen to.

I really like the title track, I think it got some radio play back in the day. Also I like the serious subject matter - it's a long way from Dancing Queen. The next couple tracks were listenable but eventually it starts sounding more like what I'd expect from a full Abba LP.

A couple of years ago, I pulled this LP out of my vinyl collection, played it and remember thinking it wasn't as good as I'd remembered it, but, after a more focused listen, I disagree. Nicely crafted songs, subtle but catchy, with great lyrics full of literary references for arty types. As is often the case, the 4 bonus tracks (not on vinyl) lower the average quality of the tracks.

A lot of the songs have epic starts, but I'm less of a fan once they settle in. Vocals remind me of Nirvana. American grunge probably won't get a high score from me. "Disarm" is a nice diversion. A 5 on the 10 point scale.

Clever (& audible!) lyrics. catchy, well-written songs all round. Some of them (Goonsquad, Peace Love & Understanding) still get indie radio play.

Interestingly, Spotify sent me the Andy Bey version of "River Man" from this album last week and when I played it, Sue said "oh, Nick Drake." It is a great song. He can make you feel sad, the way he hits certain notes, but he uses the same technique on many songs and it becomes less interesting. I liked the addition of strings on some tracks.

Over the last decade or two I've been intrigued by lawsuits against LZ for "borrowed songs" - the big one here is "Boogie with Stu" which was lifted, lyrics and all, from Richie Valens "Ooh My Head". I guess Plant & Page felt they need the royalties more than Richie Valens’ widow. Anyway, I remember when I owned this album, thinking it sounded like many of the songs were from different eras - longer prog-influenced pieces side by side with snappy, rootsie rockers. Turns out I was right as it a collection of tracks recorded over 4 years. I would give this a 5 based on the guitar riffs and the fact that fore a double album there are no weak songs but I’ll deduct a point for the aforementioned plagiarism.

OMG talk about crowd particpation! The sequence of songs from 2-4 is amazing. His playing, his banter, his howls and of course, the perfectly timed screaming women in the crowd. After that, it's a bit disjunctive: he get's introduced again (maybe second set?) and the R&B-ish track sounds like it got pasted in from another performance. Still loved it!

Some nice collaborations > I liked the Bonnie R song and Carlos' guitar didn't need an introduction. A lot less edge here than on earlier Johny Lee material. Due to his age, I'm sure, & the slick production. A bit smooth for me.

I had this album (or at least the cassette) and I don't remember "Ricki" being on it. I must have always started on the second song. Perhaps I was going practicing Ricki avoidance, since I'd heard it a million times on the jukebox when I worked at my Uncle's restaurant. Great song writers, great production. Short little diversions like Through with Buzz and Charlie Freak show how easily they could pop off catchy songs. Getting back to Ricki, the piano intro is borrowed from Horace Silver's "Song for my Father", and since IMO there isn't a track on this album that can stand up to that song, I can't give it a 5.

I was keen to hear this since I could stomach the radio hits I'd heard: Dance Little Sister & Sign your Name. I liked some of the more rhythmic/bluesier songs like the opening track & Seven More Days, but overall the production is too syrupy for me and the other songs remind me of bad 80s radio.

A very political album. I remember the title track well. It got a lot of play at CKCU back in the day and forced me to find out who Marcus Garvey was (not so easy before wikipedia). I find the production kinda muddy, even for the seventies, but it was better the second time round with the volume and sub-woofer turned UP.

What an album! Love the dirgey, bluesy ballads, the dense dark lyrics, the gospel singers, the occasional string arrangements and the head-on collisions with cacophonic guitars on the first disc. Over the years I’ve been an appreciator, but not necessarily a fan of Nick Cave. I'll be listening to this one a lot. I would have given it a 5 but Sue says it's a 4. More like a 9/10.

Coming right on the heels of Electric Warrior, this sounds like it could be part of the same album, though overall, the supporting songs aren't as strong. It would have been nice to be a UK resident in 72, when Telegram Slam & Metal Guru both hit #1 on the pop charts! I will never tire of listening to the title track.

I was running errands the first time I listened to this & thought it stunk - unfocused quasi psychedelic folk with sophomoric lyrics. But then I heard the third-last song, Wicked Annabella, & I thought that Spotify had moved me to a 90s playlist, so I decided to give it another try. I like the Village Green track - I'm sure I can hear a harpischord in there somewhere and the other tracks now fall into place, though at times they sound a bit like a jug band. It's hard to believe this came out 4 years after You Really Got Me! I appreciate the fact that Davies didn't sucumb to pressure to produce another hit and stuck to the obscure.

Similar energy & anger to NWA. Timely to come out in the same year as the Rodney King beating, because he (ice Cube) would have probably been rapping about police brutality anyway. I like the hit (It was a Good day). The songs that consist of tape loops of interviews could have been shorter or eliminated IMO. That was the good thing about vinyl. there was no room for filler.

The problem that 2nd (&3rd & 4th) generation hard rock bands are faced with, from my POV, is that by the time they hit the scene, Jimmy & Richie & Tony had taken all the good riffs. These guys have salvaged some passable riffs, the vocalist is good, I like the funky twists, but my anti-commercial radio radar went off way too many times, esp. on songs like "I Want to Know." And the first thirty seconds of "Open Letter" is cringeworthy. I don't usually like covers, but I DO like the cover of "Memories Can't Wait", or I should say I liked the first half: it transforms the song into a party anthem, which it is in a weird kinda way, but then they take two minutes to wind it down. Sheesh.

At first, I thought it was a Feist album, maybe I'd mis-remembered her name. Then I noticed that the first 12 minute song (described as a "drone-based instrumental") was called Krautrock and realized it wasn't our great Canadian folk-chick. I'd give it a higher mark if they stuck to their drone-based roots without the frequent forays into industrial noises, distortion, and cricket chirps. And the grating guitar solo in "A bit of a pain" is way more than a "bit" of a pain.

With this album, TH started to separate themselves from the other "New Wave" bands. The Eno production was quite different from their earlier efforts, I Zimbra gives us a glimpse of the direction they were heading & the guitar licks on songs like Mind & Drugs where unlike anything I'd heard at that time - almost percussive. The lyics were amusing as always. All songs are not 5/5 but the great ones carry the rest.

It's hard for me to judge this album, because I never liked Aerosmith (to correct that, I liked a few of their songs, but I didn't like the people who liked them) and I accidently watched 30 seconds of American Idol with Steve Tyler once. That said, this is better than I was expecting. It's like their "exile on main street", with a raw sound and some interesting starts to songs (that don't stay interesting for too long ). "Young Lust" is a great start. Still the lyrics are cliches and that's a theme throughout, for example, "Don't get Mad, get Even", and I can just see Steve getting the crowd to sing along! A solid 5 on the 10-point scale, rounded down for the Steve Tyler@70 images that are now stuck in my brain for the foreseeable future.

Nice vibe, good production and samples. Played it back to back with my favourite Public Enemy album and it was more listenable. Lauded for it's lyricism but I couldn't tell.

The singer sounds a lot Dylan. The arrangements are good and while I like a few of the songs, The Wolf of Velvet Fortune, and Magic Hollow, for example, overall the song-writing doesn't grab me. I can't put my finger on it, they seem to be written in a more traditional format.

Wow he's not too subtle in the first song, it sounds ripe for a Lynrd Skynrd rebuttle. I like the idea that he's singing about issues in the deep south and political issues in the US in general and has devoted a full album to it. He's got alot of songs in him and it seems like he could go on all day, but he's limited by his delivery - especially on this album - which is why I guess others have taken his songs and had success with them.

With melodic, bright tunes and the usual anxiety ridden lyrics, TH sounded quite different from their “punk” contemporaries, the Ramones & Clash, for example. I always felt Psycho-killer sounded out of place, musically and lyrically, on this album, or any TH album, for that matter, but you can’t begrudge them for recording a hit & signature tune. I had decided in advance that I’d give the first 4 TH albums a 5, but after re-listening to 77, I waivered. Then I listened again this morning and decided that with songs like “New Feeling” and “Don’t worry about the government” and especially “No Compassion” I’m back to 5.

It's hard to believe that in a few short years I went from hunting down all Steeleye Dan albums to being unaware that Donald Fagen had put out a solo album. I guess my musical landscape had changed & artists like the Talking Heads & The B52s were occupying my time. This sounds like a more pop-oriented Steeleye Dan, as could be expected since the producer and many musicians are the same, save Walter Becker. The arrangements are similar but with less edge, and the lyrics don't seem as clever, though I didn't do a deep dive. It's like Steeleye Dan lite. The Ruby Baby cover is a low point, IMO.

I like the punchy rhythm tracks, catchy bass-lines, backing vocals & and snippets of sax and guitar. They’re the kind of band that, if you hear them in a bar, you bob your head and say “wow this is great”, but it’s hard to maintain for a full album. Now that I’m a rap aficionado (thanks to 1001 Albums) I can say that the white boy rapping is not one of the high points of the album. They should have had guest appearances by someone like Nas or Ice Cube or at least dropped some explicit lyrics. I would have liked one or two more instrumentals like Chicken Shake.

A bit surprised to see these guys. I have them on a few Samba collections - the curators usually throw them in as a quirky last track. They are interesting from a political perspective. The music, like our recent krautrock offerings, is eclectic, and the mood can shift suddenly in th emiddle of a song, but these guys are more melodic, playful and listenable.

Adam tried to start a new music trend with his make-up and burundi drums and it's certainly the kind of thing the Brits would be all-in for in the 80s. Some of the tracks are catchy, but it's more style over substance.

So, Sue & I used to watch the show "Spectacle Elvis Costello with:" He had great (aging) guests who would sing a song or two, they’d do a duet, then the part that we’d have to brace ourselves for was Elvis’ two solo songs of the night. In one of them we knew he’d use his “rock n’ roll voice”, which was well past it’s prime. He seems past his prime here too. For comparison purposes, I went back to his sixth album, Imperial Bedroom (1982), which had a similar vibe & I remember liking. The overall sound on this release is comparatively raw, notalways bad but not a good thing here since the song-writing isn’t as strong and his voice is stretched in places. The 1982 production was lush and creative. Compared to Imperial Bedroom, this sounds like a demo tape. He’s still a great lyricist though and after 3 listens there's a few songs I'll playlist.

I stopped following these guys in ’80 when they moved to more of a soft rock style with songs like “I still haven't found what I'm looking for”. Many of the tracks on Achtung have promising opening guitar riffs and I like the Edge’s playing throughout but songs like “One” and “Mysterious Ways” sound formula to me.

I’ve not heard this album before and I’m not a Rod Stewart fan. This combined with the lyrics of the first song were guaranteeing a low score, but then Maggie Bell’s vocals kicked in near the end and saved the day. I hear he’s also re-written the lyrics. I like the rambling, rootsie, guitar-jam, gospel-feel to the album, especially the slide & violin. Fortunately, only a few tracks are credited to Rod. The last two songs are great covers. I couldn’t bear to listen to Maggie May one more time but the acoustic intro on the album version is nice.

I was excited to see this, since I recognized a couple of the songs from a Sandy Denny collection I have. I prefer the traditional English songs over the American folk songs – though I liked “Percy’s Song” & felt “The Sailor’s Song” was about six minutes too long. I would give it a higher mark but the clash between the two styles was jarring. It sounded like two bands on two different albums. IMO Sandy Denny has possibly the best voice I’ve heard so far on 1001.

Frank sure knows how to crank out the songs! After the first two, I didn't know if I was going to be able to handle it, but then he started mixing things up, with a few that reminded me of the Pixies hits and I enjoyed. I like his song-writing, he keeps things within a defined parameter but the songs are catchy and diverse enough to make it interesting. He modifies his singing style too, so you can listen to him for 22 songs. I couldn't find my Monkey Gone to Heaven but this will get better with repeated listening.

Whew! Swampy, repetitive, hard to listen to at times but relentless and uncompromising. “Dirty Shirt Rock n’ Roll” They reminded me a bit of Cramps, but then I listened to the Cramps and decided, no, they’re in a class of their own. You have to like the dogs barking at the end of Chicken Dog. It's amazing what you can like if jou forced to listen to.it.

Quite a change-up after Jon Spencer! I think I actually borrowed this CD from the Toronto Public Library back in the 90s. So many classic tracks here. A cast of thousands in the studio. Some nice jazzy bits. I think if you put all the outstanding tracks together, that CD would be a 5. Some of the others are heading in the direction of “I just called to say I love you”

A fairly eclectic mix. They have a knack for writing catchy songs with sing-a-long choruses. The singles (that didn’t do well) were the best ones, IMO. They were channeling Mott the Hoople, on Something 4 the Weekend, I thought. I’m also catching a bit of Aladdinsane-era Bowie &T-rex but with a muddier production and raunchy guitar. Nice strings on If You Don’t Want Me to Destroy You. Their furture releases were more radio-friendly, but from what I've heard, I prefer this album.

Very eclectic. The critics describe it best. A "kaleidoscopic blend of pop, prog, punk, psych, and electronica" and "thematically eccentric" I likedthe delving into electronica, as suprising as it was. "A touch sensitive" sounds like it could be Portisehead while" Juxtaposed with you" and "Presidential suite" sound like early 80s Elvis C.

Of course, I could listen to Passenger all day long. Iggy has a great rock n' roll/punk voice - very distinctive. This sounds a bit like a garage-y Bowie album, as it should since he wrote or co-wrote most of the songs. Interestingly the only one he or Iggy didn't write was Passenger.

I've never been a fan of the Beasties because of their shout-rap, their gaudy party anthems and the fact that white boy DJs at CKCU, who would never think of playing rap, played Licensed to Ill to death. I was therefore pleasantly surprised by this LP, especially the highly entertaining sampling/production. It sounded like it couldn’t be the same guys, and it wasn’t - it was the Dust Brothers. And they still shout.

Another solid album from these guys. John Fogerty was quite prolific. Love the rootsy bayou sound and it's funny that they're from San Fran.

With the degree of sameness is the songs, this sounds more like a solo effort than a band, which is more-or-less true. As Sue says "it was definitely better the second time around, though I'm not dying to hear it a third time"

Wow, this was nowhere near as bad as I was expecting! I think I’ve avoided IM because of their album covers, and by the time they came out in ’80, metal was so in my rearview mirror. After listening, over the last few weeks, to quite a few talented singer-songwriters with hopeless voices, it’s good to hear Di'Anno’s raspy voice. The guitar riffs are cliched, but the songs have energy and the 2 proggy-balads are nice. I can see the youths going crazy for this. A solid 5 out of 10.

Sue says her baby-sitter used to play this record for her. It's hard to just listen to it, without factoring in who the band members were, what they went on to become, and the influence this music had on the stuff that followed. It's at the crossroads of blues rock, psychedelic rock and hard rock. Letting Ginger Baker sing wasn't the greatest idea the ever had.

Since so many say this is the greatest album of all time, it's tough to give it anything but a 5. Great production, orchestration and album art. IMO 3 or 4 songs are a bit "meh", 2 too many for a 5 from me.

I first became interested in Mingus when I heard that Joni Mitchell dedicated an album to him. Coincidentally I've been listening to some of his stuff over the last month, especially the album, Ah Um. I would give most of them high marks, but not this. I'm not a fan of free form jazz, especialy with a larger ensemble.

My comments are similar to those I made for James Taylor. This is a bit soft for me. The lyrics are personal, and too literal, especially in songs like Run that Body Down, which sounds like a self-help anthem. There’s no edge, no mystery. And when he shifts gears into something a bit more bluesy or jazzy, like James Taylor, it sounds contrived. It was good to hear Mother & Child Reunion again.

Catchy, sample-worthy synth riffs, cool vocals & seedy, chuckle-worthy lyrics. I didn't own this album but I remember playing a cassette of Sex Dwarf to death in University. Side 2 (of the vinyl release) is really pumpin'. I'm saving it to my WahooKickr playlist. Quite a debut!

The Sweat Leaf riff is a good start if you wanna get college radio play. The noise rock is a bit hit & miss. I liked “the O-Men”. “Hay” not so much. It seems to me that their only contribution to the Phloen Phromdaen song was turning it into toilet humour. I would give this a higher mark, if not for “22 going on 23.” While I think it’s at times unfair to look at lyrics through a 2020 lens, building a song around (and mocking) a woman’s recounting to a radio host of how her rape gives her nightmares was surely over the top even way back in 1987. It’s too bad because the song itself is well-realized, so dark and heavy, and since so many US radio talk shows are also dark and heavy, there should have been no shortage of other material (though it might not shock and disgust to the same extent).

Amazing this band of mostly Canadians could put out such an album of Americana, like CCR from SF playing bayou music. The sound is very intimate, though the production is a bit muddy for me - their release the following year is much more crisp. Roger Waters says "the second most influential album after Sgt Peppers". I'm sure I'll be a better judge after multiple listens or at least after I listen to the Basement Tapes. I don't mean to be unpatriotic but I think Levon Helm could do more singing.

So, if I was to compare this to our other 1970 folkie of the week, Paul Simon, I would say these songs seem much more genuine and when Cat tries to change pace or bend the genre a bit he’s totally within himself. So, I guess this is what all the girls listed to when their boyfriends played Led Zeppelin.

Moody, good songwriting & lyrics, nice voice. I owned a compilation she put out a few years after this that included a bunch of these songs. Pleasant enough. I prefer the slightly more produced pieces like Stars all Seem to Weep.

They throw lots of different genres at you early : synth-pop, speed-punk, a waltz(!) Some catchy tunes. A few weeks ago Spotify sent me their song, To the End, which is nice. The lead singer songs like a cross between John Lydon & Mark Almond.

In listening to this for the first time in nearly 40 years my observations are 1) Jim Kerr's voice is just sooo smoooth, nothing like their first few albums, it's like he hired Mel Torme or Brian Ferry as a vocal coach 2) the band lays down beautiful textures and is happy to stay in the background and let Kerr sing 3) There are so many pop hooks and pop songs in general (!) - it's like they are shooting for that massive hit that would be heard in grocery stores and bus stations for decades to come, but that was still a year or two away. Sue says their prior album was better, which I can't disagree with, and smoe fans would have been disappointed by the less-edgy sound of this album. Before I gave it too high a mark I wanted to make sure the lyrics weren't fluff so I looked up King is White and in the Crowd - it's about the assassination of Anwar Sadat. Good enough for me.

It would be hard for me to give anything but a 5 to the original material put out by Bowie between 72 & 77. I didn't like this so much when I first heard it back in the day, but I started listening to it again in the last year. The title track and erie ballads really stand out with the crazy piano playing. The glam rockers sound greasy & unpolished compared to those on Ziggy but the fact that he was listening to alot of the Stones when he was writing these songs could explain that - they have an Exile on Main Street feel. I'm disappointed that such a prolific writer would do a top 40 cover, but that's only one song, and it's a pretty good cover.

Good beats and production and she's entertaining to listen to. Clever lyrics throughout. Bringing in other rappers and Beyonce was a good idea. I can always listen to "Work It" one more time.

I think I commented when reviewing their French cousins, Daftpunk, that the LP format wasn’t good for electronic dance music, but Justice do a better job of mixing it up, plus the LP is only 48 minutes, and it’s not really dance music, at least it wouldn’t get me rushing to the dance floor. The production is great. I like the chunky fat bass synth riffs and the way they swing from an anthem rock feel to disco and back again. It was a good idea to bring in vocalists, I just wasn't so enamored with the ones they brought in.

I didn't mind a couple of the more uptempo tunes but otherwise, this is very very ballad-driven synth pop, not my cup of tea, which is too bad because I think the song-writing is okay and I like Neil Tennant's voice. After this, I went back to listen to "Let's Make Lots of Money".

The original LP wasn'ta very good value, at just a bit over 30 minutes and one of the songs played twice! So based on that I'll review this deluxe version but score the original. The fact this was recorded in a prison adds so much. The songs are more poignant, the audience reaction to the lyrics is great, plus there's all of the off-color banter, whether you like it or not. e.g. "you should know better than bending over in a place like this". I liked the supporting acts, though I could have done without June Carter's monologue. Needless to say the editing between songs could have been better but it adds to the authenticity. Johnny sounds a bit cranky. I'm surprised at the amount of complaining about his life that he does, considering his audience is going back to their prison cells after the show.

I had the remix of Heads Will Roll on high rotation in my car and spinning classes back in the day. I was pleasantly surprised to hear so many other catchy songs on this album. I like the combination of synths and guitars throughout and the way the songs build in intensity. Dull Life really rocks. The singer reminds me a bit of Emily Haines of Metric. Good song-writing overall - they stay with you pretty qucikly.

I've always liked songs where you have to listen right to the end to find out who gets shot. Robbins has a nice voice, the harmonies are silky and some of the songs are real classics. It's hard to believe I was already born by the time El Paso was released. It seems ancient.

I had overlooked these guys when they first came out (maybe their records never made it to Sudbury?) and Julian Cope didn’t really catch my attention later – he reminded me of Morrisey at that point. Too bad because I would have been all over this album in 1980. The songs are very driving & melodic, I like the sequence of six tracks that begins with Treason, and the intermittent brass section is cool and not something you hear much in a post-punk band. I could see myself dancing to Second Head, which sounds like it could be a Stranglers song. Top Drawer Stuff 9/10

They sure have a lot of superstars on this album. I like the way the ample rhythm section carves out spaces for the horns to solo, so they’re not soloing over top of each other, which is the problem I had with the recent Mingus album. I love the percussive nature of the rhythm guitar and keyboards. Miles plays aggressively at times, more so than I’ve heard before. While it’s great that it’s so improvised, with little rehearsal and only impromptu guidance from Miles, the fact that it was over-edited seems to defeat the purpose. I didn’t like this when I sampled it back in the day but after three listens in 24 hours I’m a fan.

I think if you drill down through the muddy production, the song-writing is actually pretty good. The riffs are solid, the music is driving and relentless, and while there’s very little variation in the 8, or 9, or 10-minute pieces, save for a sax solo, they don’t seem too long. The poetry and outer space build ups are amusing. It’s easy to see why these guys have garnered such a cult following.

Moody. Lush production and not as sparse as our last offering, Seventeen Seconds, which you'd expect since there was almost a decade in between them. The songs are more layered and the two keyboard players are a plus. The "hits" and title track are a bit more driving but the gloom never goes away.

2017!! This must be a very recent 1001 update. Spotify has been sending me Thundercat stuff for a while. Lots of big names supporting him on this one. It gets off to a quirky start with <Captain Stupido> and I like the retro keyboards on <Them Changes> but otherwise, it’s a little too mellow R&B for me. Nice background music.

So, knowing the Cocteau twins had 2 albums on the 1001 list, I listened to both of them in the last few weeks. This one is more “accessible”. Elizabeth Frazer is a talented, diverse vocalist, especially when she doesn’t sing words. There’s lots of multiple vocal overdubbing and harmonies going on, (the title track sounds like Abba). I’m not sure how they handled that live. Anyway, I preferred their 84 release which was more cutting edge so I won’t give this too high a score.

Apparently, there are 17 Neil Young appearances on 1001, including CSNY & Buffalo Springfield - more than any other artist. So therefore, with a number of #4s & #5s on the horizon, I’m going to give this one a #3. Crazy Horse rocks as always. I like the way they seem to be playing for themselves - I can't see them doing multiple takes to get it just right. I love the two guitars no keyboards, but some of the compositions aren't Neil's strongest and his voice is strained at times.

I think if this would have been released in 1977 it would have been more into it, but a commercial pop-punk mid-nineties revival isn’t my thing, even though the songs are catchy enough and have sold millions, the opening guitar riffs grab your attention, and as a rule whenever one of their songs came on indie 88, it was recognizable and usually better than the one before it. The overall sound is too commercial for me & the lyrics are pretty bad - about boredom and anger and not enough humor. “Do you have the time to listen to me whine?” Not really.

Commercial radio is chock full of artists like this and that’s why I don’t listen to it. Happily, I haven’t heard of Robbie until now. I’m pleased that despite the global success of this LP, it never charted in Canada or the US.

If you look at what else was released around that time, this album and Disreali Gears really ushered in Hard Rock. This has so many hits for a debut album, even more impressive when you consider they were almost all penned by Jimi! Of the others I prefer the bluesier, R&B-ish tarcks and not so much the more psychedelic ones. I know Jimi didn't like his voice but I think he's underrated as a singer and a lyricist.

This is clearly a band built around the singer, David McComb. He has has an interesting voice, a bit like Lloyd Cole on the mellower songs and like fellow-Aussie Nick Cave when he gets wound up. The melodies do grow on you, but overall, the song-writing isn't that strong and the arrangements are pretty straight forward.

This album has a great sound, a real nice blend of R&B and hip-hop and I can listen to her voice all day long. I owned the CD when it came out but had forgotten about great songs like Forgive Them Father and Lost Ones. After listening to this and a bunch of hip-hop albums over the last 120 days, I am perplexed that so many include "interludes" - 1 or 2 minute conversations recorded in a living room or studio. I just don't get it. 80-minute CDs are all ready 40 minutes too long IMO.

They were loved at CKCU and I even bought their 87 release so I could listen to Alex Chilton over and over. It’s good that at this time they were (slowly) getting away from a punk sound on this LP, since it was 1984. Androgynous is interesting and probably didn’t appeal to their core audience, but it’s a bit lame melodically and the lyrics lack wit, and if I put it on a list of piano ballads I know it’ll probably come in last. Black Diamond and Sixteen Blue are more melodic and lass grungy but I'm not so crazy about stuff like Gary’s Gotta Boner and How do you Say Goodnight to an Answering Machine.

Nice enough. The songs have a sixties feel at times. I prefer the sparse, mellower tracks. The horns were a nice addition to Re-instated. Michael Head is a better song-writer than singer.

If memory serves me correctly, this is one of those albums, like Starsailor by Tim Buckley, where a folk artist pays hommage to improvised jazz and the critics love it. In some songs Van's voice seems like a long, free-form saxophone solo. For me, his voice, in the absence of song structure or melody doesn't stand that well on its own. The instrumentation is great, especially the violin & bass. I liked The Way That Young Lovers Do, and wish it wasn't the shortest song on the album.

I like the funky uptempo tracks, especially the jazzy ones, but not the soul ballads. EW&F have more anthemic tracks than these.

Having never been a fan of PJ (or grunge), I have to say that this was better than I was expecting. Eddy Vedder's voice can grate on you after a while, but the song writing is good, as shown by the indie radio play they get, and there's even a decent guitar solo or two. As Sue says, they're ok if you don't have to listen to them for too long, which IMO, is true of many bands.

This is my least favorite Bowie album of the 70s. There are some great songs, especially Right, and not too many artists can say that James Brown “sampled” one of their songs, but the softer soulful numbers don’t do it for me and I never liked the title track. I would give it a 4 but the cover of Across the Universe is SO out of place, unlike the Stones cover on Aladdin Sane.

Quite the combination of funk & rock. It's very much a sixties sound while still being very different than other bands in the sixties. The "hits" are classics and I love the title track which I may have heard once in my life in the seventies. I would have given this a higher mark if not for the needlessly long and repetitive Sex Machine.

This album wasn’t good bang for the buck. Pleasuredome has a great start but runs about 6 minutes too long. Then you get the 2 hits on LP 1 with a cover of War. LP 2 starts with covers of Born to Run & San Jose!!! I was sure the album had finished and Spotify had started playing something else, but that couldn’t be right, because Spotify always plays something similar to what was playing, and a hard rock version of Born to Run was definitely not similar. Of the remaining tracks, I find the uptempo ones annoying and the ballads a bit more listenable.

I was unfamiliar with them except for Brimful of Asha. I like the overall sound but I think the singer’s voice is limiting, he tends to speak more than sing in ENGLISH. He seems to have a great voice when singing in Punjabi (?). The addition of Paula Frazer as vocalist on track 11 really enhanced the sound and, though I’m not a fan of covers, for the reasons stated yesterday by JohnyBGood, I liked the Beatles cover. If you were to compare these guys to Thievery Corporation who have a similar international style but who are far superior in many ways, TC wisely bring in guest vocalists to fill out their overall sound. TC are not on 1001, BTW, possibly because it’s an uphill battle for an American band playing this type of music to get recognition.

I don't like the constant changes of pace, especially on tracks like White Queen/March of the Black Queen. It's like listening to a musical. The transition of power chords smashing into piano ballady stuff topped up with heavily over-dubbed choir-like vocals into a folky sing-along song like Funny How Love (without a space in between) is schitzoprenic & over-indulgent. Any middle-of-the-pack prog band from 1974 would have handled those transitions with more grace. Their release from later that year, Sheer Heart Attack I’m a big fan of. Not this.

Dark, moody, desperate, disturbing, hopelessness in the lyrics. Ian Curtis had such a voice. Like Jim Morrison or Iggy but more forlorn. I love the bass and the interplay with guitar and keyboards and drums to create a driving electro-post-punk sound (that got brightened up for New Order) I was only a distant listener in the 80s, but became an enthusiast after watching the movie "Control" a decade ago. Classic.

I hadn’t realized that Louis Prima played trumpet. It was a nice addition, as was Keely Smith’s singing and Sam Butera’s sax. Without them Prima’s voice, which is strained in comparison to his (black) counterparts from that era, like big Joe Turner or Wynonie Harris, would have been hard to handle for 57 minutes. But there are some great dance floor tunes and it’s a catchy mix of jazz and rock n’ roll.

I didn't have time to give this more than a hurried listen. So assuming I'd like it more the second time around, I'll give it that mark. Short songs.

I like the raw, bluesy, punk-ish sound. I had “Dress” on high rotation back in the days of Napster, but the rest is new. A great debut album!

So, I’m wondering, with the zillions of Brazilian artists out there, how they make the decision which few to add to this list. Anyway, Regina has a beautiful voice and I like the variety of styles and arrangements. Spotify says this from ‘98 which I thought was odd, but it’s actually from ’78.

This is a quirky collection of songs. I enjoyed the ones with the female vocalists; moving the background vocals up front was very different and original; I didn’t like the constant changes of mood and tempo. This wasn’t in the original 1001 so it must be a recent addition.

Is it possible the only Elvis Costello albums I like are the ones that I owned? I don't think so. If I heard this in the mid-eighties, I wouldn't have bought it. I like "I Want You" and "Tokyo Storm Warning" but get tired of his voice quickly after that. I gave a 3 to "Brutal Youth" and I like this album a bit more, but I read the 1001 review and even they were lukewarm on it!?!?

I like the way, in many songs, he starts signing on the first note, without any preamble, like he doesn't care what the rest of (white) bands are doing in 1970, he's doing his own thing. There are some real classic tracks . I always thought Moondance would make a great jazz standard (maybe it is?). Nice horns and backing vocals.

For song titles, it's a five. "Night of the Thumpasorus Peoples" is my favourite. I remember seeing the NWA movie, and at parties, the DJs always played Parliament and Bootsy Collins. They had a major influence on everything funky that followed. I also like the science fiction schtick, which was popular in the 70s.

When Spotify finished this album, it jumped to Nick Drake, which I thought was appropriate, because it has the same feeling of sadness and down-and-outness. Nick is more whimsical and poetic while Lou is gritty, blunt and degrading. The arrangements and muddy production add to the feeling of gloom. Kudos for even attempting something like this.

Solid songwriting and I like his vulnerable, but not whiney, voice. The album starts with a handful of strong tracks but fades a bit. Very melancholic feel, but knowing he died young and led a miserable life could have contributed to that. Once again, Spotify sent me, to Nick Drake after the last song, which isn't a surprise.

This is a very different sounding album with a variety of eclectic styles. It would be hard to belive that songs like Onie, Sold to the Highest Bidder and the Toonerville Trolley could be wriitten by the same band, but in fact, they were wriiten by a song writing team that the band was forced to use. Nevertheless, it really stands out compared to alot the stuff that came out in 1967.

This is the first time I've listened to a full album by Elton John. The hits are great, especially Levon. Both Bernie & John had their A game for that one. As for the rest, I like the arrangements and the way that some songs do a long fadeout while the (talented) band jams but the songs didn't really catch my attention.

The first few songs were a bit of a strain (on my ears) due to his raw voice> he sounds like someone you'd hear on a Tuesday night in a local bar. The yodeling and harmonica playing in Muleskinner Blues was an improvement. I was curious about the fake duet with Woodie Guthrie so I did some research. It appears Jack is an influential figure in the making Woodie's material known to the "younger generation" and since Woodie isn't on the 1001 list....

This album has a "sixties anthems" feel to it. The glittering harmonies remind me of their Woodstock performance. It's a very different style and no one has sounded like that before or since. The fact that there are 4 songwriters guarantees variety. I really like the Neil Young contributions (and Joni's). The title track wanders a bit and "Almost Cut My Hair" shouldn't have made the cut, so to speak

What!!! No Temple of Love??? I guess that would have bee asking too much. Still there are some real Goth/Wave anthems like "This Corrosion" (especially), "Lucretia My Reflection" and "Dominion". It's monotonous and contrived, but I'm giving it an extra point due to the fact that one guy wrote the songs, sang lead and played every instrument. The choir was a nice touch too.

Volumes have been written about this album, it’s production and orchestration, the 60+ musicians, all the firsts. I’ve listened to it a couple of times over the last few years and I think I've watched more than one documentary that looked at the “making of”. I was never too crazy about the Beach Boys surf pop sound. It was a style that got discarded quickly as the 60s progressed and despite this lavish production, I'm still hearing that style, albeit a more sophisticated version of it.

Every song is a surprise: ballads & beats, strings, jigs, the sample from Cloudbursting that was such a hit for the Utah Saints, and the vocal manipulation at the end of "watching..." that was way ahead of its time. I remember seeing a documentary on this album that said Kate demanded 100% artistic control with zero interference from the record company. I'm glad she got it.

When they sent us Guided by Voices a couple of weeks ago I felt the songs were too short – they were catchy but ended just as they got going. These songs are short too, but most can’t end fast enough for me. There’s some humor in TV Party and Six Pack but it’s pretty juvenile.

It's hard to judge this without understanding the nuances of the language, since he's known for his wit and turn-of-phrase. When Scott Walker covered Jackie, you got a sense of how great a lyricist Brel was.

I’m not sure what it is, but you can tell these guys are American right from the start. The album has an Appalachian feel to it. Good song writing, nice vocals and harmonies and they have an interesting habit of changing direction mid-song, which is brave, since I’m sure the suits at the record companies don’t like surprises. It would have been nice if “Mykonos” made it onto this album, but I think that was released earlier in the same year.

So I noticed that this even pre-dates Fatboy Slim by a couple years. Like Daft Punk, they were very influential, and like DP, I think some of their later LPs that brought in different vocalists and experimented with different styles were more interesting.

Laura Nyro was a great song-writer and a lot of people did well from her songs, especially The Fifth Dimension, who would have been a one-hit wonder without her. As performer she had a good enough voice, but IMO it can be a bit shrill when she ramps it up. The album fades a bit & I think her interpretations of her own songs weren't as great as the interpretations of other great performers. I guess that's why there are so few great singer-songwriters out there. It's hard to be equally good at both.

It's so unusual to get an album from this era to review! Spotify pushed <oh baby> on me for a while but it sounded a bit too much like a bloated U2 anthem to me. Within the context of the other songs though, I like it. Their sound is a nice combination of layered dark EDM and post punk. They mix up the tempo and styles enough, the lyrics are clever and the singer changes his style enough to be bearable for a full album. Not all the songs clicked for me but, they would have been leftovers if this was a vinyl offering.

I avoided these guys when I was a yoot, but in retrospect, they're not so bad. They're more blues based than I remember, and I was less of a blues fan then. These days, with a dearth of guitar solos, it's nice to hear an album that has 20 guitar solos in 10 songs.

The album gets off to a promising start, with the raw, edgy sound of <The New Stone Age>. <Souvenir> has a catchy riff (it reminds me of a slow-dance version of Anola Gay). There’s a fair number of slow jams. Their Kraftwerk influence is, unfortunately, often accompanied by smaltzy singing and lyrics, as in < Maid of Orleans>. Lots of pop hits in Europe. I prefer the closing songs are less commercial.

I listened to this on cassette in my car when I was a teenager. I remember liking the lyrics, the funny turns of phrase, the obscure things he'd say to make something rhyme. I like them even more now, especially since they're Nobel Prize material. I find myself listening intensely to every song to find out how it’s going to end. So many songs about relationships that stopped and started again! Unlike much of the 70s folk music we’ve been sent, every song here seems to have its own personality. My co-judge says “Jack of Hearts” is her favourite, but I find the cast of characters hard to keep track of. “Idiot Wind” is mine. With Jacques Brel, I felt I was missing a lot by not speaking French. Today I’m happy to speak English.

This is not dissimilar to the last Kinks album we were sent, Village Green. I’d call it psychedelic folk; the experts call it acoustic baroque pop. Each have one or two standout tunes. I think the first two tracks on this LP are strong and Waterloo Sunset is nice as well. Ray Davies was a talented guy who reinvented his sound every few years.

A very elegant album. I had their first (US) release from ’84 and while I liked the acoustic & jazzy feel, I think they were smart to move to this down-tempo, D&B sound which as all the rage in 95. The singles are good, the lyrics are bleak and I like the cover. It fades a bit after Walking Wounded and after two listens, I would have given 3 stars, but somehow, I managed to listen to the opening 6 tracks a third time.

The album gets off to an epic start with the atmospheric intro and then the guitar lead-in to the second song. Overall the sound reminds me a bit of Joy Division - dark and muddy, like the production is an afterthought. The standout track for me is the last one, "Staircase", with its abundance of catchy guitar riffs, but based on Spotify listens, I'm the only one who thinks so. It wasn't even on the original vinyl release. 'Hong Kong' is clearly an attempt to get radio play, and I would have liked to been listening to UK radio in the era when it became a top ten hit.

I’ve always thought that many DJ/Producers were better DJs than producers. FBS definitely broke that rule on his next (1998) release, but we can talk about that later. This LP has a more stripped-down sound. The singles are energetic, the sampling is clever, the use of breaks keeps the momentum going. Back in the day this was pretty cutting edge.

I give them 3/3 after the first three songs. I like the soul influence and I can feel even a bit of ska with the horns. Speaking of the horns, they are a nice addition and define the sound, but the trombone is a bit dominant and they could use more higher end. Kevin Rowland's vocal range is limited, but that doesn't stop him from singing way outside of his wheelhouse, like the falsetto in Thankfully...

An album with one of the most ubiquitous songs of our generation and one of the most elegant & iconic performers. I was hoping the songs that I hadn't heard didn't turn out to be too sugary and they weren't. Socially conscious lyrics and beautifully understated delivery as always. The band and studio musicians provide a nice jazzy, soulful background and never get in the way. Quite a debut!

I still have a 2CD anthology of The Go Betweens in my collection. I bought it back in the 90s based on hearing (and liking) “Is there anything I could do” and “Streets of Your Town”. I didn’t listen to it much because, while the other tracks were nice enough, they were a bit bland.

On the plus side, I like the fact that he’s experimenting with different genres (from country to hip-hop), often in the same song; the Dust Brothers production combined with the dozen or so instruments he plays makes for a lot of things happening beneath the surface; the arrangements on “Where It’s At” are especially sophisticated; his guitar playing is good in-your-face at times, but usually subtle and innovative; I like the cover with the high-jumping Hungarian sheep dog. On the minus side, is Beck’s voice, which is not a singing voice, not such a big deal since he’s borderline rapping most of the time; the rap-phrasing limits the overall sound and probably limits the song-writing too; some of the more popular tracks sound like novelty songs.

This album is a little less rough around the edges than the San Quentin offering. I like the song selection, he mixes the tempo up nicely, and they all, in some way, seem suited for a prision audience. I especially like the Long Black Veil and Green Green Grass of Home, which I didn’t realize was a death row song. And of course, "Flushed from the Bathroom of your Heart" is a classic. June Carter didn’t seem to be having one of her best days.

The lo-fi sound and singer's voice make it pretty easy to dismiss but underneath the song-writing is good and it gets better with repeat listening. Some of the mellower, less played songs have a Lou Reed feel. I could do without the intermittent screaming.

This is lowest-common denominator rock. Very simple sing along-y choruses and lyrics. One cliché piled on top of another. At least Iron Maiden were smart enough to make the lyrics garbled & unintelligible. The guitar playing is good but this music was so in the rear-view mirror in 87.

The songs are well-written and the melodies are catchy. It’s a bit mellower than I was expecting. Peter Buck’s understated guitar playing is great. I would compare him to Johnny Marr of the Smiths but the Smiths debut would get a higher mark from me because Morrisey is a better (bitter?haha) singer. Michael Stype’s voice and cryptic lyrics make give the album a moodier feel.

It’s interesting getting this right after REM. Michael Stipe’s voice is mumbly and bland whereas Gano squeezes so much out of his, lots of highs and lows, fortissimos and pianissimos, and full of angst. It’s amazing that these three buskers could serve up such a variety of great songs and sounds with only minimal instrumentation. Not too many debut albums are better than this one.

Another one I used to play on cassette in my car not long after I got my drivers license. The Chain was and still is my favourite song, as was So Afraid on their prior album, so I guess that makes me a big Lindsey Buckingham fan. In listenIng to this LP now, his contribution was pretty significant, but it's the blending of the different vocalists and songwriters that make album. Gold Dust Woman and Dreams are classics, and the rest of the album is solid enough.

This is certainly a weird one. So avant-garde, with the eerie synthesizer noises and the penchant for ending songs with screeching orchestrations. I like the female vocalist. She reminds me of a more pleasant melodic version of Nico. Their record company was brave to release this, knowing it had zero commercial potential. I wanted to give it a 5, based on the first 8 songs (of the original 10-song LP), but my co-judge was far less impressed after I forced her to listen to it twice, to and from from dinner at The Drake last night.

I like the production and arrangements on this album better than their first. The horn section has a nice pop, the strings are great, especially in Celtic Soul Brothers and All in All, where the backup vocals too are amazing. I find the song-writing is on par with the first LP, but as a smash hit I’ll take Eileen over Geno any day.

Listening to this album I get a sense of the pressure on bands to produce a big hit single - as my co-judge says, she wanted to hear Immigrant Song, so she had to buy this album. After the hit, you get a deep dive into acoustic bluesy numbers that sound, at times, like demos. The band gets to indulge a bit, it’s good for the Zep aficionados, but for the rest of us, this pales in comparison to the LPs that came before and after.

Over many years many electronic artists have cited Tangerine Dream as an influence. On this LP I prefer the more ambient tracks to the process driven ones, but I guess the process/looping is what all the excitement was about. Definitely ahead of their times in 1974.

The 90s to me just seemed way too late to be starting a metal band, though I guess since they're from Seattle they were officially part of the grunge movement. The harmonies are a nice twist, it makes them sound a bit southern rock-ish, if that's your cup of tea.

Spotify has sent me "Holes" a few times in the last year & I had Goddess on the Highway on high rotation back in the day. The rest I hadn't heard. I'm impressed with the arrangements/orchestration and background vocalists. I like the blend of electronic and traditional instrumentation - and it seems like the members of The Band influenced the sound - although I'm sure mostly in my mind, since they only played on two tracks. The song-writing is great, The Funny Bird is epic, and I may have given a higher score with a stronger lead vocals.

If I were to compare the output of the Brit bands of the 90s to their cohort grunge bands from the US, this is less dark and more melodic. Overall, I'm not really into this sound and I feel bad for the kids who missed out on the first wave of it in the 70s and the second in the 80s. The compositions and delivery are top drawer and it's easy to see why they were so popular. Supersonic is an anthemic debut single, Live Forever is good to, Cigarettes & Alcohol is totally Bang-a-Gong, but I'm sure Rick Beato would explain away that one, and apparently T-Rex borrowed it from Chuck Berry.

You gotta feel sorry for these guys. They had that snappy, surfy early sixties sound that defined them and brought California to the world. Then the music scene changed and they tried to be more experimental and serious, but I think their original fans wanted to hear Surfin' US and other fans in the 70s, like me, refused to listen to this because it's the Beach Boys and are asking "what's the point?"

I read that the lead singer wanted to keep "Time of the Season" off the album and when he failed, refused to sing it, but eventually relented. It sounds like it could be from another album, or even another band. It's light and poppy, bass-heavy and modern, different than the moody, folkedelic songs on the rest of the album - songs about prisoner-boyfriends, World War 1 protest songs - they grow on you. 7/10

They've got an energetic raw sound, some catchy melodies and a lot of spirit. I would have liked to listen to them at higher volume, but my co-judge (who was driving) told me to turn that f%#?@!g mess down, because it was giving her a headache. She also pointed out that the lyrics were "lame", but I countered that that was only on the ballads, when you could actually make out what they were saying. I will give them the benefit of the doubt and round up.

The title track is a good one & I also like Express Yourself. Still, the overriding feel is that of a pop album and multi-platinum sales usually come with some pretty syrupy production, which makes the ballads quite unbearable. 5 guitarists? I can’t remember hearing any except for on Act of Contrition – I could have used more of that sound.

This gets off to a good start with the Grand Ole Opry Song. A lot of the tracks immediately following are well-worn standards and I'm not a fan of "covers" as I've said before. That said, I love the fiddle & harmonica laced version of Tennessee Stud. Letting Jimmy Martin sing lead on a bunch of songs was a good idea, he's got a twangy hurtin' country voice. Merle Travis is a bit light. It was certainly a historic occasion to revitalize the careers of these over-the-hill cowboy red-necks by throwing them in the same studio with a bunch of hippies from Long Beach. The jury’s out on the between-song banter. If it worked well everyone would be doing it.

I’ve been a fan of Man on the Moon, especially since seeing the Andy Kaufman movie, of the same name I think. Overall this is a darker sounding album – the strings contribute to the mood. It gets off to a good start with “Drive”. I guess “Everybody Hurts” was the big single but I don’t remember it.

You gotta like the energy and relentless screaming. The singer sounds like a female version of Johnny Rotten. The saxophone, though a bit squeaky at times, gives them a bit of a Bowie/glammish feel underneath the punk ranting. It definitely sets their sound apart from their contemporaries. The opening track is a classic and the next five or six really rock. They took their foot off the gas for the title track, which was disappointing.

So, Ray Charles still gets played a lot today because of the way he fused Jazz, Gospel & R&B. The LP What’d I Say, which came out in the same year as this, I would expect to see on the 1001 list (it isn’t). Instead you get covers of jazz-pop standards. They’re well delivered and I guess he won over members of the Frank Sinatra and Tony Bennett crowd but the modern musicians/stars who cite him as an influence aren’t doing so because of stuff like this. It appears the only other RC album put forth by 1001 (1st ed.) is Modern Sounds in Country and Western Music (?)

I remember listening to Pacific 202 and Cubik in the mix on Dave’s Dance music (CKLN) while we were unpacking & hanging pictures after moving to Toronto in 89. Compared to the so-called techno and acid-house that was all the rage (in the UK anyway) at that time, 808 State was more melodic. More songs verses tracks. The album gets off to a great start, but fades a bit at the end. The song Cubik was included on the North American release of this LP so I'll add 1 point for that banger.

Monk has such a recognizable style on the piano. He sounds clumsy, like he’s mis-hitting the keys. The songs seem to speed up and slow down – sometimes they actually do, as in the title track – but it’s more often the effect of his playing. He’s a great composer and many of his songs have become standards. This is an all-star line-up. I particularly like Sonny Rollins on tenor who is a good replacement for Monk’s go-to guy, Charlie Rouse, who’s timbre I never liked for some reason.

High marks for the 3 hits - the timeless Imagine & a couple better remembered for their cover versions. Some of the other tracks would have been more to my liking with some rough around the edges production, but I suppose we were heading into the soft rock seventies. A couple of others I could have done without, for example Oh Yoko and Crippled Inside.

I would have given this a lower score after only 2 listens, once in the car where my co-judge said it was “stinky” and once while making dinner where it got drowned out. The third time however, things seemed to come together. We can rely on Dusty for her breathy delivery. Her voice isn't fantastic but combined with her look, she just needed a few great songs to become a star. So in the end, it comes down to songwriting. Preacher Man is a classic and some of the others grow on you over time.

Half way through the intro I was thinkin’ (hopin?) this was some Trance DJ I had overlooked. I was not taken by There Goes the Fear/Pounding as the album’s big hits. M62 caught my attention – I read it was an adaptation of Moonchild from King Crimson’s first album. I re-listened to the original and I was impressed by how similar the feel and vocal effects were, but the melody was different, and of course there isn’t 9 minutes of piano plucking in this one. I like the way the songs change mood, especially when they get quite and sparse – it sounds less like a typical indie band.

I noticed that the opening track & lead single “Move Any Mountain” was not on the original UK release, which is great IMO because it sounds like Stereo MCs and I’m not a fan of thin, indie type vocals trying to sound high-energy over-top of dance music. I prefer the tracks with vocal effects vs singing. It adds cred that up and coming DJ producers of the era (Oakenfold, Orbital, 808 State) remixed a number of them. The series that starts with “Hyperreal Orbit” is good. The synths set the mood and I like the effects (though they’re dated now). I was going to give it a 4 but the last track was a re-rub of the first….

I've been listening to Gaz Coombes over the last couple of years, at the suggestion of Spotify. He was a lot more floor-on-the-floor back in this Supergrass days, but he was still a good songwriter and a good singer. The LP get's off to a kickin' start, especially with Richard III. A handful of catchy songs.

It's hard to believe that so many classics are on the same album, especially since he was putting out, like, 2 albums a year back in those days. This album has a bit more of a rock n' roll feel. I think I gave "Blood on the Tracks" which came out a decade later, a 5. Song for song, this album isn't as consistent, but there are still many brilliant songs, like "Maggie's Farm" and it's boogie-woogie twin "On the Road Again", Baby Blue, and of course the iconic hits...

I remember watching a hip-hop documentary a few years back and they highlighted Afrika Bambaataa’s “Planet Rock” which samples “Trans-Europe Express” quite liberally. (IMO it’s the only part of the song worth listening to). They went on to claim that this song, especially that sample, launched electro-boogie in the 90s. I remember saying to my co- judge that without Kraftwerk, no one would have heard of Afrika Bambaataa. Maybe an overstatement, but he was one of so many artists were influenced by the Kraftwerk sound. When I listen to “Hall of Mirrors” and “Showroom Dummies”, I can hear a lot of new wave/post punk bands like OMD and Simple Minds. That said, the title track runs on a bit. If you count all 3 parts, it's something like 13 minutes.

When I first heard this I was a bit disappointed - I guess I was expecting more aggressive and innovative synthesizers and effects that they had laid down on Dark Side and its predecessors - but I got over it.

We listened to this over breakfast at which point my co-judge offered her opinion that it was "stinky", and on second listen (with headphones) I agree that a few songs, especially the debut smash hit, "Holding Back the Years" are over-the-top stinky. But I liked the title track and though I usually hate covers, I thought their version of Heaven was transformative. He has a great voice and I like the fact that the theme of not having any money shows up in a number of songs. So 5/10 from me with rounding down due to the radio-ready production.

My co-judge called this Muzak, but she was eating breakfast at the time and it's easy for an unaccompanied piano concert to get lost in the background. I, on the other hand, thought it (esp. Part I) was brilliant. He changes moods effortlessly, with lots bit of improvisation. I appreciate that it's difficult for one instrument to hold the audience's attention for a 1 hour + concert - not to mention he was playing on a busted piano! It's hilarious how long they wait to clap after each piece - it ain't over 'til it's over.

I suppose that if you were 14 years old and missed the first wave of metal and punk was more your older brother's type of music, you could call this your own. But I have serious reservations about any non-teenagers still listening to, or admitting to listening to, this. I see that, of the 1001 albums it's got the #994 spot all locked up.

I enjoyed the instructional parts of the tracks and I appreciate that Ravi influenced a bunch of influential hippies who, in turn, influenced artists through the decades, all the way up to Cornershop and Thievery Corporation. That said, these (shorter-than-average) ragas are a bit long for me. The improvisation needs a bit more of a framework, like Keith Jarrett's, for example.

A tough call. Comparing it to our first 2 Dylan LPs, which I gave 5s, Blood on the Tracks and Bringing it All Back Home, I don't think the second tier tracks are as strong on this album, and the phrasing is a bit repetitive. Ballad of a Thin Man has always been a favourite and I like the title track, which I can't remember from back in the day. Desolation Row, while still a classic, is about 5 minutes too long.

I've always had a bee in my bonnet about this album. I had purchased and played to death their 1969 debut album, but whenever I've read AB reviews, that album is always considered an hors d'eurves for this one, which I had heard and didn't like as much, due to the jams that take up entire album sides, which I guess was the thing to do in 1971. So listening again, more closely 50 years later, the blues covers are great, the guitar playing is great and Duane Allman has got one of the best blues growls of all time. I deduct points because they were good song-writers and there's not much original material here, since half the tracks are covers, and while I like the originals, the 2 signature tunes showed up on their LPs a year or two earlier and I didn't need a 23 minute version of Whipping Post.

First time through, I was listening in the background and the falsetto vocals were a bit off-putting. Next time around I appreciated the nice melodies and eclectic arrangements. And the guitar that sounds like Edge at the end of “We Still Got the Taste Dancing on our Tongues”. And the gritty, down-and-out lyrics. You have to admire a band that really strives to sound different. I have some of their recent material, with more aggressive chunky beats. Those tracks obviously did a better job of catching my attention than these nuggets.

The riffs are okay and the singer has a great voice, which is important in my books, especially when your lyrics are "anti" and angry. The cover art is brave and kudos to the later songs where they change it up a bit - like intro to The Intense Humming of Evil. The issue I have is that I don't know why this album - released in 1994 - would be anything special and worthy of being on this list.

I got the itunes LP that followed this, Lemonade, after a zillion critics said it was the best release of the year, but it didn't really hold my attention. This one I like. The production is complex and captures many different moods. They get quite experimental at times with samples and some nice dark synthy bits. Beyonce has a velvety voice, the guest singers and rappers spice things up nicely, but she is still the center piece. The lyrics are mature and personal (sex with hubby, for example). Compared to the recent 1001 offer by that other female pop icon whose albums we don't buy (Madonna) I think Beyonce's release is deeper, more rounded and a greater accomplishment (even if you leave out the short films that apparently come with every song).

I could only listen to this once, on the drive back from Ottawa, so there was white noise to deal with. "Hillbilly highway" had to compete with Highway 401. Nice twang and not over-produced. Lyrics about hard-times. My co-judge says there's not much to differentiate the songs.

Such cliched lyrics, such over-the-top guitar playing, and that voice I so despise - actually more the singer than the voice. I really don’t like them but I would have been very surprised if these anthems didn’t make it onto the 1001 list.

They sound like a bunch of different bands to me: a bit of country a bit of folk, some psychedelic rock. They like to change up the vocalists a bit, some are more talented than others. I recognize a couple of songs: 8:05 has a nice whimsical 60s feel. Omaha really rocks. I must know it from one of those 60s shows on CKCU. Hey Grandma, Changes and some of the sub 2-minute songs I could do without.

I guess they were more known (in the early days) for the throbbing industrial numbers like Requiem, but I prefer the more "up-tempo" tracks. The scratchy guitar and rhythm section are a bit Gang of 4-ish, especially in “Complications”. It sounds like Simple Minds had heard “BloodSport” when they wrote “Love Song”. Quite a leap from this to “Love Like Blood”.

I hadn’t heard this before, except for ‘Way over Yonder in a Minor Key” which me and my co-judge remembered fondly from the early days of Spotify. The album reminds me a bit of The Band. I like the overall sound and material. One of the things that struck me on first listen was that the Billy Bragg sounded different to the Wilco songs, beyond the vocals, in contrast to The Band, for example, who, when Levon Helm came to the mic, still sounded like The Band. It turns out that Billy’s and Wilco’s songs were mixed separately. Also, I think that Jeff Tweedy’s voice could a be little gritty-er and twangy-er for these Woody Guthrie songs.

I like 3 songs on this LP: “Superstition” (of course); “Maybe your Baby” for its super fat funky keyboards and background vocals (all Stevie); Big Brother with it's almost bluegrass feel and protest lyrics. The ballads, on the other hand, are hard to stomach, but since it is Stevie (and he plays drums to boot), I’ll give it a passing grade.

There's quite a mix of moods on this LP. The bluesy feel of Roadhouse, Maggie M’Gill, the funky protest Peace Frog, up against ballads and more run of the mill, 60s Doors songs. I think their following album was more consistent, but it doesn’t have the line "woke up this morning and got myself a beer". Could this sound be a little over the hill for its time? Spotify seemed to be implying that when it queued up The Stooges "Be your Dog" after this LP finished - something that came out a year earlier in 69!!!

A terrific debut album. I can imagine buying it and dropping the needle to Break on Through. What a start! I like the way Ray and Robbie lay down the foundation for Jim’s rants. There are some real classics here and the supporting tracks like End of the Night and Crystal ship are great ballads. And it’s something that they covered Kurt Weill and Willie Dixon songs on the same album! I’m not a fan of 20th Century Fox and the keyboard solo in Light My Fire goes on a bit...

I know this gets credited as being one of the first punk albums, but it's pretty hard to listen to. Sloppy, bad production, and the song endings go on forever. There's good attitude and some decent songs underneath it all but as my co-judge deftly pointed out, the fact that it's a live recording makes it sound even more like noise.

I was going to give this a 4 or 5 based on my memory of songs like the epic title track and Halleluiah. Buckley had an angelic voice and was a great song-writer. The album has a real classic feel to it. In a rare move my co-judge offered, unsolicited, that I should "give this one a 5" so my mind was made up.

I like the acoustic vs electric set format, especially when applied to the bookends. I love the nod to punk and the punky feel of songs, especially Sedan Delivery, like he’s saying, I’ve been playing this stuff all along and don’t plan to slow down. I love his idea of capturing these songs live without overdubs and remixes and studio BS. I think Powederfinger is my favourite Neil Young song. I can never listen to it just once. Such heavy lyrics.

I didn’t give this much of listen due to time. I like the more rhythmic, call and response sections with guitar, less so the poppy pieces, where it sounds like he borrowed George Michaels’ electric piano player. I’ve probably listened with regularity to only about a dozen African artists. they would get higher score than Koffi.

I remember reading somewhere a long time ago that this was a “heroin-fueled” album, which I interpreted as meaning the drugs enabled them to hit a creative Zenith. Stuff I have read or watched since says the main effect of the heroin was that the recording sessions took longer because Keith Richards kept falling asleep. I keep thinking of them half-asleep or high, playing this sloppy mess of rock n’ roll, blues, gospel, country and soul. There is some great piano-playing throughout and (go-figure) Mick is a pretty hot harmonica player. If I were the cherry-pick my 10 favorite songs (I would include the blues covers) it would be quite an album.

The title track is epic early synth-pop and I thank 1001 for bringing back that memory. The next two tracks caught my attention too, Despair at first with its haunting intro, the again with the clumbsy singing in French. I like the song-writing and arrangements enough to give this a higher mark but I find David Sylvian's voice wears on you after a half-dozen songs.

I think the vast majority of people who know Bauhaus are really only familiar with "Bela Lugosi's Dead". But since that single never made it onto an album, 1001 serves up this LP to pay hommage to these pioneers of Goth. I like Passions of Lovers but which reminds me of Joy Division, the next track is edgy and reminds me of the aforementioned Bela, but the rest...

The first time through I found this a little “raw” for my tastes, but on second listen it seems like I may have been overly influenced by the songs “Your Pretty Face is Going to Hell” and “Death Trip”. In looking for the missing link between rock n’ roll and punk, I would put the Stooges at the top of the list. I like the guitar and Iggy’s voice seems to change with every song, like his vocal chords were damaged from the previous recording. Raw Rower lives up to its name.

I had this album back when I was a teenager and I figured when it came up on 1001 I would give it only a 4 because I had grown weary of Smoke on the Water and Space Trucking, and the lyrics are a bit lame. However, there’s something about the instrumental passages, the way they’re structured and the interplay between the organ and the guitar that is sublime, especially on a track like Lazy, which seems like a cross between the Allman Brothers and Phantom of the Opera, And Richie Blackmore's guitar solos are so melodic and memorable. And you know (unlike many of the metal guitarists of the 80s and 90s) he’s not propping his guitar up vertically on his knee when he’s playing them. It’s a 5 for me.

The combination of Andy McKay on sax and Brian Eno on synthesizers gave them a different sound than most of the other bands kicking around at the time. Do the Strand and Editions of You are classics, and I remember them from back in the day. In Every Dream Home a Heart Ache is dark and eclectic, but I especially like the last 3 minutes of For Your Pleasure which gets quite experimental yet melodic.

It's been a few decades since I've heard the title track and in listening to it on headphones it really blew me away in terms of the harmonies and instrumentation, the harpsichord especially. I guess I missed those things on our transistor radio back in the day. The other radio hits bring back memories too, even my mom used to hum Feeling Groovy. The instrumentation and arrangements on the supporting tracks are creative and different enough to shift the mood from song to song. Patterns is a good one.

I’m surprised that none of the half dozen or so songs that I associate with Depeche Mode have shown up on this album. I love the lead off track plus some of the ambient instrumentals that end the album like Pimpf and the remixes tacked on after are punchier and less dated than the rest of the material. The rest I find kind of gloomy and plodding. The vocalist doesn't really have a good voice for that type of music, they should have borrowed Peter Murphy from Bauhaus. I’ll round my score up based on Never Let Me Down Again.

It's interesting that this novelty album would make it onto this list because the drum break (s) got sampled so much. I first heard Apache on a Fatboy Slim DJ in the 90s. I subsequently Napstered it and used it for spinning classes. The rest of the LP I’m luke warm about – it’s okay to throw on in the background when you have guests over. The version of In-a-godda-divida is catchy and quite bearable compared to the original.

When FBS spun the first 2 tracks of this LP at the Olympic Games closing ceremony in London, I got a better idea of how popular and influential he was/is. His ability to construct catchy, surfy tracks using obscure samples is amazing. He still enjoys assaulting your ears a little too much with noise and repetition for my liking, otherwise it would be a 5 for me – that and the fact that the original of Praise You is superior to his bland remix. My CD had the record library cover but I love this original (UK) album cover from the fat people’s festival – the cigarette is a nice touch!

So I guess that the 1001 execs decide there's 30 or 40 genres (like grunge, for example) that should be addressed in their selections, and then present us with the best releases from those genres. Of course, if you're not a fan of the genre, like grunge for example, you question what exactly it is that makes this band worthy of being on the list. This was the question I was asking after 4 songs when I abandoned. But when I returned and listened to the 2nd half of the CD, which is a bit more acoustic and varied. It could have been worse. Still...

This is quite a mish-mash of blues, soul and psychedelic rock. It’s like Jimi’s "Exile on Main Street." Some of it would be hard to identify as Hendrix, although the crazy (and varied) guitar work running throughout the album would be a clue. I could see a guitar player going crazy over this. I remember Rolling Stone voting All Along the Watchtower as the best cover of all time. It’s 4-movement guitar solo that lasts only 1 minute has always been a favourite of mine. Cross-town Traffic and the Slight Return version of Voodoo Child are great too. I'm leaning towards a 4 but I gave his debut album a 4 and this one is less consistent.

She has a beautiful voice and an interesting style to introduce to American audiences in 1960. I was hoping to hear more rhythmic songs, like Pata Pata, which is one of the few of her songs I know, vs acapella or novelty numbers.

I had heard this album a few times and, though I was a fan of parts 1 & 4, I found part 3, with its squonky bits and 2 drum solos a little much. However, on re-listen I like the way that the drums set up an awesome McCoy Tyner solo and in general, I love Elvin Jones’ loose and impromptu playing throughout. I’ve had other Coltrane albums on high rotation over the years but I’m glad that 1001 forced me to listen again this one again, with greater concentration. He takes post-bop jazz and makes it feel spiritual. It's a shame he died a couple of years later.

The first song is quite splendid. What caught my attention aside from the catchy melody was the production, with the choir, orchestrations and electro beat. It’s impressive that she produced and wrote or co-wrote all the songs and it seems like the ones I like best, including Unison and It’s Not up to You, she wrote solo. The music is unstructured and arty, but the melodies couldn’t hold me for a full LP.

Outside of Jesus etc. I wasn’t familiar with this album. I’d heard some of the songs but they didn’t keep my attention. After 2 listens I get the impression that it’s a slow burner that will need a few more listens to sink in. Like a lot of Indie/singer-songwriters the lead singer’s vocal range is a limiter (maybe they could bring Billy Bragg in to help out on the vocals?). The first two tracks are interesting. Heavy Metal Drummer is a bit goofy. Reminds me of the Dandy Warhols. The jury is still out on the lyrics.

Very eclectic production. I love the opening/title track (though I’ve always been a sucker for bag pipes), followed by heavy metal guitar in the second track. The Trio Bulgarka are a nice addition to the songs they appear in and Kate isn’t afraid to use all of her voice. The production of the more up-tempo numbers has aged a bit. I don't find the the song writing as strong as Hounds of Love, or maybe it just lacks a blockbuster hit.

I bought this on iTunes when it came out just after his death but didn't listen to it much, or as closely as I should have. On the plus side, his voice wasa bit fraile but still better than the vast majority of young singer songwriters out there, and in general the song-writing is good. The 10-minute epic title track is a throw-back to his mid-seventies peak, as is Lazarus. There's great saxophone playing throughout - he would have sounded great with the pianist from Aladdin Sane! And his fans (us) can spend years deciphering the lyrics. As pointed out by my co-judge, some of the arrangements seem out of synch with the vocals, like they were recorded in separate places and times. I'm not too fond of Bowie dropping F-bombs - that's a gimmick for less talented types. The album has a (not surprisingly) gloomy feel and the production seemed muddy listening on my home stereo (but crisper with headphones). The final 2 tracks seem the most together, in terms of the arrangements. I'm glad 1001 re-introduced me to this.

It was hard to get a good listen because my co- judge kept turning the stereo off whenever I put it on. I know that they were influential and quite revered at CKCU in the 80s. I think that thrashy fast numbers would have been predecessors to American punk like Black Flag, which I despise, and then the more melodic (longer like more than 90 second) numbers may have influenced bands like XTC. But they didn’t seem to me much of an influence on themselves. They took a real left turn on the LP after this one and actually hired a cover band to open for them and play songs from this album!

I think I (or my brother) bought this album in the 70s. I remember not being in love with it, possibly I was comparing Peter to the only other reggae guy I knew, Bob. I like it better now, the rootsy feel, the keyboards (clavinet?) and the song-writing is solid - lots of memorable tunes on the side 1. Side 2 not as catchy. Between a 3 and a 4 but since I'm in a good mood...

I’m not usually one to complain about creativity and variety on an album, but in this case, they sound like a different band every song. It gets to the point where it sounds spoofy and contrived; like a cover band that plays everything from Metallica to Bob Marley to Frank Sinatra.

I have the same problem with this as I did with 10cc. It’s all over the place. In addition to rag-time piano, we get skiffle music (I was sure Spotify switched to another album for ’39), Dixieland, kazoos etc…not to mention a one-minute rendition of God Save the Queen – all this mixed with commercial rock and hyper-overdubbed vocals, which would make the songs near impossible to perform live. Speaking of which, Bohemian Rhapsody of course is a classic and worth an extra point. And the piano playing is good too.

Good Times is a multi-generational party anthem. The bass and guitar are timeless and have been sampled by many over the last 4 decades. I was half-expecting the other tracks to be filler, but I found most (5/7) of them catchy and danceable, especially Forbidden Lover. And Spotify kindly sent me to Dimitri from Paris remixes of Chic afterward. What a bonus!

The first song shows some promise but soon the acoustic, more melodic numbers end and more-aggressive in-your-face Black Flag style shouty and irritating post-punk begins, only to return to acoustic numbers a few songs later. Turns out they have three song-writers, who don't collaborate, and spread their material throughout the album equally. Anyway I'm not sure what this 93 release adds to the arc of the last 60 years of music. I guess "low-fi" is one of the 1001 genres and it has to be represented.

I remember there was a time when you couldn’t listen to the radio for more than a few minutes without hearing Elton John. It's easy to see why it's his biggest selling album with it's 4 big hits. I think that Yellow Brick Road is autobiographical for Bernie Taupin, because of the line “I’m going back to my plough” and Bernie was a farmer, and still might be, in his retirement. The supporting tracks seem stronger than on Madman Across the Water. Funeral for a Friend is a good starter/song, some of the others less so, like Jamaican Jerk-off. Nice shoes.

When I heard this a long time ago I thought it was a bit raw, but I can appreciate it a lot more now. The songs are catchy, the lyrics are killer “do you wanna make tea at the BBC?”, very political and of the moment. I can hear a Ramones influence in some of the songs and I like the fact that they switch up the vocals between Joe & Mick.

I find it interesting that so many Latin American bands were led by percussionists. And Tito is the most famous of all. Even though all these songs are for the dance floor there’s still a fair bit of variety across the album. I like the instrumentals, especially those featuring his vibraphone playing and the lead singer’s super-suave voice is lovely to listen to. It’s been a long time since my salsa phase, and I’m not going to hurry to play this again, but I would say that, within the context of music coming out of the fifties, this one scores pretty high up there.

So, this is our first of 5 Sonic Youth albums! This one reminds me a bit – believe it or not – of Hawkwind, the way they lay down a riff and stay with it for a long time – though Hawkwind had a crisper guitar sound. Lots of dark energy and good lyrics. The lead singer(s) sound at times like Lou Reed and/or Iggy Pop. I would give it a higher mark without the long-drawn-out guitar feedback endings, though I know that’s is their shtick.

So many songs, so many car commercials! Moby certainly wasn’t the first (or last) to sample old blues & gospel artists but he did it better than anyone else. Probably due to the fact that in addition to being a "sampler” he was (and still is) a composer and multi-instrumentalist. The non-blues numbers aren’t as strong but still have a nice texture and are easy to listen to. With all the mileage I got out of some of these tracks in my spin classes I have no choice but to give it a 5.

This is an ambitious project with a sense of humor and some good songs. It was wise to bring in a few other vocalists and to change up the genres, but still you get Steven Merritt singing for over 2 hours, which is a bit much.

I was surprised I recognized so many songs on this this album! I accused my co-judge of owning it and then she counter-accused… Anyway, BG has a lovely voice, Karma Chameleon is a great radio-pop song and there’s a handful of others I like. Helen Terry on backup vocals is a big plus and adds to the soulfulness. The schmaltzy production I don’t like.

This certainly has a twangy 60s feel to it. I like the instrumentation on the hits, Mother's Little Helper and Under My Thumb. Brian Jones added a lot to those, even though he wasn’t around for long after. Many of the other songs, IMO, are not strong compositions. They have a standard country or blues feel like they’re trying to find another hit and the choruses they arrive at don’t deliver. After the second time they hit the chorus on “Going Home” I was ready to skip to the next song and saw that there was still 9 minutes left!

It gets off to a good start. I like the Daniel Lanois production. The arrangements and ambience of the first song are different, with the reggae guitar and moody electric piano. After that, a number of songs fall into a standard blues progression, which to me would indicate Dylan’s short on ideas. Some others remind me of his earlier songs, which is not surprising since this is his 30th album! The lyrics are not the snappiest. “I didn’t know when I saw ya’ if I should kiss ya’ or kill ya’”. His voice is toast, but still not that far off his prime, lol. I would say there are (at least) 2 or 3 Dylan albums that didn’t make the 1001 list, that I would place ahead of this.

The first song has a nice 60s folk-pop, Brazilian acid-jazz feel. I like the flute. Bright, jangly (Johnny Marr-ish) guitar throughout and Nina Persson’s vocals over top give things a moody feel. There is enough variation in song structures to make it interesting for a full album. A bit of Black Sabbath channeling going on, which of course I’m not going to complain about.

So, a few seconds after I listened to the Cardigans, I played this album. The differences were quite apparent: The (Verve) production is muddier; the vocals are hard to make out; the songs are less distinctive. To quote a reviewer, “The songs are long and have little structure, the production is murky and raw and harrowing, the tempo is unchanging to the point of testing endurance. There is no joy or even solace to be found in this record, only unforgiving turmoil.” I would add that “History” sounds like a prequel to "Bitter Sweet Symphony” and the lawsuits that followed. My mark might be a bit more harsh than normal, but I couldn’t score it within a point of The Cardigans.

Nice voice, catchy songs that are distinct enough from each other (eg Marlene on the Wall vs. The Queen and the Soldier) that you don’t tire of the album. Very NYC (Greenwich Village) folk sound. Lyrics are at another level. Like a female Leonard Cohen who can sing. An outstanding debut album.

I don’t know what to say about this LP that already hasn’t been said. One of the things I just read was that most of the songs were written/recorded at the same time as Hunky Dory, which makes sense because side 1 sounds like it could have come from Hunky Dory and the bookends of the side 2 power chord trio (Hang on to Yourself >Suffragette City) sound a lot like to Queen Bitch, from HD. Ziggy Stardust always seemed like a stepping stone from his more acoustic, piano-based phase to a more electric one. The presence of Mick Ronson is front and center, as is the absence of Rick Wakeman. I think I still prefer HD but this is pretty great too.

This LP came out at a time when a lot of downtempo has being cranked out. While some of it was outstanding, most of it was pleasant & nice to listen to in the background. I would rate this in the latter category. I've read that this was a landmark and influential electronic release, but similar artists like Nightmares on Wax and Aphex Twin were 5+ years ahead of them.

Compared to the Bjork album 1001 sent us, this one jumps around a lot more. There are quite a few house tracks, which surprised me, I guess I had dropped out of the club scene pre-93. Anyway, I think they've held up well. Bringing in Oliver Reed to do the saxophone arrangements on Aeroplane and the Anchor Song was very brave - and refreshing, as I was tiring of the electro beats by the end of the album. The jazz-standard cover, on the other hand, demonstrates that her voice works best with her own (weird) material. Speaking of her own material, Venus as a Boy is just an epic track - the production, her voice and lyrics come together perfectly. Human Behaviour is up there too. A great debut.

There’s nothing not to like about this album. The lineup and the compositions (tracks 1, 2 & 4 especially) are stellar. I like the decision to do the saxophone solos back-to-back, contrasting the warmth of Adderly and the edgier sound of Coltrane. This is the greatest selling jazz album of all time and the album most critics would put at or near the top of their all-time list, and I won’t disagree.

The first track is very moody, as a tribute to Nick Drake should be. I like the breathy sax solo and the spacey electric piano (throughout). Overall, I prefer the moody and introspective folk numbers. When he kicks it up, the instrumentation is great but his voice, to me, is better suited to mellower tracks. Eric Clapton and Beth Orton covering a couple of these songs says a lot about his composing skills.

I always associate Judy Blue Eyes with their Woodstock performance. They had a very different sound compared to their contemporaries and looking back you can hear their influence in Fleetwood Mac and the Eagles. It was a very American sound. I prefer the songs where the lead vocalist has a bit to himself before the trio kicks in. Crosby sounds a lot like Tim Buckley in Long Time Gone. I wondered why Helplessly Hoping was the most listened to song on the LP and it’s because it was used in a video game. No surprise. Quite a debut.

This one’s really all over the place. From punk rock to funk, acid-jazzy instrumentals to violin solos. And a lot of it isn’t sampled!! I still find some of the shouting grating (Q Tip was a pleasant reprieve) and for that I deduct a point - but there’s humour in the lyrics and it’s not in your face all the time. Very creative.

I was surprised on the first song not to hear Lou Reed’s voice and then the second song dragged out a simple guitar riff and annoying organ chords for the final 2 minutes. In other words, things got off to a bad start. Lou Reed (plus the other vocalists) and the personal lyrics give the songs, especially the ballads like Pale Blue Eyes & Jesus a bare-naked feel. The song that the critics trash (Murder Mystery) is the one I find most interesting, though it sounds so out of place. Lou & Velvet Underground have put out better than this. 5/10, but I'll round upwards because it's a Saturday.

I only had a chance for a quick listen. I didn't like the first song, but after that there were some catchy well crafted pop songs, guitar front and center with occasionally a jangly 60s feel. It's easy to see how this would get ignored in the early days of punk. I like Robyn's voice and it's good to see he's still performing and cranking out albums today and living with a country music singer 30 years younger than he.

1998 eh? A very riff-oriented, 70s feel. The singer sounds a bit like Ozzy at times. I was thinking after the first few songs they weren't as depressing and gloomy as the Seattle Bands, but then I changed my mind once I hit the one-hour mark. A 36 minute vinyl offering might have garnered an extra point.

My co-judge and I cringed after we recognized the first song was a Stones cover and bolted to the bathroom when we heard Light my Fire, which is tough because we only have one bathroom here. After that things got better, especially on side 2. I find the western orientation in terms of melody/song structure/instrumentation makes him more listenable, though less technically proficient I'm sure, than his uncle. I'm deducting a point for the pop covers, though he certainly wouldn't have made this list without them. A strange choice by the 1001 folks.

I love the story that these songs were recorded on homemade equipment when he was 14 and the sound quality is bad because his cat damaged the original cassette! Nice ambient pieces, the sampling is subtle, the hooks are catchy as they would need to be if you're going to build a whole song around them (I prefer 4-5 minutes vs 8-9!). It reminds me of a chill version of the techno that was coming out in the late 80s.

26X Platinum! What an odd duck I must be! I could barely tolerate the first three (hit) songs back in the day (the title track had a good guitar solo) but the rest is unlistenable. So commercial. Bad 70s rock.

Quite a hodge-podge of styles on this one, from disco, to downtempo funk, to rock&roll to sing-along pub songs. I love the opener, with Chaz Jenkels’ keyboards up front, and I always thought it should have been covered by a disco band and a singer with a good voice. I found on first listen that Ian's voice gave the whole album a novelty feel and gave it a 2. But then I read some reviews and listened again, focusing on the lyrics which gave a squalid depiction of life in the working class boroughs of London in the 70s (with some sexual humour thrown in). This was a brave release in the UK in 77 and it would have been much easier for him to stick to more straightforward punk tunes.

I was surprised to see that this was released in 1976, a decade (or two) before I had first heard of these guys. It sounds like a folk-tinged version of Michael Nyman, though Nyman and the big minimalist names were still pretty obscure in 76. Some pleasant pieces. I prefer side two with it's longer tracks vs. the shorter avant-garde tracks on side 1, especially the ones with weird vocals.

On earlier Beatles albums I used to have a hard time telling John & Paul apart, but here it was much easier - even though I always thought Helter Skelter was a John song. It seems like everybody is doing their own thing, but it makes for a lot of variety, which you need for a double album. Side 4 drags a bit but it was good to hear the original Revolution. It was a smart move to make a single of the more aggressive version. I like George Harrison’s contributions and even the Ringo stuff is OK especially the lullaby for John’s son that he sings to close it out. And of course the album will always have a great historical impact because of it's influence on Charlie Manson.

Gimme a break! Another American band late to the punk party so they decide to do speed up the songs and cut them down to a minute to be different. Such juvenile lyrics.

I would say the song selection on this LP is better than the "Memphis" LP that we were sent last month - more soul vs. orchestrated 60s pop. That said, it seems that she covers a number of songs that were big hits for other artists in '63, a year before this came out. I guess that was the record business before singer-songwriters hit the scene. Wishin' and hopin' was a minor hit for Dionne Warwick in '63, but Dusty scooped it and made it her signature tune. I've always loved the song, though the lyrics are quite laughable these days.

Both my co-judge and I owned this album, though I admit, beyond the more popular songs I don't remember it much. Some of the keyboard riffs sound ahead of their time - more clubby than the synth-pop than was the trend in the early 80s. In that regard I love "Giant" which I don't remember, and thought it was the maybe the best song on the album, except for the percussive 5 minute outro. The lyrics are angsty and personal and the songs sound so serious. I would give it a higher mark but Matt's vocals wear on you for an entire album.

While never being big fan, I’ve always liked the way ACDC rebounded after their singer died, finding a guy who sounded like Bon Scott with his balls in a vice and putting out a mourning album, which turned out to be one of the greatest selling albums of all time. That said, if I were to compare this to the Van Halen offering from a while back, I’d give VH the nod in the late-70s-commercial-rock-I-didn't-like-then-or-now category.

So 1001 provides multiple listings for hardcore and grunge, but only one for drum and bass - and this is it. I'm not an aficionada of D&B, but I'd say Roni is more melodic and less minimalist than most of what I've heard. The addition of Onallee on vocals is a big plus. Heroes and the other tracks she's involved in are standouts IMO. It would be nice to condense the best stuff down to a single LP.

I only had a chance to listen to this once. Beautiful harmonies and they have achieved great success for an African choral group. I enjoyed listening to them in moderation.

The reason most of us have heard of Fats is because of Blueberry Hill or Ain’t That a Shame, neither of which I've liked much, so I wasn’t looking forward to this review. But I was pleased that the rest of the album has a nice feel to it, especially the more up-tempo tracks and the accompanying sax. Apparently, he’d said that he was nothing special or new, he was just playing the New Orleans R&B that had been kickin’ around for 15 years. Of the artists I know from that era, they were edgier (and arguably, had better voices) but Fats had a more radio-friendly sound and was an endearing live performer. As a side note, the 1001 YouTube playlist has none of the same songs of the 1001 Spotify playlist.

I’m impressed that in the same year that Steeley Dan, Alice Cooper and Yes released albums that I listened to a lot in the decade that followed, Randy Newman was doing his own thing, head down at the piano, singing away in a voice not really meant for singing. Especially with songs like Political Science and God’s Song more or less guaranteeing that he’d stay below the radar.

I like this twice as much as Hotel California. I find the hits more palatable, possible due to the fact that I wasn’t already fed up with the Eagles at the time they came out. The supporting songs are stronger and I prefer the country flavor over commercial rock.

Finley has a beautiful voice and knows how to write catchy tunes. I had "The Sun is Shining' on high rotation back in the day and there are a bunch of other great songs here, though the CD is a bit front-end loaded. He dips in and out of reggae the way k-os dips in and out of rap.

Bob's voice doesn't sound up to its usual standard on this LP. He sounds a bit alto and raspy on the acoustic disc and a bit drunk on the electric. Maybe he was angry about being heckled? That said, it was hard to pick up much heckling on LP2, I guess it got edited out. Anyhow, it's a historic event - there was even a trivial pursit question about it, whcih I answered correctly, as I recall. It's good to have it on an album after so many years as a bootleg and good to hear "the Hawks" accompanying him this early. That said, I think I like the originals of most of the songs better than this bunch.

This has always been the defining trip hop album to me, though I may be slightly biased, because the 1st streaming service I ever listened to in the 90s had a chill channel that may as well have been called the Portishead channel. The production is elegant and creative (some of the samples are way out there), they never stray too far from their moody, haunting sound, but the song writing is great so they don’t need to, and I never tire of Beth Gibbon's voice.

I’m not a fan of psychedelic folk, something I hadn't realized pre-1001, and this batch seems late to the game in 1970. It’s interesting historically based on who Syd was and the fact that his fellow Floyds “helped him out” on side 2, but it's not my cup of tea.

Simple, catchy riffs. I like the song writing better on this LP than the debut. And the feedback excursions that bookend the songs don’t go on for as long. Giving Kim Gordon the mic a little more was a good idea. Kool Thing is a great song.

I remember there was a radio station whose motto was "we play country without the twang", which I saw as a bad thing since country is all about the twang. This is definitely twang-free country. Country pop with an empahasis on the pop. I can see people liking this. The melodies are fairly catchy. I won't give her a 1 because that would put her in the same chapter in my book as The Circle Jerks, George Michael & those fuckin' Eagles.

They sound a bit like Hendrix, with the guitar tuned down to give it a heavier sound. I appreciate the fact that this is proto metal and they would/could have influenced the sound bands like Zeppelin or Deep Purple. That said, the longer instrumental pieces are less inspired and technically inferior to their heirs.

This album really showcases Jimi's creativity. It has an experimental feel to it, especially If 6 was 9, which is free form jazz-ish (is the loon sound at the end really a guitar??) and the way he jumps from funkier tracks to hard rock to ballads. There are 3-4 classic songs and the guitar playing is other-worldly.

I started listening to this LP after 1001 sent us an earlier Gene Clark release a few months back. I loved "Strength of Strings". Along with the title track and "Some Misunderstanding", it gives the album an epic, spiritual feel. Nice arrangements, especially the background vocalists. It's a shame that GC was long dead by the time the LP achieved recognition and sales.

He sounds like Dylan on songs like Dress Rehearsal Rag. I guess the similarities are the vocal range and poetic lyrics (though LC is easier to decipher). Famous Blue Raincoat is classic – I like Avalanche too. The background singers are really in the background at times, but it works. When LC tries to actually sing vs speak, in songs like Diamonds in The Mine, the results aren’t very good.

OMG, there are so many low points in the first few songs my head was spinning trying to decide the lowest. Was it the pompous and schmaltzy Odessa, inspired by Robin Gibb seeing a travel brochure? Or trying to sound backwoods West Virginia on “Marley Purt drive” (with a “gotcha” at the end, letting us know the 15 kids are actually from an orphanage) or the choir in a song detailing Thomas Edison’s accomplishments? Or possibly the three symphonic pieces on the second disc that sound like they were written for “Lassi Come home”? Wikipedia tells us “The album was not well received by the public or the music press on release, and led to a decline in the band's fortunes.” No kidding.

What I noticed about this LP, similar to the last 1001 offering, Aftermath, is that the hits sound very different than the rest of the album. “Gimme Shelter” is maybe my favorite Stones song (especially the vocals of Merry Clayton) but they jump to a twangy country blues vibe immediately afterward and stay there until the last song on the album when they bring in the London Bach Choir (!) If you were to compare this to other albums from around the same time by The Who, Led Zeppelin or Deep Purple, their hit songs at least resembled the rest of the album. So, the Stones were either very diverse or inconsistent. Anyway, there are a handful of stellar tracks, the session musicians are great (Brian Jones contributions are chuckle-worthy) & I’m rounding up for the electric version of Honky Tonk that never made to the LP.

The countrified sound must have thrown off their early fans. The first few songs are catchy, eclectic & the violin is a nice touch. Later they remind me a bit of the Pogues. The singer is hard to listen to for a full album.

It’s hard for me to evaluate this without thinking about what I was listening to in 1976: Genesis? Steeley Dan? Punk hadn’t hit Sudbury yet. The more beat oriented tracks on this LP wouldn’t have sounded out of place in the 90s. As they say, it was an influential release. I’ll add a point for that reason, but I like it because songs/hooks are catchy.

I first heard some of these songs on the 1978 live album, Stage. When I bought this LP a few years later I remember thinking the production was a bit weird and sludgy. After watching a documentary on Brian Eno this week, I now realize it was Eno’s touch (not to mention his hijacking of side 2). I didn’t realize Bowie played sax on this but he seems to channeling Ornette Coleman with his squawking at the end of Neukoln. Tony Visconti said that once the instrumental tracks got recorded Bowie sent everyone home and would improvise the lyrics over top of the tracks without notes until he got them right. That’s pretty cool and also explains the cryptic nature of his lyrics. Anyway, the songs I thought were "meh" in the 70, I think are great now, even before I heard Odessa.

So, I’ve read that Grandmaster Flash was the first DJ to ever put his fingers on vinyl, which changed DJing for ever. The title track is epic. It paints a vivid picture of ghetto life in NYC in the 70-80s (as does the LP cover) and influenced a lot of others. Since I couldn’t find any sample credits anywhere, I guess synth hook is original? I like the song that samples The TomTom Club where one of the 5 raps about the joys of monogamy! Times have changed.

Layla is a great track & I remember getting excited every time it came on the radio in my pre-teen years. I Turned Away and a couple of the others songs I like (not to mention the guitar playing), but for me, the blues-rock isn't very inspired & weighs the album down. Cream was pushing the needle forward a few years early but this is a step back for EC. If you were to compare these tracks and the delivery to other LPs from that era, like The Allman Brothers or even blues-inflected songs by the Doors or The Stones, these are substandard.

A bit of an obscure pick by the 1001 crew. This didn’t sell much or get good reviews. That said the sound is different and hard to categorize, sometimes jazzy or folky or country. A handful of songs start beautifully, like Darkness Darkness, but sound more like run of the mill late 60s rock as they build. Jesse Colin Young is a good singer and listenable for a full album. The electric piano diversions are interesting.

It’s fascinating that within a few years (66-69) the Who, the Stones and the Beatles changed their sound so radically and in totally different ways. This album is psychedelic and weird, with all it’s snippets of commercials, plus the fact that Roger Daltrey does so little singing, and when he does he sounds a lot like the other guys. I can’t believe this is the same guy who sang Love Reign O’er Me a few years later. If he was a professional cyclist I’d accuse him of doping. I await my brother’s comments.

So many hits on one album! Time Magazine named this the best album of the 20th century, so who am I to argue? A joy to listen to from start to finish.

I bought an album by these guys in the mid-80s and thought THAT was pretty out there, but it was Culture Club compared to this. I noticed that the 1001 members haven't ranked it too highly: 994th out of 1001. I was thinkin' “1” halfway through the first track, but for me to go as low as 1, the music needs to bad and unoriginal, and this is anything but unoriginal - especially in 1978. I love the title track and The Ubu Dance Party. They could be a bar band in a David Lynch movie, with the eerie lead vocals and the campy background singers. Very avant something.

I had low expectations for this. I was anticipating something grungy & dull, especially since one of the members founded Sebadoh right after this release. But I changed my mind after I got slapped in the face by the first thirty seconds Little Furry Things. Their sound is driving, noisy and guitar-obsessed. Even though the vocals can be a bit run-of-the-mill at times, J Mascis guitar work is fresh and always in your face.

It gets off to a good start with Get Innocuous! which is nicely layered and rhythmic. I like the crisp production throughout, though I think I would have preferred less reliance on a drum kit and a bit more electronic kick drum to make it more dance-floor friendly, but that would have been a different animal. For me, the jury is still out on the lyrics and vocal style, which can be unmelodic and shouty at times. The last 3 songs don’t do it for me.

My co-judge says she likes this except for the parts where the trumpet section blasts in unison. I like his delivery, the way the songs swing and the lyrics, especially in the funnier songs like Makin’ Whoopee. I keep thinking of all these young tin-pan-alley guys grinding out tunes hoping someone like Frank would pick them up. I’ve always wanted to hear Frank at his very best, because, in much of what makes it onto the radio, he’s past his prime. I think he's a great singer but if I were to judge him purely on his voice, I prefer the silkier voices of his not-quite-as-famous-or-prolific peers like Dean Martin or Mel Torme.

I like the less grungy sound as an acoustic outfit, but it highlights the fact that there isn’t a lot of range in the song-writing – the phrasing in Polly, Dumb and On a Plain sounds very familiar. The contrast of the more rootsy Meat Puppets numbers is nice and the version of Man Who Sold the World is great.

It's easy to see how this gets the lowest listener rating on 1001. It's hard to imagine anything worse.

I'm normally not a fan of cover versions but when you breathe new life into them like Isaac Hayes does it's a different story. He showed good taste in the songs he selected. Walk on By and By the Time are nicely crafted tunes. The guitar and backing vocals in Walk On are rare groove staples and I even enjoyed the lengthy intro (about 9 Scum songs long) in By the Time. The late piano solo in Hyperbolicsyllabicsesquedalymistic sounds like it could have influenced a lot of early house music 20 years later. One Woman isn’t as strong but those lyrics!

My co-judge commented that she could do without the punchy blasts from the brass section. I guess in the days before electrification that was the only way to blow everybody’s heads off. Listening to music on your home stereo could never compare to listening to it live. I like the solos throughout and especially the drumming. I guess in '58 the younger hip crowd was listening to bebop but I guess if you wanted to dance, big band was the way to go.

The amalgamation of different sounds and styles, which I thought I wouldn’t like, works well, though I’m still not a fan of his voice or lyrics. They sound contrived. For example, I can’t picture him saying “hey senorita” to anyone – Bob Dylan or Neil Young or Tom Waits could pull it off, but not Paul Simon, who seems more upper east side. Overall, he’s too soft and radio-friendly for me.

Maybe I’ve heard the first couple of tracks too many times, because they didn’t do much for me. But after that I sat back and enjoyed the rest. The songs are well-written and I like the different vocalists – I even went to see Nicolette in a club having only heard her on this album. Tricky is even ok for a track or two. MA are definitely at the top of the heap in terms of those who led electronic downtempo/trip hop movement. I would give them a 5 if not for the Horace Andy cover of Light My Fire. And the fact that when we saw them live the only singer they brought along was Horace Andy, we got Tracey & Nicolette on vinyl. I concluded that seeing DJ/Producers wasn’t worth it – but then I saw Thievery Corporation with 5 vocalists and Groove Armada with a full band and changed my mind.

It’s an interesting experiment, creating an entire album from samples and there’s no shortage of cool samples weaved into the songs. But outside of the first track the others seem to be lacking a core.

I love the electric piano, the bluesy jazzy fusion feel, the political lyrics and his pained voice. GSH sings like he has lived every word (the opposite of Paul Simon). My gripe is that 1001 shouldn’t have picked this album over his 1971 release “Pieces of a Man”. While I may grumble a bit about their choice of Allman Brothers or Alice Cooper or Steely Dan albums, not including “Pieces of a Man” is a serious oversight. It’s a historic release, with the epic “The Revolution Will Not be Televised” who many say was the first hip-hop song and there’s at least a half-dozen other epic tracks. I’ll never get tired of “Lady and John Coltrane” or “Home is where the Hatred Is”. It’s a highly listenable LP, back-to-front. I was going to post a complaint on reddit/1001 but I didn’t want to interrupt a heated discussion about the merits of Napalm Death.

I’ve listened to some of Ibrahim’s more piano-based stuff in the past and liked it. The septet works for me. It’s good to hear trombones and baritone sax for a change. Often, bands like to give every soloist a chance to play in every song but that makes for very long songs, so I'm glad he didn't take that approach. The opening track has a bit of a Nawlins’, marchy feel to it and didn’t really catch my interest until the solos kicked in. The overall mood changes enough (which is impressive since one guy penned all the tunes) throughout the LP. I read that the Mannenberg Revisited track was an anti-apartheid anthem. In my opinion it’s not one of the strongest tracks on the LP. Along with track #7, it is a bit jazz-poppy for me.

With the calibre of the hits, and the fact that it's the greatest selling album of all time, it would be hard to give it less than a 4, UNLESS some of the other songs were REALLY REALLY bad. Some of the ballads would make George Michael blush. My favorite moment was when Sir Paul & MJ, in perfect harmony, deliver the line, "Dawg Gone, The Girl is Mine.

OMG so much heartbreak! I can’t believe these 11 women all left the same guy. I like this type of pure country, with the signature slide guitar, his aching voice and the hurtin’ lyrics. I was having a rough afternoon, driving around downtown (at a walking pace) trying to pick-up food donations, but it was hard to be in a bad mood with lyrics like “As you leave you'll see the nursery, Oh she left me without mercy, Taking nothing but our baby and my heart.”

The Overture and Underture pieces sound a bit cliched now, but in 1969 they were probably cutting-edge, and of course, apropos for the first Rock Opera. The songs seem a bit stripped down by today’s standards, more acoustic than I remember, but that makes them riper for the orchestrated and produced versions that followed. Lots of great tracks, like the series that starts with Amazing Journey. Like the album that preceded it, I’m surprised Pete does so much singing. I was going to give it a 4, but since I gave George Jones a 4....

Since this came out in 79, I guess I can't make my comment about the fact that the hardcore guys were just punk wannabes who showed up too late. Some critcs say Germs lyrics are brilliant, but I've read them while listening to the tracks and still couldn't make them out - at times, I was sure I had the wrong song. However, I will say honestly, that I like this at least twice as much as all the hardcore that's been sent our way so far.

Marvin has a silky sweet voice and it’s impressive that he wrote all the songs and produced the album. The love songs are a bit sweet for me.

When I first heard Born to Run on the radio, it didn’t make me want to run out and by the album, even though there was a lot of buzz about it. I think I gave in when I saw Bruce on the cover of Time Magazine. Thunder Road and Jungleland have a real epic feel to them, with the big production, the piano intros and the signature sax solos to close out. I like the jumbled, lyric-heavy feel, the way he doesn’t follow traditional song structures – unusual for a rock n’ roll guy. He jumps from rockers to ballads to soul: stylistically Tenth Avenue freeze Out and Night are miles apart (except for his energy) but they sound perfect back-to-back. There’s really no filler on this LP and I there are probably at least a dozen tracks that didn’t make the cut.

I have a sore knee, a toothache, and I didn't sleep well last night due to a roof full of squirrells that I paid to have removed in November. To avoid further irritation, I bailed after 2 songs .

I guess for comparison you could listen to Bowie's Black Star, in terms of albums that were conceived and recorded while the artists were dying, but I think Bob Dylan’s Time Out of Mind would be a better comparison since they’re both around 80, i.e. well past their best-before dates. I would say by comparison, Cohen is still on his game. While he sounds tired (half-dead actually) his spoken words are less cryptic, more powerful and relevant, especially in songs like It Seemed the Better Way and You Want it Darker (even though he sounds a bit like he's channeling William Shatner in that one). The songs are sad and the lyrics pull you in. I like the way the violin creeps into the last three tracks and the final is instrumental until the very end. A lovely finish.

I didn’t have much of a chance to listen to this, as I was driving to Ottawa yesterday and my co-judge and I listened to Rolling Stone Magazines top albums of 2021. Like Ragged Glory this LP has a raw, messy, one-take feel. I prefer the less electric bluesy tracks – Neil plays a pretty good piano in Speaking Out. Knowing that the album is about the recent deaths of his bandmate/roadie makes his off-key singing sound more painful.

This is easily the best Christmas album I've ever heard. Also the only one that I've listened to start to finish. The vocals have a lot of pop, especially Ronnie Spector. I'm a late convert to the Ronettes. And the production is very well suited to a Christmas Album.

I only knew the 2 hits, which I wasn't too crazy about, something about the yachts and the hairdos in the videos maybe. The rest is pretty bland and commercial 80s synth-pop. They owe a lot to MTV.

I like the renditions of Piece of My Heart and especially Ball & Chain – the video of her/them performing it at the Monterey Pop Festival a year earlier, where she blew away the crowd, is something else. Janice was a decent song writer as she showed later on her solo albums and here on Turtle Blues. They take a bit of a detour (from Blues Rock) on Oh Sweet Mary, which sounds like it’s from another album. On that and the opening track, where the vocals are handled by Sam Andrews there’s no doubt that they he has the world’s greatest back-up vocalist. Their decision to pump in crowd noise on many of the songs was a bit weird, and the introduction of “4 Gentlemen and one great, great broad” would have seemed out of date even in '67. Love the Album Cover.

The first song drags on a bit and the lead singer’s voice is a hard to handle for more than a minute, but other than that, some of the instrumentation is interesting, the interplay between faux violins and speed metal guitar, for example. I don’t think that they’ll be sending us too much industrial music and this is one of the few that doesn’t include “scrap metal” as an instrument, so we should savor it while we can.

I thought a hard rock version of Freddie’s Dead wasn’t a bad idea. But as they jump around from one genre to the next it sounds too contrived, especially ska vs metal. I think I saw them on TV once, they were playing live at the social of a PGA tournament and the golf commentators raved about what a great party band they were. That sums it up for me. If I was at a friend’s wedding and in place of a band that could play everything from Bony M to Van Halen, these guys showed up, I’d say, cool. But I wouldn’t run out and buy their album.

I guess they chose this album because Emmy Lou wrote all the songs for the first time. The song-writing is good, I especially liked the opener and the title track and the rest are pretty solid. For someone in her fifties she still had a beautiful voice. Musically It’s more folky than her earlier albums. I would have liked a bit more twang and a little less production.

I guess one of the advantages of having the vocals so mixed down is that you don’t need to worry too much about the lyrics. I like the droning, textured guitar sounds. They remind me of a more muddled version of The Jesus & Mary Chain, and while I was never a big fan of that band, MBV, like Sonic Youth, benefits by having a second (female) vocalist – though at times it’s hard to tell if Bilinda Butcher she’s singing or if it’s just another layer of feedback.

Despite all my efforts to avoid this LP over the years, many of the songs have ended up etched into my brain against my will. This is music for the masses to be played at football games generation(s) later. You just need to read the song titles to get a sense of how unoriginal the music is going to be.

For a ’91 release I find the music fairly ordinary. The lyrics too aren’t too inspiring, though a definite step up from ACDC. I’m not a fan of the second (feedback) song, I thought it should have been buried deep on side 2. Speaking of deep on side 2, I like the final track "Is this Music?" with it’s bag pipes feel.

I was keen to hear this after the first 1001 offering sent to us (Abattoir Blues), but I have to say I’m not as enchanted by this one. The songs are a bit sparse for me, and you don’t get the usual fluctuations in his intensity level. They mix it up a bit on side 2 and some of the arrangements, like on Idiot Prayer, are beautiful. Lyrically he is more direct and sounds less like a poet on this LP – Black Hair as an example.

The mixture of pop and soft country is lethal.

He really mixes it up a lot on this album, but it all holds together quite well. I found the 1st song wasn't a good opener, it was a bit too repetitive for me also a bit like some Lou Reed ballad. At other points he sounds like Nick Cave and sometimes there's a Bowie influence. I love the song Safe Surfer, especially the epic guest guitarist. Unfortunately I can't get the album art out of my head.

What a beautiful album. I love the arrangements, the way saxophone pops up in "at the chime of a city clock", the piano in "Poor Boy", the decision to start and end with an instrumental track. It all adds another dimension to his voice and song writing.

Couldn't give this the time I'm sure it deserves because my phone doesn't allow for private sessions and I didn't want to further pollute my Spotify algorithm.

BLack delivers non stop catchy, edgy guitar riffs and I like the 2 vocalists. I'm sure it was hard to come up with an original sounding LP in 88 with only guitar bass and drums but they pull it off.

It's hard for me to give this less than a 4 with the timeless California Dreaming and the other 2 hits. To me the sound captures the mid sixties. The In Crowd has some life but most of the others frag a bit for me. It would have sounded fresher in 66.

This LP was way ahead of its time. In addition to influencing many artists, I think it may have inspired David Byrne most of all, if you listen to the the singing style he adopted for some of the songs on Remain in Light. Sampling was a fledgling field then and the way Eno & Byrne built songs around samples was unparalleled (and still better than much of what is out there today). After "Regiment", the evangelical samples are my favorites, especially the line "She was intended by God to be a virtuous woman. You have no right to her. Her husband is the head of the house."

"Like a Phoenix coming back from the ashes, I know what's good and I know what trash is." The lyrics are fall over funny and I think the guy who wrote them had the biggest laugh of all. The orchestration, production and arrangements, especially the keyboards, are top drawer and there are hooks a plenty. Methinks this is a contribution of the studio musicians vs the band, who are more hairdoo focused. At times the rhythms they lay down remind me of Simple Minds, albeit a schmaltzy version. Compared to Duran Duran, ABC's 2 mega hits are stronger and several other tracks stand up well on their own, so I'm going +2 on my Duran Duran score.

This sounds less commercial than the YND stuff that he put out a few years later. The first song caught my attention about half way thru and the next two were quite enjoyable. I like the rambling percussion, the loose arrangements the guitar in Pitche MI. And of course the voice.

Feargal Sharkey has such a great voice, and a great name for a rock star. The lyrics make you ask "Wow how young are these guys?" The songs are kind of throw-away, yet more complex and melodic that the 2-minute ditties we've received by American hardcore bans, with a few hit worthy like Teenage Kicks and Jimmy Jimmy.

I have to say that this does indeed sound like a soundtrack of an actual film. He certainly nailed that, especially the ambient parts with background noises. It reminfs me a bit of United Future Organization, who were always keen to break into a Bond-like jam. 1001 gives greater credence to this LP than Barry Adamson seems to, since his Wikipedia (artist) page barely mentions it.

Certainly an eclectic mix with quick transitions from raw guitars to acoustic ballads with some flugel horn and reggae bass thrown in. It holds up pretty well but I listened twice, admittedly with distractions, and it didn't really grab me.

Another great album from this guy. I like the pained lyrics and honesty in his voice. This LP is more produced than Either/Or and sounds downright upbeat at one point. After the first few songs I was thinking 5 but I don't think it ends as strong as it begins.

As I recall, their first album garnered interest because of the feedback and production. That sound seems to have been stripped away, leaving them to be judged here on the vocals and the song writing, which I find dull and uninspiring.

To help me decipher the lyrics to the first song, I tracked down the short film from 1929 it refers to, Un Chien Andalou, and watched it to the end, not deterred by the slitting eyeballs scene. This led me to looking for literary references in the other songs, and there are many, especially old testament references. This led me to reading the lyrics as I listened to every song and, on a few, visiting SongMeanings and reading the #1 most-liked interpretation. This, I think, would lead me to giving higher scores to most albums (excluding ACDC and the like). Musically, there's a chasm between the quasi-hardcore, less accessible songs and a handful of hits and pop-oriented tracks like La La Love You. I'm now convinced of the genius of Black Francis. Kim Deal is also talented, as is their singing drummer. And of course, the guitars are great. I deduct 1 point since I haven't done a full lyrical deep dive on the other 369 bands we've listened to.

The title track is an American classic. It's very layered and a great snapshot - though a bit sad - of the country as it transitioned from the sixties to the seventies. Unfortunately the catchy chorus loses its appeal the twelfth time he sings it. Vincent is a beautiful song (that I had forgotten all about). A number of other songs like The Grave, are solid. The electric Everybody Loves Me and Babylon sound contrived and out of place. Don McLean has a nice singing voice and is a great lyricist. This is a stronger offering than we received from his contemporaries – Paul Simon or James Taylor.

Maybe it wasn't a good idea to start looking up the lyrics. After the Pixies, these guys aren't quite as surreal or deep : If we turn, turn, turn, turn, turn Turn, turn, turn If we turn, turn, turn, turn, turn Then we might learn, learn, learn _________ The singer sounds like Thom Yorke on the ballads. There isn't anything specific I don't like about this.

It's interesting that they would consider this up there among NO's best. Yes, they are transitioning to more electronic dance music sound, but if you were to compare this to what was happening on that scene in 1989, it would be pretty average.

I think that if there was only one jazz singer that I could listen to for the rest of my life I'd probably pick Sarah Vaughan. She has a beautiful tone and a broad range. I'm surprised that 1001 would pick this over her eponymous release with Clifford Brown a couple of years earlier. The latter received more critical acclaim, gets played to death on jazz stations and was apparently Sarah's favorite release from the era. Maybe because the great solos from the sextet took away from her performance? Back to this album, while I love her voice, a double album of jazz standards with minimal participation from her backing trio makes it hard to differentiate between the songs after a while.

It looks a bit like Dusty on the cover. I didn't realize Otis Redding wrote RESPECT. I like it and the other self-penned tunes though I'm not a fan of doing Rolling Stones covers. The mid-sixties production is a bit tinny.

This would have been a disappointment to the fans who liked the punky ska sound of the first LP. While that LP would have been thrown on at parties, some of the songs here sound loungy, even eerie at times. I guess they were shifting toward the darker AKA sounds of Ghost Town or The Boiler. That said, the sound here is original, there are some solid tracks, I like the horn section and collaborations with the female vocalists of the day.

My co-judge said there's nothing too memorable on this album and we commented simultaneously on the lame lyrics on "Everywhere you go, always take your weather with you ..." Every song sounds radio ready. They're like an AOR version of Split Enz.

The vocals have always grated a bit for me, then the disappointment that “Insane in the Brain” is not on this album…but it’s okay, not as adventurous as The Beasties but alright.

The first song, with it's doo-woppy Ramones-y intro followed by breathy and bleak vocals is a good indication of what's to come. They jump around nicely between moods and genres without it ever feeling contrived. Somewhere between a 3 and 4 for me.

PJ doesn't mess around. This is raw, dark, edgy and straight up, like she decided, ok I got my guitar, some songs I gotta get out, I need a bass player and a drummer. Let's go! The songs sound more similar (to each other) than other albums of hers and there isn't one I want to hum along to after listening. I'm giving a half-point bonus for the album cover and the fact she played violin and cello on Man-size Sextet.

They have a nice sixties pop sound. I like the arrangements, though it looks like many of the artists (horns for example) go uncredited. The pop hits are catchy – it was good to hear “How Can I Be Sure” for the first time in 50 years or so. The 2 lead vocalists can sing. Looking at the albums that were released the same month in '67, we have The Who Sell Out and Headquarters by The Monkees, which sound spoofy and retro by comparison, except for I Can See for Miles, of course. This is an eclectic and well produced outing from a bunch of Italian guys from New Jersey.

I got so tired of hearing Virtual Insanity back in the day that it was hard to be objective on this. Jay Kay always sounded too much like Stevie Wonder to me, but really, you don’t have that much choice who you sound like, and it’s better I suppose than sounding like Leonard Cohen. On closer listening, the arrangements really stand out. The band is tight, the sound is smooth and sophisticated. The instrumental jam is a bonus. The song-writing is unstructured and free flowing, though some tracks go on for a bit longer than they should. I know some reviewers poked fun at the socially conscious lyrics, but that to me, was a more a sign of the times – protest bands in the 60s and 70s were praised not mocked.

A nice mix of folk and psychedelic with some heavy phasing and a weird synth song, but it all manages to hold together well, even with the changing cast of characters. It’s a bit of a time capsule of some of the different movements of the (rich) music scene of that time, especially in the US. The vocals are very recognizable as The Byrds. I only listened to the original 29 minute vinyl release and would be far less enthusiastic if the Moog Ragga was part of the package.

I reviewed my notes from the last album of theirs. I mentioned a Bowie influence, which I hear less of now, but I'm getting more Morrisey. This LP doesn't seem to have a standout track like 'We are the Pigs", but there are a number of rockers throughout. Again, there are too many ballads, schmaltzy ballads. 5/10 for me.

The vibes playing the Kinda Blue riff was a nice start. The album has a jazzy feel throughout and the songs are loosely structured, a bit like Astral Weeks. There aren't any melodies that I’m dying to hear again. I think I prefer the songwriting on some of his later releases.

If you had told me that Black Steel was a cover of a Public Enemy song I wouldn't have been surprised. If you told me that I owned the album, I would have been more surprised, but then, Public Enemy didn't have a punk band backing them up. Oh well, I prefer the Tricky version and it's a song I never get tired of. As for the rest of the album, it was a brilliant idea to bring in his girlfriend, Martina Topley Bird and the other female vocalists. They make this a far more enjoyable (and sexier) offering than it would have been with just Tricky. This LP made Tricky, and his mates from Massive Attack the kings of trip-hop in the mid-90s (along with Portishead of course, who he samples on Hell is Around the Corner). I have to give a bonus point for Black Steel.

Wow, those noise guitar intros! I think there are more songs I like on this LP than Goo, but there are more songs in general. Now that I'm a grind core aficionado, I can better appreciate Nic Fit (all 59 seconds of it). I'm between a 3 and a 4.

I was pleasantly surprised with the hard rock start, although the riffs are a bit tired, not up to Johnny Marr's standards. The lyrics are classic Morrissey, that is to say, whiny and a bit obvious, but I guess that's what the fans who followed him after the Smiths split wanted. Some critics cite a TRex/glam rock influence, as well as a rockabilly influence but I really can't hear it. Finally, I have to say I'm surprised that Morrissey has 3 albums on 1001.

Spotify has been nudging me with songs from this LP over the last few years. I had a some of them on heavy rotation, Bloodbuzz Ohio, Anyone’s Ghost and England. It’s music for adults by adults. Matt Berninger has a great voice, writes somber lyrics and reminds me a bit of Nick Drake. The band is competent and stays out of the way so that the singing is front and center, although the drummer tends to pound away a bit Bonham-like at times, which to me means they’d be more kick-ass live.

Quite an interesting story, these GIs from the US recording an album in Germany, where they could more or less do whatever they wanted. I hope the record company wasn't expecting the Beach Boys! The vocals at times remind me of our buddy Dave Thomas of Pere Ubu. This certainly links early rock n' roll with punk and Avant Garde. I could see it being an influence for The Cramps or even Deja Voodoo (remember them?)

I was pleasantly surprised with their debut album, chock-full of hits and catchy guitar licks. This one not so much.

In general, I'm a fan of the Brazilian-inflected Acid Jazz bands of the 90s. I wouldn't make any of them Desert Island Discs but they're good to cook to and safe for when you're having people over. I don't know why this LP would get selected over the many others. I like the opener and Felicidade, but some of the others drag a bit.

I like the fact she was brave enough to strip down the songs so that there was just her voice and lyrics remaining a lot of the time. Nice enough.

I was looking forward to the noisy guitar-centric assault on the ears that they delivered on the last album, but it looks like they dialed it back, taking a more melodic approach this time round. They sound more like a run-of-the-mill grunge band here, but the song-writing is good. I liked Budge and Yeah We Know especially. I had to wait 9 songs to get the assault on the ears I was looking for with "Don't"!

The first track and the last track are arduous and punishing to listen to and the rest of the album is mostly filler. Religion is juvenile and obvious, like Johnny was still being guided by Malcolm. The only standout is the title track. My takeaway is that Steve Jones made a huge contribution to the musicality of The Sex Pistols and without him they would have sounded, well, like this.

I was only familiar with Gorillaz hits until now. I found the LP got off to a so-so start with the first two songs, but really picked up after that. The sequence of songs that begins with New Genius (brother) is great and there’s absolutely no filler until the end of the album. I especially like Sound Check (Gravity). The cast of characters that Damon Albarn brings in keeps it fresh and you never know what to expect. Despite the high level of creativity and genre swings it all hangs together nicely (even Ibrahim Ferrer sounds like he belongs)! A great album.

Like the Gorillaz LP I wasn’t too crazy about the opening track but loved it after that. The song intros are catchy – they drag you in quickly. The band has a good ear for new-wavy pop riffs - with some distorted guitar thrown in. I like the balance of guitar vs electronic beats, and the fact that they can jump back and forth seamlessly between rockers to a more trip-hoppy feel. It was a good idea to recruit Shirley Manson on vocals - she’s quite versatile and varies her style nicely with each change of pace. It seems like all members contribute to the song writing which is good because it doesn’t bore you after a half dozen songs, in fact my favourite might be the last one, Milk (not sure if this is the Tricky production or not). A 9/10 for me.

I didn’t mind this at the start. The first track has a good synth hook and is catchy. If I were to compare “Hypnotise” or “About Funk” to Daftpunk mid-90s stuff, for example, this is more melodic and poppy. “Music Makes You Lose Control” and “Hey You” are borrowed and barely bearable. “Sometimes” with Nick Kershaw on vocals is not even remotely bearable. 5/10

Holy Burt Bacharach! If this was from 50 years ago, I’d give it a higher mark. I like this type of orchestral pop when it captures the spirit of that era. It could be a Scott Walker tribute album.

Six times Platinum in Norway! I have fond memories of “Manhattan” from the winter of 88. I was in France and it was being played all day long in the cafes and bars. There are some great songs here, like “Everybody Knows” & “Tower of Song”. There are also some borderline-muzak stinkers, but as always, the lyrics save the day. He's still relevant 25 years after his first release. I usually think that back-up vocalists are a great addition, especially if the lead singer is as flat-line as LC, but here they could have been used more discreetly, like on “Songs of Love & Hate”.

I had a group of friends who were listening to Tom Waits and John Prine when the rest of us had switched to Talking Heads & B52s. They liked Tom because he was “greasy”. It seems that as his career progressed into the 80s his songs about America’s underbelly went deeper underground, with more obscure vocals and lyrics in addition to Vaudeville influences, trombones, baritones, accordions, marimbas, plus a few non-instruments. I remember we (my co-judge?) owned this album and the only song I paid much attention to was Frank’s Wild Years because there was a Raymond Carver story that had a similar plot line. I have a greater appreciation of it now, especially when listening to it back-to-back with his earlier, less edgy material, much of which we will be listening to, courtesy of 1001 over the next couple of years. He’s an uncompromising artist with the perspective that the rest of the world will have to get on the same page as him, not the other way around.

A nice enough album. It launched UK Garage apparently, though I don’t think UK Garage got played much in the clubs on this side of the pond, but what do I know, I’m 62. As I’m sure I’ve said before this type of music not well-suited for the LP format, it’s all about the singles, but I think you could say that about a lot of 60s albums as well.

I used to get a lot of mileage out of "Soubour" in my spinning classes. I like the driving beat and bluesy, guitar-up-front sound, as well as the fact they all sing. The song-writing is good. They stick to their style but the songs vary enough to keep it interesting. I only listened to it once, so I'll assume I would have liked it even more second time round.

I was disturbed to discover that there's actually a genre called "post-hardcore", yet pleased I had an album I could dismiss quickly and get on with my life. BUT then, guitar riff in the opening track blew me away and I read that there would be piano somewhere too (song 13 actually). Throughout, the guitar work is original, very riff-based - kind of Gang of 4 meets 80s metal, and they give the bassist and drummer room to play around a bit. The instrumentation deserves high marks, as do the lyrics, but the singing style is not for me. I can tolerate the 80s metal style but I'm not a fan of the pre-post-hardcore shouting.

It's too bad that he relies so heavily on dropping F-bombs and violent, hateful lyrics designed to shock listeners, because some of the music is alright. The best part for me was being re-introduced to that Dido song.

I listened to this full album for the first time a year ago, anticipating we’d be getting it, and knowing it gets rated among the GOAT on many lists. I liked the album more this time. The way Joni jumps around from guitar to piano keeps things fresh, something hard to do for a folk-singer with minimal production and accompaniment. As a producer she does some nifty things, like The Goodbye Baby Goodbye part of This Flight Tonight, which almost sounds like a sample, and the way she toys with jingle bells in The River. The lyrics are very personal, her habit of referring to her boyfriend as her old man is funny, especially since most of the time the guy was in his early twenties. Her vocal range is amazing and compared to her folk singer/song-writing peers from the era she is certainly at the top.

I like the contrast between the two sides. Side 1 is straight forward punk-inspired (my faves are The Wait and Tattoo Boys) that sound a lot lot like what many other bands at the time were playing, except better, and then they get more creative on side 2, with reggae and pop. It reminds me of Blondie's Parallel Lines. Chrissie is a real force, smart and angry and talented, a great band leader. I saw them in 1980 at Heatwave and regret that I didn't know most of their material then.

I would think that the folks who heard Sunshine Superman on the radio and ran out the buy this album would have been disappointed. At first, I was dismissive of the esoteric, psychedelic folk, especially the way he pronounces the words in a weird way in order to maintain the rhythm of the verse, but it grew on me, especially side 1, after a while. And the title track is a sixties classic.

This is a weird one. I read somewhere that this was inspired by the MC5 but I find that hard to believe. It’s more like spaced out psychedelia. The 4 hard rockers (if you include all 3 versions – and 36 minutes – of Suicide) seem out of place, as does the version of May the Circle be Unbroken (!) I reviewed the albums I gave a 1 and this is definitely not a 1.

I have to say that rap has come a long way since RDMC. Today's rap is smoother and they don't shout out the rhymes (except live maybe). I know this is a landmark album, and they are a landmark duo - the first to dump their velour suits for adidas and track suits (a big step forward). Musically I find it a bit irritating. Tricky is catchy, but the track that gets the most air play, Walk this Way, is to me, a tribute to how great a pop-rock song the original was. The 10% that RDMC add, I could do without. It was a big crossover. Rick Rubin, bla bla bla, but I like most of the rap we've heard more than this.

Wow! That first song was so great! The guitar! So much promise! And so lackluster after that! The title! Hilarious he has a song named Maudlin Street, the second song in a row where he uses the phrase “I truly Love you”. (details may not be exactly right, I couldn’t go back and listen to it again) I agree with the Spin review: "without guitarist/composer Johnny Marr at his side, the mahatma of mope rock seems to have gone out for a nice depressing stroll without noticing that he didn't have a stitch to wear".

I remember listening to the first song a lot when it came out. It was a staple of the chill/downtempo/electronica movement. The second song has some spirit. Story of Light is good too. The rest is nice enough, at times the dub bass lines and drums kick in a bit too predictably. It’s very soothing, good for a hot yoga class, or good to listen to if you have insomnia. Having learned that he produced and co-wrote Madonna’s Ray of Light, I went back and listened to that album and his influence is left, front and center. But it's a more caffeinated William Orbit.

My first impression listening to track 1 is that the sound is quirky & fresh (even 30 years later) and she's clever, in a good way, and a bit angry maybe. The only song I was familiar with was The Divorce Song which had blunt, personal lyrics that really capture a relationship gone sour. For me, she could be a bit less explicit. I’m sure I've ranted on this before (maybe for rap albums?) but I think that great lyricists don’t need obscenity to catch your attention. I mean, Fuck & Run is a good song but does it get so many more plays because it's that much better than others or is it the title? She uses sex to sell herself, as this and a few of her other LP covers show, but it's with tongue planted in cheek.

I don't mind the music, a bit middle of the road for me, definitely adult-oriented. The sort of thing the Grammy folks like. Coldplay probably has a handful of songs I like. Clocks has been one of them, so I'm happy it's on here. A few of the others work for me, it's just hard to figure out what all the fuss is about. I'm tempted to give a lower mark but I'd be penalizing them for their success.

My co-judge pointed out the Bob Dylan similarity. Prine is a country-folk version of BD with lyrics that are, by contrast, simple to decipher but still great. Lots of humour and social commentary especially about the war that was happening at that time, in songs like Sam Stone and Flag Decal. It's a great debut album, considering he had never played with other musicians before.

I remember hearing a live, duet version on Youtube of "Everything is Free" and thinking it perfectly summed up the state of the music industry today, from a sad but funny personal perspective. I read "How Music Got Free" around the same time. They made good companions. The title track is epic and there's really no filler on the album. Just the two of them strumming away, unaccompanied, playing original material - some Appalachian, some bluegrass, some folk, some country mixing it up enough so that it stays fresh. Great lyrics throughout! I was leaning toward a 5 but my co-judge told me to calm down.

After listening to the 1st couple of songs I feared this was one of those "accomplishment" albums that made it on to the list it was acapella (with Bjork's voice, a scary thought). Then I hit the third song "Where is the Line" and liked it. The next track "Vokuro" was great too but very different. "Triumph of the Heart" is adventurous. Some of the others are enjoyable but often followed by something annoying.

I've never liked the title track, possibly because I thought (and still think) the drum solo was uninspired and technically deficient, like he could have played it with his elbows. The keyboard solos aren't top drawer either. Comparing it to the first full-side songs I was introduced to (by Pink Floyd or Yes or Mike Oldfield) this one was more simplistic, like a 3-minute single that got extended. I just read that IGD inspired heavy metal and that's an interesting point - the riff that runs throughout is pre-metal, and they were playing this song a lot in 1967. Side one is ok, the singer has a a rich voice, for a psychedelic band. They were on the same page as The Doors in many ways, but less diverse and without Robbie Krieger's guitar playing and knack for writing hits. Funny story about the song title.

Weirdness all round. First, because it sounds a few years out of date, belonging more to late sixties psychedelic orchestral pop. Also, the topics explored make it an album you'd want to have Wikipedia at your side to make sure you get all the references. Picking Lowell George as the guitar player is a shocker since Little Feat (and all the other artists that George accompanied) are the exact opposite of this stuff. That said, I kind of liked it. It's good that there was a time when a record like this, hard to define and out of place, could get released by a major label.

My first thought was, are we really going to get all 3 Stooges albums ? Because I wasn't in love with the one we already received. Then heard the first song, (what a rocker!) and then the 2nd and 3rd! Dirt is such a great dirty blues break, just at the right time. Iggy's vocals are at his best. He says he was channeling Howlin' Wolf on this album. And then the sudden introduction of the saxophone in 1970 to start side 2! A brilliant idea and I was on the way to a score of 5, but the final track was a too Avant Garde for me. But, that's only 5 minutes and the other 32 minutes I'll get a lot of "mileage" out of on my trainer.

My co-judge said that it reminded her of the Beatles and I agree. It's interesting that the Producer of Rubber Soul and the first 3 Pink Floyd albums produced this, because the harmonies at times remind me of mid-sixties Beatles and the electronic soundscape tangents remind me of early PF. I didn't realize that this LP was (the first) Rock Opera until I had listened to most of it and even though Pete Townsend denies it's influence on Tommy, there are definite similarities, especially the way the LP closes out. I'm not usually a fan of psychedelic rock, and the first few songs which I listened to while multi-tasking confirmed this, but the sequence of 3 songs that started with Private Sorrow really caught my attention. They were definitely pushing the boundaries in 1968.

So many songs about love lost, it could have been a country album 😉. Her voice is a bit faded this late in her career but she could still bring out the sadness in the songs. Knowing the pain and difficulties she went through in her personal life helps, I suppose. The orchestral arrangements don't get in the way and provide a nice cushion for her voice. Her singing style is more recognizable than just about anyone else in jazz history, okay maybe not Louis Armstrong, but could he really sing?

It's interesting that Mark Knopfler wrote the title track but thought it was too girly for Dire Straits. Also interesting that she elected to cover 1984, probably for no reason other than it was 1984! I don't mind the opening track and Steel Claw is a rocker, but they all have that commercial radio 80s sound that I hate. As far as the hits, there were far worse songs on the radio at that time.

To me this was the album where The Beatles went from being a band constantly drowned out by screaming, fainting girls while cranking out singles that had the word “love” in every bar, to a band with more sophisticated arrangements, drawing from more diverse influences like soul, English folk, and country, but still sounding like the Beatles and moving the mid-sixties music scene forward. I enjoy the 4 different vocalists. John's lyrics are getting darker, for the first time I think.

I’ve always poo-pooed Afrika Bambaataa and said that without Kraftwerk, no one would have ever heard of him. But this LP makes me appreciate that he was the creator or at least one of the creators of electro and Miami beat – both cheesy, but long-lasting club genres. As good as that looks on a resume, I still find the vocals beyond annoying. It’s more bearable knowing that Kraftwerk got $1 for each single sold. That’s $1 million in the US alone.

It was very tempting to give this a pass, since 1) I've always despised Lynyrd Skynrd 2) thought that Sweet Home Alabama as a rebuttle to Southern Man was racist 3) I've never liked Southern Rock and 4) I haven't been feeling too much love toward truckers this winter. But I decided that maybe I could just listen to it enough to trash it. The first song seemed to be poking fun at the south and at LS so I kept listening. The singer has a great voice that he can adapt to the different styles (country or rock), the song-writing was great, and there's some good guitar playing. The decision to reconstruct LS riffs was a nifty idea. They address my issues with Neil & Ronnie and provide a southern perspective on many of the hot topics that defined the human rights movement & still plague America today. Their sketch of George Wallace is similar to what I've read about him in the past. I would give this a 4 but but not without a deep dive into the lyrics first.

By '83 the Police were in my rear view mirror, and songs like "Every step you take" and "Wrapped around your finger" provided the encouragement I needed to keep my foot on the gas. I like the title track, especially part 2 (with Andy Summers' guitar more upfront). Some of the others I find okay, and the last 2 songs are filler. On early Police LPs I liked the interplay between of guitar and bass but there's not much of that here. Andy Summer's vocals on "Mother" are brutal and the rhythm is different. It sounds like mid-eighties King Crimson with David Thomas (Pere Ubu) on vocals.

As this is our 4th Sonic Youth Album, I'm noticing that each has (for me) one epic track, one that I'll want to listen too when I'm on my bicycle trainer, one "Kool Thing". On this album the song that stands out for me is "Catholic Block" even though it seems to be "Schizophrenia" for the rest of the world. I like that one too. After that 1-2 punch, it's a pretty decent album. I'm getting a bit tired of the one minute extended endings, but I guess it's their (his) signature move.

I didn't realize until now that Sam wrote all of these big hits! I'd just assumed that they got churned out by the boys at the Brill Building. This is a raw & energetic performance with a crowd who are madly in love with him. He's very talented all-round. This music isn't exactly my cup of tea so it's hard to assess, but that's the charm of 1001.

I love the bass lines and scratchy guitar. Nile Rogers and especially Bernard Edwards were so influential. Like the last Chic album sent our way, there are two big hits and a bunch of supporting songs. The supporting songs here are more downtempo, but still pretty decent. Despite the guitar/bass one-two punch, the opener is a bit annoying and the closer is borderline, so I'm giving the LP a lower mark.

I was pleasantly surprised by the first track. It's definitely more up-tempo than anything I can remember from the "Behaviour" LP. The lyrics are schmaltzy yet clever: Dreaming of the Queen is hilarious and epic at the same time. I like Tennant's voice, he's a great song-writer if you can get past the sugar-coating, and the production on more club-oriented tracks like Yesterday When I was Mad is adventurous. A definite improvement over the last offering.

Another interesting selection. This didn't sell much, was overlooked by the critics and it's main legacy is that it's on the 1001 list. That said, it's fairly interesting. I like the production, there's some adventurous samples, but the way he brings them in sounds pretty lo-fi. A lot of instrument playing is going on and not too much rapping. A bonus.

The issue I've had with Yes in the past is that they just don't flow. In this case, following up Roundabout with two 1 minute and change songs is jarring. One has to ask "why"? Such is the nature of Prog-rock I guess, especially in 1970. Compared to the stuff being released by Genesis or ELP around that time, you'd probably give the nod to YES as a band with greater long-term potential, based on this LP. The musicianship is great. Jon Anderson's alto voice, I like more now than I did back in the 70s. Lyrically I'm still not a fan "The music dance and sing, They make the children really ring". Really ring? "Heart of the Sunrise" is epic and genre defining, making the first and last songs on the original LP great and the rest not so much. Fortunately, the original did not include Paul Simon's America, so listening to Jon Anderson sing about the New Jersey Turnpike is, thankfully, optional!

I've been complaining about old school rap recently so I'll give this a higher mark for the production and smooth delivery, and the song about his mother.

I owned the Bob Dylan at Budokan Album and there weren't thousands of screaming teenage girls on that one. This could have been worse. One of the good things about live LPs, I reckon, is that they narrow the gap between good and bad bands. And Cheap Trick sounds like a pretty good live band.

I think that the opening side is a killer, especially the first 3 tracks, Sound of the Crowd being my favourite. Side 2 drags a bit, then redeems it self with "Don't You Want Me". I agree with Oakley that this hit isn't one of their stronger songs, but the opening chords are unforgettable, like "Cars" by Gary Numan or "The Model" by Kraftwerk. It's funny, the story about how, three days before having to go on tour (without a band) Oakley saw these these two teenage girls dancing in a nightclub and invited them to join the band as "incidental vocalists". They got consent from their parents and they're still touring!

Highly eclectic and way out of the box. I give kudos to the record company for financing this debut LP with its orchestras and choirs. I was a fan of Tightrope and Cold War, which I used in my spinning classes, but the rest I was unfamiliar with, and wasn't aware that it was a far-out concept album. She reminds me of early Bowie with the SciFi shtick and not being afraid of sound completely different. There's lots of musical influences and moods from classical to James Bond to Gospel to Star Trek. The Vocal arrangements are complex, especially on the second half. Its an ambitious debut LP. The top 12 songs would get a 5 from me.

Such catchy guitar licks – the guitar sound reminds me of Gang of 4. One can rant (as I often do) about “what’s the purpose of releasing a post punk/rock LP like this in 2004, so late in the game, blah-blah-blah” but if the song-writing is good, nothing else really matters. “Take Me Out” is epic and since I don’t listen to Indie 88, I still have a few hundred listens left until I’m sick of it. There’re a handful of catchy tracks, though some sound like revisions of the hit. Not a good sign for the band’s longevity. “Darts of Pleasure” I like.

If, as JG said, Joshua Tree marked the beginning of the end, this must be the end of end.

It's an interesting concept, taking conversations from the underbelly of NYC and laying beats beneath them. Some of the stories are riveting. I don't know that this is particularly ground-breaking, but it's okay to listen to. I could have done without the James Bond theme.

It's hard to believe "Rainy Day Women" was a smash radio hit back in '66. I don't remember hearing it in Sudbury. I like the story that Bob sent someone out to round up a brass section and vocalists (shouters) in the 2 in the morning and he insisted that they all must be intoxicated. That explains a lot. He dabbles with a bluesier sound on this LP here with songs like "Leopard Skin Pill-Box Hat" and "Pledging My Time". The album is like his version of "Rubber Soul", introducing a different styles and longer songs. I've always been a fan of "Stuck inside of Mobile, and of course "I Want you" and "Just Like a Woman" are the signature tracks. "Visions of Johanna" I have never been as crazy about as the critics.

This LP is definitely murkier and less punchy than "Stand!". It has that greasy sound that Exile on Main Street had, like they all got high and started jamming, though that's not possible here since the instruments were recorded separately. There's a free-form jazz influence, lots of keyboard solos and some real plucky bass playing. I guess I can presume that's Larry Graham, though Sly plays every instrument at one point or another. The longer jams I could do without and it would be a lower mark from me, if not that Family Affair is such a unique song. There was nothing before or after that sounded anything like it. In fact, Sly and the Family Stone have never sounded anything like it - maybe because he had guest musicians brought in. "Running Away" is another song that sounds nothing like the rest of the LP with it's sixties Burt B-type trumpet line that I like. "Spaced Cowboy" is cute.

I’ve always been a fan of the title track, especially the guitar interplay, though I would have preferred a radio edit, since I find the solo longer than it needed to be and not very inspired. So, I was happy that the guitar playing and arrangements were so outstanding on the rest the LP. They're quite intricate and no doubt out of place in 1977. They were like a pre-punk, post-punk band, or just a rock band I guess. Tom Verlaine has a pained and distinct voice that one can listen to for a full 45 minutes. 7 out of 10 for me.

Wow, certified Diamond in the US! I despised the hit when it came out - I've never liked songs about partying. I prefer their later albums where the production was more creative and the shouting was less in your face. I'm not a fan of throwing in heavy metal guitars to attract the white suburban crowd. The lyrics are chuckle-worthy. They had 4 years between this and their next LP and it was worth the wait.

A very pleasant album. I love the contributions by Gary Burton and the (unknown) violinist. To me it's a cross between tango, jazz and chamber music. It's hard to believe people could dance to this, but I saw a New Tango show in Buenos Aires a couple of decades ago, and the dancing was as adventurous as the playing.

I've not listened to RadioHead much over the years, except what I heard on indie radio or on compilations I picked up. I assumed that this late-vintage album was chosen because of it's much discussed pay-what-you-can distribution model and maybe not the music. Musically it stood the first test: I listened to it while getting groceries and each song caught my attention. They mix up the styles, bringing in electronics, distorted guitars, strings or hand-claps as needed, resulting in a sound that stays fresh song after song. I was debating a 4 or 5, but it sounded better on the third listen so…

I'm in the process of packing so I didn't have much time to listen to this. I like the guys voice and they're definitely a Roxy Music influence.

Even the songs that aren't considered the classics are classic.

When you compare this LP to Harvest or After the Gold Rush you can see the transformation of Neil Young's sound when he played with Crazy Horse. The production is sludgy and the playing is loose, more like a live recording. I like it when they say that many "long-time concert favourites" came from an album. These tracks usually weren't released as singles and the only way to determine that they drove album sales was to go and witness the live audience reaction after the first few notes. In this case we have Down by the River & Cowgirl in the Sand that fit that definition, not to mention Cinnamon Girl, but that was a single and not 10 minutes long. Fortunately for us, due to CanCon, we heard these songs more on the radio than the rest of the world.

I liked Eple when I first heard it. It’s one of my favourite songs to whistle. Fifty years ago, in an era when catchy instrumentals (like Hot Buttered Popcorn or Outta-Space) could become pop hits, I’m sure Eple would have made the charts. “So Easy” is interesting but they wear out the Burt Baccarat sample, though they elected to sample a version by a Swedish 60s pop-band, which probably saved them $$$. There are a number of well written tracks on the album and a couple are more forgettable rhythm or ambience based, typical of a lot of 90s downtempo. To quote one reviewer: “<Royksopp> combines the haunted atmospheres of Boards of Canada with the more traditional "song writing" sensibility of downbeat specialists like Groove Armada or Koop". With any musical genre, to me, it’s all about the song writing in the end. Boards of Canada got thumbs down from me due to a dearth of song writing, while I like the CDs I have by Groove Armada and Koop – and Royksopp.

Bit of a down tempo sound and a sense of humour. Lacking explicit lyrics.

Atmospheric indie with an extra dose of melancholy. I like the simple guitar work, which creates a moody vibe and reminds me a bit of the Cure at times. If you're going to pull off an album so sparse, you need good song-writing and exceptional vocals (like Beth Gibbons for example). The song-writing is pretty good and a few of the earlier tracks stand out. I was familiar with a remix of "Crystalized", which I quite liked. The female vocals by Romy Madley Croft are okay, but Oliver Sim's vocals bog the album down.

I think that by signing to Talking Loud records, MC ended up with much more of an organic, acid jazzy sound. I'm sure there are real instruments in there - the sax solo in the title track definitely and many of the bass lines move around enough to be real - but I couldn't find any musician credits in Wikipedia. There's a handful of well written tracks. I like his smooth delivery, especially in songs like Caroline and Victim de la Mode. He has a sense of humour, there's plenty of wordplay, which I can tell, even though I barely understand French and he sounds like he's having a good time.

I think the keyboard/synth riffs he lays down are iconic, influential and ahead of their time in 1973. I’m still amazed he plays most of the instruments. Like the other Stevie albums we’ve received, you have the hits and the supporting tracks. The hits on this LP are more political (a good thing by me) and the supporting tracks are more to my liking. The production isn’t as syrupy as his later efforts.

So, I guess this album was picked for being a technical breakthrough, the first album made entirely from samples (and a drum machine), according to Guinness, though I’m sure there were many albums that were 90%+ created from samples. His reliance on samples leaves the drum machine as the only instrument available to do solos, which is a bit annoying at times. On first listen, I thought there wasn’t much that differentiated DJ Shadow from a lot of the other trip-hop DJs at that time, but I liked it better the second time around. I like the moods and textures, especially on pieces that start with melancholic keyboard intros like “Producing Steam…” and “Midnight…” 7/10

It’s always great to get an album you don’t need to listen to (again) to review. The three albums leading to this one gave hints that they might move in this direction, but when they did, they went so all-in, it was a shocker. I bet a lot of the ‘new wave’ bands at that time were thinking much more out-of-the-box when they went back into the studio after hearing this. The problem with such a masterpiece is that there was nowhere to go after.

It was tempting to give this a higher mark, since the hits were so long-lived, and let's face it, they weren't the worse thing on the radio in the 70s. But by listening to the supporting tracks, one gets more insight into the influences behind the song-writing and sing-along style - and it's not pretty.

I wonder if my brother was dragged out to see these guys by his son, or at least Ghostface Killa? Anyhow, I like the production and the use of multiple rappers, but as always, I'm not keen on LPs that rely heavily on F-bombs to grab your attention.

I saw Buena Vista Social Club perform live in the late 90s and remember thinking "Wow these guys are old!" But the the music was great and it's fitting that performers who toiled away in relative obscurity under the US embargo for decades could finally get their day. It's a pleasant surprise to discover that Campy Segundo (the oldest guy, as I remember) wrote the signature tune, Chan Chan, and it became played around the world in in bars, restaurants and brunch clubs over a decade after he first recorded it. Such a great song! I guess this album would have never been recorded if those two African Hi-Life musicians weren't denied their VISAS, leaving Ry Cooder in need of a Plan B!

I like his musicality, his low-key delivery and using back-up singers and guests to create a layered, elegant sound. I was only familiar with "Bitch Don't Kill my Vibe", which I quite liked, and the songs from "Money Trees" to "Sing About Me" are great. His auto-tuned singing voice is melancholic and a nice contrast to the rap. Adding (non-sampled) choruses to the music is a big plus. I won’t comment on the Pulitzer-worthiness of his rapping but from what I can hear he’s less flamboyant and more confessional that most – and with a great sense of humour. With lyrics like “first you get a swimming pool full of liquor then you dive in”, I was leaning to a 5, but my co-judge wasn’t as enthralled. Regardless, I’ll be listening to this again.

It's interesting that, in Wikipedia, featured prominently in the lead paragraph of the review of this album is the fact that one of their (studio) back-up singers had also sang back-up on one of Pink Floyd's albums - wow!!! And the only reviews offered up are negative. The hooks are cliched, they are more pre-occupied with their looks than the music, the commercial rock sound was pretty dead by '83 and . Another questionable 1001 selection!

I only had time for a distracted listen, so I'll add a point.

So many sonic Youth albums.... I give this one a lower mark because 1) it doesn't have the one or two power songs that I want to play loud in my car over and over or ride my bike to (though Starpower is in that mold, but like much of the album, lacks energy) 2) I'm just getting tired of The Sonic Youth sound - this the 4th album, of 5. For a band to have 5+ albums on 1001, you'd think the sound would evolve more than this (think David Bowie, Neil Young or even Elvis Costello) but they sound pretty much the same to me.

It gets off to a great start with the funky bass-line and flutes in “Offence”, but the second track “Boss” was raw and irritating. Overall, I like her cool, laid-back delivery. I prefer the tracks co-performed with other artists, as I find singing gives the rapping something to contrast to. It's interesting she co-wrote all tracks with Dean Josiah Cover, the guy behind of one of my favourite under-the-radar projects, “Sault”, and he produced it as well. I think this definitely adds to the melodic feel of the album.

The title track is a classic, I like the way it seems to start in the middle of the song. The rest of the album, I dunno. There are a few more slow jams than I was expecting. I’m not exactly bolting to the dance floor when I hear it. I like their sense of humour, but the 11-minute song about shit is longer than it needs to be.

I'm impressed that Dolly wrote most of the songs on the album. I like the one where she tells her mother that her husband makes her have sex with other men. Pretty brave for 1971. She had a great, raw voice in those early days. The title track I am not so fond of, but the story behind behind it makes it legit.

I like the Funkadelic synth lines but could do without the F-bombs.

I've always thought Robert Wyatt was a bit of an odd duck, with his high-pitch, off-key delivery and his gloomy songs. But, learning that he was a paraplegic when he recorded this adds another perspective. The first song is lovely. The rest is listenable but I'm not a fan when the songs develop into more Avant Gard pieces. Still, you have to tip your hat to those who created and financed something this uncommercial. I read a quote by a Soft Machine guy saying that they voted out guitars early on, and RW seems to have followed that directive for the most part, but the solo by Mike Oldfield is instantly recognizable.

Over the years the critics rarely mention Patty Smith without mentioning this album in the same sentence, and especially her version of Gloria. I think her combination of (pre) punk and rambling poetry is a great one-two punch. There are brilliant tracks but some are a bit over the top for me, Birdland, for examples. I think her song-writing improved over subsequent albums, but this is a great debut and a milestone in the development of punk rock. The Robert Mapplethorpe photo is classic.

This is the sort of thing I liked to dance to in the mid-eighties. Catchy and accessible, a bit dark with some slower moody pieces. The “hits” (Love Vigilantes, Perfect Kiss, Sub-Culture) tend to have a similar sound, but that’s okay. They’re not Joy Division, but that’s okay.

I did something different with this one – I read the review before listening, which wasn’t a good idea, because I became annoyed that someone came up with a genre name as uninspiring as “post-rock”. At least “post-punk” replaced a far worse name, ‘New Wave”, and punk, for the most part, had actually ended, with the exception of those highly irritating American hardcore bands. Anyway, the first listen was drowned out by my sneering, but I became more interested the second time around. I liked the textures and their courage in making a 100% instrumental LP. I didn’t turn off Spotify when it offered up more Tortoise tracks. My co-judge says it’s nice background music.

This album would have been too weird to most listeners in 1967, with it’s shifts between mellow psychedelic and bluesy garage rock, edgy lyrics and of course, Nico's voice. It’s not hard to see why it was ignored by everybody. It went through a rebirth in the 80s when I bought it. I have a better appreciation for it now. There are a handful of timeless tracks, especially on S1, while some of the others grate the nerves. Nico is a bit of a downer.

Back when I lived in Ottawa, b4 I became a DJ I would tape late night CKCU FM and be thrilled when I got gems from the likes of Magazine, Teardrop Explodes or The Fall. If someone asked what I thought of those bands, I'd give them a thumbs up, based on the 2 songs I knew. On this LP, the more punk-oriented singles are respectable (and sound a bit like the Buzzcocks) and I love Howard Devoto's delivery. As the album plays on it gets more interesting and the music becomes more timeless, with songs like Motorcade/Parade and The Light Pours Out of Me.

This wasn't as bad as I was expecting. They've got a bit of the "loud-quiet-loud" shifts that the Pixies used. Tourniquet sounds like it could be an Alice Cooper song. Bring on Rob Zombie!

So here's something that I learned today: "Black Magic Woman" is a Fleetwood Mac song, first released in 1968 and written by their founder and guitar player, Peter Green, who BB King said was the sweetest guitar player he'd ever heard and Mojo Magazine said was the 3rd greatest guitar player of all time. Anyway, fast forward 11 years to this album. I agree with Mick Fleetwood who said that it sounds like 3 solo albums. Stevie & Christine's are predictable, but you can hear Lindsay leaning toward more of a raw, punk-influenced sound, with little involvement from the others, especially on the first 3 sides. His contribution to Stevie's Sisters of the Moon turns a good song into an epic one. I'm going to give it the mark I would've if the best 10 songs were on one LP.

It's a bit hard to believe that so many people, Americans, jumped on this hippy/country/folk sound in 1970. There's a strong CSNY influence. I prefer the songs that feature a single lead vocalist.

This album reminds me of one of those Stones albums from around the same time that had one or maybe two radio hits and then the band filled the rest of the LP with country or blues. Here, "Walk On" was the hit, sounding very 1974 (meaning the characters were recovering from a post-sixties hangover), and the rest of the album has a nice bluesy feel. I especially like "For the Turnstiles" and the title track. Also the fiddle and harmonica interplay on "Ambulance Blues" is great and makes its length more palatable. Great cover.

When someone put this on for me when it came out in '85, I wasn't too impressed. Listening to it now, it's not so bad, the guitars and lead singer give it some edge. I find the radio single, Jane Says, annoying and a sell-out. If you want an edgy alternative rock band from '85 who also wrote classic pop tracks, try the The Pixies.

In the eighties a handful of artists decided to make the move from a post-punk sound to a more rhythmic, dancefloor sound. Maybe they were inspired by Talking Heads’ Remain in Light? The thing I found in common with many of these bands (like Primal Scream) was that I wasn’t exactly rushing to the dancefloor when I heard their songs. That said, there are some interesting tracks here: The lead of track with its gospel choir reminds me a bit of ‘You can’t Always Get What You Want”. I like some of the housy piano-hooks throughout, which weren’t so dated in ’93. The plodding ballads however, highlight the fact that Bobby Gillespie’s voice is better suited for his first band, The Jesus and Mary Chain, than for this type of music.

When I was fifteen I despised these guys because I wasn't a fan of party-rock and they looked ridiculous. Detroit Rock City is the high point of the album. There is an abundance of low points.

An album containing "Fast Car" would never get anything below a 3 from me, even if the other songs were silent. There are a handful of other tracks I like especially "For My Lover" and "Mountains and Things." I don't remember too many singer-songwriters kicking around in '88.

The first couple of tracks have a lotta punch. This is the kind of album that would have been on my radar, had it been released in 1977 or earlier, but I don’t see it as relevant in 2001. It’s interesting that Wikipedia doesn’t mention any critical acclaim outside of 1001.

Papa was a Rolling stone is still ubiquitous 50 years later. The bass-line is instantly recognizable, as are the wah-wah guitar and trumpet. Of course, The Temptations don’t play any instruments, nor do they write songs - but they are great vocalists. Overall the album is too ballad driven for me. It’s interesting that they nailed their signature tune on their fifteenth album.

It's possible that if this came out in 1971, when I stopped listening to Tom Jones and Sandler and Young and started listening to Black Sabbath, I would have been all over it. It’s easy to dismiss them now, since I've had no interest in the 2nd, 3rd or 4th waves of metal. But, the guitar playing is suitably over the top (and definitely catches your attention), they have good energy, nice changes of pace and the lyrics aren’t garbage. I guess every generation will spawn new metal-heads and kids born in the late 70s needed metal they could call their own.

I've never been a fan of Metallica and didn't know any of their songs. This was a bit more commercial and smoother than I was expecting, after listening to Megadeath yesterday. Of course, having a symphony orchestra back-up can do that, not to mention the fact that they had been kickin' around for 20 years at the time of this release, well into their U2 phase. Overall I don't mind this LP, though I find the occasional 'scary laughs" by the singer annoying. I prefer Megadeath's full frontal guitar assault.

It’s interesting, the many directions that the ‘new wave’ bands of the 70s wandered off in. This has a psychedelic, sixties, almost orchestral pop feel, with hints of the Beatles (especially Ballad for a Rainy Day followed by 100 Umbrellas). Dear God is a great song and I especially like bringing in a guest vocalist. It was the only song that caught my attention on the first lesson, but everything’s better second time around.

In listening to songs like Kurt’s Rejoinder you get a good sense of the impact that he had on David Byrne’s solo albums. King’s Lead Hat sounds like it belongs on Fear of Music, which came out 3 years later! No One Receiving and Energy Fools could have been out-takes from side 2 of Heroes or Low. After listening to this I get a better sense of how Eno influenced the sounds of other artists, though as an album, it seems a bit disjointed to me.

I think this is my favourite Springsteen album. I watched a documentary on the making of it, which took a long time due to legal issues, and he had composed and demoed 70+ songs for the LP, finally selecting the best 10. The structure is similar to Born to Run. You have your anthems like Badlands and Promised Land in place of Thunder Road and Jungle Land. Adam Raised the Cain is the perfect song to replace Tenth Avenue Freezeout as the 2nd track. There’s a great deal of diversity, yet it hangs together well, and of course it's the perfect sketch of blue collar America in the 70s. I found his songs became a bit more formula on future albums.

Pure ecstasy!! That's what I'd need to ingest to enjoy this stuff – 100% pure ecstasy. There’re a few great dance floor thumpers, but not really enough to carry an album. “No Good” is an excellent track. Even though by 1994 that sample had been around the block a few times, no one did it with the energy or bpms of these guys. For me, they could have used 1 or 2 more songs like 3 Kilos, moving away from that relentless hardcore breakbeat sound, but then it would have been a different animal. I think their cohorts at that time, Fatboy Slim and Chemical Brothers were doing more interesting stuff, though Prodigy were more frantic.

Morrisey's voice is much more palatable with Johnny Marr's guitars underneath. He's such a creative and diverse rhythm guitar player - compare "What She Said" to "That Joke isn't Funny Anymore". "How Soon Is Now" isn't on this (UK) release and even though I'm so tired of that song, it would have earned one more point.

There really wasn't much to differentiate Echo & a lot of the other post punk bands at that time, except for Ian McCulloch's voice and style, which can be predictable. I prefer the more lush sounding material they put out later.

My co-judge informed me that I should have given Echo & the Bunnymen a 4 since she had most of their albums and liked that one. She also said WILCO sounded like the Stones, which is interesting since the critics compared this album to Exile on Main Street. I prefer it when Wilco settle into a rootsy, alt-country sound, which Tweedy's voice is better suited for. He isn't a good rock singer and the handful of rockers on the disc seem like they belong on another CD by another band. Exile on Main Street, by comparison, also borrows from different genres, but no song sounds out of place.

When I saw we got Jorge I was hoping that at least one of the songs I would consider his "anthems" would be on it, and I lucked out and got 2: "Ponta de Lança Africano (Umbabarauma)" and "Taj Mahal". This was certainly funky stuff for 1975 and Brazilian hits are great to sing along to, as live audiences down there love to do!

My co judge is a huge fan of this album and reminded me that when it came out it revolutionized rap (we thought it did anyway) with its sophisticated use of samples, political stance and Farrakhan references. Many of their samples and original vocals e.g. “Yeah Boy” have been sampled in turn, many times over the 35 years since its release. The energy level is through the roof, the beat is infectious and it’s chock full of still-classic tracks, including “Don’t Believe the Hype” and “Rebel Without a Cause”, though I must admit I prefer Tricky’s punk-metal version of “Black Steel in the Hour of Chaos”. Modern rappers looking for high-impact lyrics without dropping F-bombs every three seconds should check out “She Watch Channel Zero”.

The first three songs not only rock, but draw from different styles. If you were to compare these guys to the mid seventies competition, ACDC, Van Halen, Kiss, Aerosmith is more creative and less commercial. Steven Tyler is annoying but he delivers the goods, especially on a song like Back in the Saddle and Joe Perry is the kind of guitar you want in a band like this. These songs sounded more familiar than I thought they would. Hmmmm.....

This has a nice sunny sound that would have sounded fresh in 1969. The hits are great. The longer jams not so much. "Free Form Guitar" might sound better with Hallucinogenics – but I’d be worried about having a bad trip. “If You Leave Me Now” was in the distant future when they penned these songs.

The cover of Grape Vine is classic, but the rest sounds like it could be out takes from a Clash or Specials album. The lead vocal gets hard to listen to after about 90 seconds. My co judge owned this and knew all the songs, but agrees on the final mark.

Beck’s Bolero is an epic track with a stellar line up. Greensleeves is done nicely too, but I tend to like that composition regardless of who is playing. They sound out of place thrown in with a bunch of blues covers. That said, the blues covers are well done and the guitar playing is outstanding. I can even handle Rod in small doses. An interesting LP from a historic perspective, bring Jeff and Rod and Nicky and Jimmy together.

It’s hard to imagine an indie rock band coming up with a fresh sound in 2006. But these guys are certainly punchy, using lots of starts and stops and in-your-face guitar to give the music added energy. The lead singer has a great voice, the lyrics are clever and the hits are quality, especially “I Bet You Look ….” It’s the fastest selling debut album by a band ever, but I’m not so into this sound these days. I think I’d prefer their later material.

I really despised this album when it came out. I was just getting into punk and new wave in ’78 and then I started hearing these made-for-radio songs everywhere. People who had never heard of Talking Heads or Elvis Costello were suddenly big Cars fans. 45 years later, I still don’t like the hits but “Living in Stereo” is ok.

As I listen to more Temptations I get more appreciation for the song-writing team of Whitfield and Strong, who wrote so many massive hits, including "Heard it Through the Grape Vine" and "Papa was a Rolling Stone". Some of their tracks on this LP have a more interesting sound, what I would call a Blaxploitation sound, and socially conscious lyrics, like the title track or "Runaway Child Running Wild." The rest of the more traditional love songs I could do without, but the Temptations delivery is superb.

I only had a chance to listen to this once. As far as hits go Common People is quite good. I also like FEELINGCALLEDLOVE. The rest I'd have to listen to again. Jarvis Cocker writes clever lyrics.

There is a nice delta blues feel to this album. I like the addition of sax and flute and of course background singers.

Elvis still had a lot of gas left in the tank when he made this album. There are a number of catchy melodies, he mixes up the styles a fair bit and The Attractions have a nice punchy sound. Overall he was way ahead of most of the "punk bands" around that time, lyrically for sure. I agree with MC in that Lipstick Vogue and Chelsea are highlights. My co-judge can't figure out why Pump It Up was such a hit.

The album got off to a good start. The first song is elegant, the title track is quirky with its distorted vocals and National Anthem is daring with its Avant-jazz feel. The rest of the album wore me down after a while. The songs lack structure and are a bit dull. I was asking myself why I liked “In Rainbows”, an album that came out seven years later, so much more? To jog my memory, Spotify played “Nude” from that album after “Kid A” ended. The overall production is less muddled but the main difference is the “Nude” is more melodic. I like the reviewer who said that Kid A is "more fun to think and write about than it is to actually listen to".

So dark and bleak. The synths bring everything together beautifully. The riffs are minimal and build nicely through each track with great attention paid to every note. It reminds me a bit of some of the below the radar tracks on early 80s Peter Gabriel albums. The songs are well-written and different enough to hold your interest for 50+ minutes. The lyrics are personal, murky and cryptic, full of references to snow and water and streams - like a winter in Sweden. A great album to listen to with Eraserhead running in the background. I didn’t love her use of synthesizers to get a deeper, male-voice, but hey, that was only in 2 or 3 songs and it was the thing twelve years ago, after all.

I owned an Ed Kueper album and I had heard of The Saints but never listened them. The first thing that hit me was Chris Bailey's distinct voice. With a voice like that you know you'll end up singing in a band. Musically, he and Kueper create a raw energetic sound somewhere in the space between punk, R&B and glam rock.

Some of the songs are catchy (One to Another) and I don't mind the the overall sound but I don't see this LP coming out in 97 making much of a contribution to the alternative rock scene.

Well, 1001 has told me that I don't like metal and I'm not crazy about rap, so I guess the writing's on the wall when it comes to a fusion of rap and metal. It's astonishing how many albums this sold!!! I guess if I was 14 when listening to their first album and my parents were listening to Fleetwood Mac, I could be drawn in. Some of the intros are catchy especially when the drums kick in.

My co-judge and I accused each other of owning this, but I think we were both wrong, it's more likely that it was released while we were at CKCU and we heard it there. "Secret 77" (especially the vocals) and "Sacred Love" I can listen to. I'm not so enamored with the dives into speed-metal that dominate the front-end of the album. I usually like guitar solos, but I found Dr. Know's guitar a bit grating, especially in the first few few tracks.

I like some of the Beatles non-hits, usually about guys telling their girlfriends how devoted they are. Aside from Money, I'm not so crazy about the covers, Til There was You is interesting because it presents McCartney's voice in a different, throw-back crooner light. Postman was a mistake. The album is interesting because it highlights the big changes they made a couple of years later with Rubber Soul.

Bobby Womack has written some good songs through his career, and while I wasn't expecting another "Across 110th Street", I was hoping for something better than this. This is over produced 80s soul and pretty late in the game for the guy who penned the first Rolling Stones hit.

This clearly would have turned a lot of heads in 1969 with it's heavy, aggressive sound and over-the-top vocals. I remember reading that, when Ritchie Blackmore of Deep Purple heard this (DP sounded more psychedelic & proggy then) he came to the band and said "this is what we are going to sound like", and fired their singer. In many ways the sound of Rock Music changed after this album. I've heard all of the songs separately but hearing it all together, it's bluesier than I remember, and a bit folkier as well. "Good Time Bad Times" is a great lead off track. My favourite is "Dazed and Confused", and it's good to hear the composer got paid royalties 41 years after this release.

I was going to skip this but I wanted to make sure that thrash metal is amongst the metal genres that 1001 lists as my "least liked".

I was thinking as I listened to one of the songs, this sounds a lot like Mahlathini and the Mahotella Queens. And of course, it was. At times, this seems like a collection of African Music vs a MM LP, yet he doesn't credit the original musicians. If you were to compare this to efforts we received by Byrne/Eno or Moby, (who do credit the original artists) they used only snippets of the original material, completely transformed them so that the accompanying instrumentals could stand on their own. MM doesn’t do much to the original tracks and his actual “original" compositions sound like square dances.

My first reaction was that this band, who sounds like they were doing ’78 in ’98, were getting the nod from 1001 because they were an all-girl band and there were so few of those around who weren't pre-fabricated, made for MTV types. But I found them amusing with the the politicized & funny lyrics, combined with a sound that is sometimes punky, sometimes doo-woppy, often relying on low-fi synths and the occasional screaming. Certainly more varied and listenable than The Slits.

This is too over-produced for me. I listened to her 1971 release, and while the production was better, the song-writing was still lacking.

You can feel the heart ache in her songs as she writes about love, her abusive relationships and her addictions. The Dap-Kings and Mark Ronson’s production give it a very crisp modern Motown sound, but with a top-tier jazz vocalist at the micro phone. There are a handful of terrific, catchy songs that are destined to be played for a long time. Delving into reggae was not the greatest idea, but that small digression can be forgiven.

I guess I'm not a fan of Tropicália. I find the overall sound a bit light and the music unstructured. I thought maybe I just wasn't in the mood, but when spotify (twice) offered up other Brazilian artists afterward I started bobbin' my head and snappin' my fingers.

My comments are similar to those I left on Bobby Womack. Curtis Mayfield has written and performed some epic tracks that are still relevant 50 years later, but none of them are on this album. I'm certain that the lyrics are well-crafted and socially conscious as always, and I even like the instrumentation, but the music starts to sound tired fast. Robert Christgau gave this a D+. He's a tough critic but that's even a harsh score for him.

Without Take Five no one would have ever heard of David Brubeck, and it's the only song on the album not written by him - Paul Desmond created the famous melody only to set up a drum solo. It's easy to see why critics panned the LP - it doesn't swing with it's weird tempo and sounds very European for a West Coast group. Brubeck's piano playing can be a bit clunky at times but Paul Desmond's alto brings it all together nicely. The overall sound is pretty cool and the fact that the LP contains the most recognizable jazz song of all times is worth a bonus point.

I'm not a fan of industrial or metal, but this is more melodic than I thought it would be, with some ambient tracks thrown in as well. I guess he was lining up his soundtrack career. Still not a fan.

The very first1001 album!! What a great cover! It must be worth a bit these days. I wanted to listen to this while we were having lunch, and then while I was making dinner, but forgot. I mentioned on our last Sinatra album, that in my opinion, there were better singers from that era, Dean Martin being the most obvious. Frank, on the other hand had a more human sounding voice that would falter when he kicked it up a notch. The arrangements are nice. I like the way they might sneak in a muted trumpet for the last 10 seconds of a song. It was all so different then, in the pre-singer song writer era. The same bunch of 20-something guys from NYC were cranking out tunes for artists like Frank, with very predictable, safe lyrics, and arrangements that didn’t push the envelope. Anyway, my co-judge and I will replay this over dinner soon.

Whoa! This is a very dense album with many nods to free-form jazz, gospel, 70's funk and African Music. I counted 20+ background vocalists in the credits! It's not particularly easy to listen to, as "important" albums can sometimes be. I won't give it as high a mark as Good Kid, M.A.A.D City, which had catchier songs that I wanted to go back to.

I was lukewarm on this bleak sounding collection the first time through. As a fan of British Folk music, I wondered why they would have sent picked it, with so much other quality stuff out there. But the songs grow on you. Linda Thompson has a wonderful voice and Richard is a creative guitar player and great lyricist, though a bit dark.

Could Paul Simon be the most over-rated artist of all-time? Why not send us a collection of John Denver Ballads? I'm baffled how this LP, which was a commercial and critical failure, could be picked over many exceptional and influential LPs that did not make the 1001 list. I was willing to suffer through the whole thing, but my co-judge told me to take this "middle-of-the-road garbage" off after three songs.

I've had this guy pop up on a few of the Acid Jazz collections I bought back in the 90s. I remember that his songs weren't my favourites on the collection, a bit too sweet and smooth for me. Though he has a lovely voice, the instrumentation is subtle and the accompanying musicians are top-drawer.

We watched a Carpenters documentary last year and I remember 2 snippets well. 1) A 20-year-old Karen Carpenter arriving in a limo at a hotel and being mobbed by fans - perfectly normal, except the fans were in their sixties! 2) The bank commercial with the song "We've Only Just Begun" which Richard Carpenter heard, got his hands on the original, and recorded a few months later. They went out of their way to sound different to the rock/psychedelic scene at that time which appealed to the older crowd. They were also anti-drug. I'm a big fan of 2 or 3 of their songs and Karen Carpenter had a wonderful "contralto" voice (and was a good drummer). The supporting songs include too many hits from a few years prior, which I suppose was a popular way to fill out an album in the pre-singer songwriter era.

After Surfer Rosa and DooLittle this LP doesn't seem to be taking us anywhere. Velouria is a good song but seems like a rehash of Wave of Mutilation. Hang Wire sounds like... The album seems to be making a statement that their best stuff is behind them. Funny title, though.

I've never been a fan, due to my dislike of Sweet Home Alabama, but the first song I can dig. It has an Allman Brothers-meets-the-Stooges feel to it. "Tuesday's Gone" and the intro to "Three Steps" sound Stones inspired. The anthems (which I've managed to avoid most of my life) sound a bit Eagles-inspired and you know how we all feel about the Eagles. If you remove the anthems, and just listen to the more bluesy numbers, it's not bad, though it falls short of The Drive-By Truckers Southern Rock Opera which was dedicated to Lynyrd Skynyrd, and I gave that a 3, though I was stingy.

A duet with Donavon on the title track was a great idea. I like the production and creativity throughout, for example the James Bond theme in Unfinished Sweet. If you can get beyond the gimmicky horror film choruses of Sick Things and I Love the Dead they are decent, dark songs. The 2-guitar interplay I liked on their earlier albums has been replaced with a big production sound, courtesy of Bob Ezrin. I may rant about this more in the future but I'm surprised the 1971 albums that brought this band to the attention to the public and provided the basis for the theatric shows they become known for would be overlooked for this.

I was surprised to find out that my favorite song, “We Belly Full” was not a Bob M composition and actually, he received credit for only a few songs on the LP. But it turns out he was in a contract dispute so he gave the royalties to friends and family. I gave a 5 to Exodus because every song was strong, 0% filler. I like these tracks too. If I were to compare him to 70s soul singers, singing about social injustices, he would be at the head of the pack, but just short of the bar that he would set for himself.

My co-judge says prefers this "old time country" to New country. I like the slide guitar (though a more adept guitar player might not) and overall twang. This is the sort of thing I'd love to be playing at a greasy spoon on a Sunday morning while I read the paper, drink black coffee and eat hashbrowns and Canadian bacon.

So I really don't like Kanye and his antics, but this album, with it's sampling and army of back up vocalists give it a very listenable funky soul gospel feel. It reminds me a bit of the last Kendrick offering. I especially like the "chipmunk soul" tracks, like Never Let me Down. Jesus Walks really pushes the boundaries. I expect the budget for this debut album was massive. I'll add a point for making an album with so few F-Bombs but I could have done with even fewer spoken word rants, which we seem to get too many of these days.

This sounds like they took a single and stretched it into an album. I like the first 7 or 8 minutes of the title track but it's painfully long. The LP was no doubt influential and ground-breaking, especially since this was their first pure electronic album. There's not too much on side 2 to catch my attention. It was 1974, I appreciate, but the compositions aren't very compelling. Spotify played something from Man Machine (and the Jean Michel Jarre) afterward which were heavenly by comparison.

For 1969, this was pretty progressive stuff, right at the cross-roads of blues-rock and riff-up-front, heavy metal. Jimmy's playing is great and varied throughout. The signature track would have worked better without the 90 second "solo" IMO. Deduct a point for the plagiarism.

I like the rockabilly twang and his delivery on songs like Blue Suede Shoes, I Gotta Woman and One-sided Love Affair. It's easy to se how he would have turned a lot of heads in the mid-fifties. His voice seems off-pitch and wavering on the ballads, which aren't my cup of tea. Great album cover.

It is a rare album that could have influenced both punk and ambient artists. That said, it's wildly inconsistent, with it's moody, melodic side 1 and an aggressive side 2. I like Seeland and Leb Wohl on side 1. Hero is a good proto punk song, if a bit long. E-Musik and the rest I could do without.

Why do Brazilian male vocalists always sound so sad? It must be the Portuguese influence. Maybe they're channeling Fado? The first song is lovely opener and there are a number of other songs that catch one's attention (Like Trem Azul, Girassol and the title track). I like the mix of styles - the occasional introduction of piano which is uncredited but I'll assume is Milton and the strings which at times sound Beatles-like. It's the sort of LP that grows on you. I only gave disc 2 one listen but I'll round up.

I think if you had to put one song in a time capsule so future generations would know what prog-rock was, it would have to be "Close to the Edge". I like the way it starts off cacophonically and takes a few minutes for the different themes to unfold. Listening to it now I find the sound more guitar-oriented than I remember, though Chris Squires on bass has very active fingers. Rick Wakeman is surprisingly in the background but when it's solo-time he makes a big splash. The intro to "And You and I: is promising but the rest sounds too much like an attempt at a mid-seventies folk-rock radio hit. Siberian Khatru could be my favorite. It's the most melodic, with catchy harmonies and a dazzling (but short) harpsichord solo at ~3:00. Anyway it's good to have an album with only 3 songs to review. I find this LP more consistent than "Fragile".

I'm not too crazy about the combination of a larger ensemble and shorter compositions, though the solos are nice. It's hard for me to get a handle on how influential this was. The west coast sound of the late fifties sounded similar, and this is quite different from the sound that Miles and Dizzy and Charlie Parker were putting out in the late forties. It's disappointing that 1001 doesn't pay tribute to either of those two guys who were a huge influence, but that may have something to do with availability of long play releases, etc. It's interesting that Miles would leave them and round up a bunch of white guys for his next recordings. Between a 3 and a 4 for me.

One thing you can be sure of is that no one's ever gonna sue these guys for plagiarism! They're brutal to listen to but I like their attitude, their relentless unlistenable determination and the fact they can create this wall of noise with just a bass and drum kit. Then of course there's the singing.... I'm glad 1001 picked what is considered their most "accessible" album. A step up from Napalm Death.

I like the way she switches from an airy voice to a deeper voice. She's written some great songs, with great personal lyrics over the years but an entire album, so sparsely produced, without synth pop hooks is a bit much, but that could be said of many folk artists. It's interesting that her producer and co-writer (of very song) Jack Antonoff, has done the same thing with Taylor Swift, Lorde, Florence and The Machine and others. Between a 3 and a 4 to me.

Party Line sounds like it could be a Beatles song. I think this was around the time that those bands were makin the shift from rock n roll to a more psychedelic sound, though they refer to this music as baroque pop or music hall. Ray Davies had such a distinct voice and I bet he influenced a lot of indie singers. Sunny Afternoon is timeless and reminds me what was so good about sixties pop radio.

The first 2 tracks are catchy. I especially like the second one with it's guitar lick and background vocals. In fact there are good guitar riffs throughout, the intros to some of the songs are Gang-of-4ish and at times the vocal interplay reminds me of the B52s. The lead singer can be screechy. It would have been an epic 1976 release.

There are some classic blues numbers here, well-delivered. I prefer the slower numbers that give Muddy and his musicians time to stretch out. Muddy's guitar is often less up front but the interplay with the piano and harp is very nice. With BB King at the Regal the insane club crowd stole the show, but here they are more laid back (maybe because 300+ had been arrested for drunkeness the day before). Many of the glowing reviews of this LP talk about the live performance and it's great part of the performance is on YouTube https://www.youtube.com/watch?v=fLTCIqfsefc

One of the reviewers said that the song, "High & Dry" was the basis for the Coldplay sound. Regretfully, once I read that I could hear Coldplay in that song as well as the other mega-played song, Plastic Trees. As for the rest of the album I like the guitars and the heavy/soft back-and-forth, which works well with Thom Yorke's voice (like in Just). Fade Out is a strong closing tune. Between 3 and 4 for me. My second favorite Radiohead album so far.

The first twenty seconds of the first song says "we are more than a punk band" and a minute later they hammer home the point with a guitar solo, of all things. They were definitely Introducing other sounds and styles on this album. Anti-Pope sounds like a Woodstock jam that breaks into a punk song. The last minute of Plan 9 Channel 7 with the extended guitar solo over falsetto howls may be my favorite. The more punk inflected songs I find less interesting, but they stand up well next to those of their peers from that era. Between a 3 and a 4 for me.

I wish I could run back and increase the score I gave to The Damn. This is one-dimensional and the big hit gets tired fast.

I remember listening to the hits in my company car driving around Ottawa when I scored my first job. A few of the other songs are pretty good - I like "This Town." It's interesting that when they decided to form a "punk" band none of them could play instruments.

Though I knew he played at Woodstock, I couldn't have told you much about the sound of Country Joe and the Fish. It sounds like they discovered psychedelic after they'd already recorded half of a blues rock album. The psychedelic songs like Bass Strings and Grace are interesting, especially for 1967, like something I would have played at 4 in the morning at CKCU.

While I dislike Kanye's antics, I'm definitely warming up to his music. Lot's of carefully crafted "songs" with original instrumentation, string quartets (!), talented vocalists & fellow rappers. Plus there are no 1 minute interludes (aka taping a rant by your drunken homey) and few F-bombs. It's rap for old white guys, with nods to King Crimson & Black Sabbath.

I appreciate their pop sensibility and the clever and subtle lyrics. If the production wasn't so radio-friendly, I'd like the melodies more, though it was 1987, after all. One More Time and Shopping are fun tracks, but it's hard to offset stinkers like What have I Done and it Could Have Happened Here. It's funny that Cat Stevens sued them unsuccessfully for plagiarizing his hit, Wild World in It's a Sin. It's a bit of a stretch. They're no Zeppelin.

I was familiar with their more dance-tronic material as well as the 2000 release that had a James Bond vibe happening and more in-your-face, eclectic instrumentation to offset Goldfrapp's airy voice. This is more mellow and understated by comparison. It was brave to release this after a chart-topping dance album. The subtle songs and elegant production take a while to grow on you, but I like it. Between a 3 and 4 for me.

I think that the raunchy rockabilly garage sound would be more entertaining if they wrote catchy tunes, but their originals get tired quickly. The album ends with Fever and their next album was 50% covers. The live videos I've seen certainly catch your attention but that doesn't translate well to an album. Between a 5/10 for me.

It's hard to give this anything less than a 4 with Black Magic Woman and Oye Como Va, as the 2nd and 3rd songs on the LP. While they are not original compositions, Santana's versions defined that late sixties experimental sound and they're still in high rotation today, sounding a fresh now as they did 50+ years ago. Gregg Rolie's voice is perfect in BMG as is his organ playing. I also like Samba Pa Ti as a guitar "opus" and the percussion throughout is terrific.

I've always appreciated Prince but never loved his songs. On this album, I'm impressed with the fact he plays so many instruments (the guitar wickedly) & I like his layered and varied production. It's an ambitious project, but the song-writing doesn't grab me, outside of When Doves Cry.

I disagree with The Rolling Stone critic who said "totally uninteresting and horrifyingly sterile package. All method and no madness: perfectly hollow and bland rock Muzak." It wasn't quite that bad.

I think I gave their debut LP a 3, which may have been a bit generous. I liked the vocalist and proggy tracks. Here, they've swapped for a more standard screaming metal vocalist, who I find annoying, as I do the lyrics of the cliched signature track, Number of the Beast. But I still like some of the guitar solos on the moodier pieces. It could have been worse.

While I was never a big fan of "R&B", I think that this trio, pumping out their hits in the genre's golden era is about as good as it gets. The three vocalists keep it fresh, as do the few dozen backup vocalists, plus the guitar and bass players who give it a Sly Stone/Isley Brothers vibe - without samples. My co-judge says it's catchy. I'm disappointed "No Scrubs" isn't on it but I'll listen to that one next!

A great voice, great hurtin' songs, many with reference to the devil and a few about cheatin' on a guy as a reprisal for him cheatin' on you. I like the fact that she and her sister wrote the title track which hit #1.

I've seen this LP around and I know it has sold a lot, but I've never listened to it. The first track I found lame and MOR radio-targeted. The following 2 tracks I've never liked much, but that could be because they were so over-played. I find it interesting that in 2011, Money For Nothing was banned in Canada because it uses the word "faggot", even though it's poking fun at people who refer to others (like Knopfler) as faggots. I guess the CBSC are the same guys who banned Barenaked Ladies because of their lascivious band name. The next 2 songs are made for Loblaws, condiments aisle. You get where I'm going with this... I'm adding a point because there appears to be some nice guitar work.

Music for cafes and tapas bars. It was hard to go out in the last 20 years and not hear Epoca playing somewhere. The album is nicely done but there is an element of sameness to all the songs, though that would probably be true of any tango album.

Initially I was hoping to find "Shake Some Action" on this album, since it's the only FG song I knew, but when I got into it I liked the bluesy, rockabilly-with-edge feel. The title track sounds very Howlin' Wolf. It's hard to tell from the Wiki notes if the lead vocals are shared, but if they're not, they certainly have one diverse vocalist. I guess you'd have to add FG to the list of the first (pre) punk bands, sticking to rock n' roll when hard rock and prog was all the rage.

My co-judge predicted early in 2011 that "Rolling in the Deep" would be a massive hit after I downloaded it for my spinning class. I poo-pooed her but over the following weeks people's eyes lit up with recognition more and more whenever they heard the first few notes. There are several classic tracks here that we'll be hearing for decades & I'm impressed that a 21-year-old Adele wrote them all. It's rare these days to find a talented artist who writes great songs and also gets played to death on the radio. I wonder if the guy who was muse for these heart-breakers received any royalties. 9 out of 10 for me, the deduction due to a few songs being a bit to soft.

I didn't get much of a chance to listen to this. A nice mixture of soul and hip-hop.

I wasn't looking forward to another Radiohead Album, but the loops in the opening track caught my attention, next came Pyramid Song, a descent ballad with nice piano and distorted strings, the next song was fairly electronic/experimental followed by those eerie retro vocals in You and Whose Army, etc. The album has been criticized as an album of outtakes, but I like that aspect - you're really not sure what you're going to get when you flip to the next track. They certainly are a creative bunch, continuing to expand artistically, not afraid to alienate the fans who jumped on board with Creep and wanting more of the same.

He has a rich voice and wrote a famous song that got used in a famous movie but other than that, I don't hear anything that makes this a standout album.

Pre-1001 I probably would have listed pop-metal as my least favourite genre, but now there are so many others competing for that spot. Kicking off with a song title like "Rock Rock til you Drop" assures a maximum score of a two in my books though I have to admit "Photograph" isn't my least favourite radio hit of the early 80s, so a one was averted.

This is a well-integrated album. Every song sounds like it belongs vs. some of the late sixties offerings, where the hits sound like they belong on another album. They move effortlessly from rock to blues to R&B and country twang and the production isn't quite as greasy as the Exile LP. Bobby Keys sax playing is standout especially in "Can't you Hear Me Knocking" where he leads off a very un-Stones like instrumental passage that ends with a Mick Taylor solo to fade out. For some reason (maybe the addition of Taylor) the guitar playing caught my attention more on this LP, but it's funny that the guitar work I was most impressed with was Ry Cooder in Sister Morphine. I'm tempted to deduct a point for the slaver whipping his women around midnight, but I'll pass seeing they pulled the song from live shows.

When you hear the first minute of the first song you know this is going to be different. The horns and the raucous background chatter & choir – the mix of progressive soul, thoughtful, heartfelt lyrics and a sophisticated modern, yet retro sound. The production & arrangements we owe to Danger Mouse and Inflo, who I notice, this time round, share the song writing credits as well. I like the way that one song mixes into the next, giving the sense that this is an album verse a collection of songs. I’ve liked MK’s earlier material and this LP was missing the obvious hits, but overall, it’s a more solid beginning-to-end effort with a greater variety of sounds and textures. I thank MC for bringing it to my attention back in 2020.

When I first heard Wish You Here, I thought it fell short of the bar PF set with Dark Side, and similarly Animals disappointed me after Wish You Were Here. But I came to love all three of those albums. With The Wall, on the other hand, repeated listening didn’t bring greater appreciation. Many of the songs embraced a harder rock, radio-friendly sound. The keyboardist had all but disappeared, but bringing in a couple dozen musicians and the NY Orchestra and Opera balanced things out. The guitar playing is outstanding and more center stage. Roger Waters has increased his vocal range and adopts different styles. Listening to 26 songs penned mostly by Roger Waters is a bit tiring and The Wall theme gets flogged to death, more so lyrically than instrumentally. So, in comparison to PF’s prior three albums, it’s disappointing, but compared to everything else out there, it’s pretty good.

It was a travel day yesterday so I only listened to this once. The title track is iconic with it's wah-wah guitar and I also like Soulsville, with Isaac's rich voice. No Name Bar I like but it wasn't on the original release. The other instrumentals are okay and probably would have more impact if I heard them during the movie.

There are some good synth hooks & songs on this album and it’s interesting to read about Gary Numan/Tubeway Army’s decision to drop guitars and change their sound due to the violence at live shows during punk’s heyday. Watching Numan perform live he’s a cross between David Bowie and Kraftwerk. The songs are a bit repetitive, but that's expected and I’m adding an extra point for the viola.

If I was on a business trip and had a layover in Houston, this sounds like what would be playing in the lobby of the Marriot.

Just as no one would have heard of Afrika Bambaataa if it weren't for Kraftwerk, far fewer people (especially in the white suburbs) would have heard of run DMC if not for Walk this Way. So even though I never liked the song, I can appreciate its legacy. The title track is also good and a few others are listenable. between a 2 and a 3 for me.

So many things happening in the background around this time. Bob Dylan going electric and this album, best known for its Dylan covers might appease his fans and start an American folk movement to counter the British Invasion. It’s easy to see why there would be such a backlash by more serious music lovers to the pop and screaming girls that the Beatles and The Stones brought with them. It’s also interesting that The Wrecking Crew arranged and played the instruments on Tambourine Man, so we can add The Byrds to the list of bands along with the Monkees, the Beach Boys and the Mamas and the Papas who didn’t actually play instruments on some of their most famous tunes. Anyway, enough rambling. I think Gene Clark is a good songwriter as he would prove later with 8 Miles High and on his solo albums. On this LP, in addition to the covers, I like Here Without You.

I haven't read anything about this release, but I would expect that Frank wanted to jump on the Jobim bandwagon since "The girl...." was such a massive hit and everyone was recording it. Jobim of course would have concurred since it gave him more exposure and partnering with American artists had benefitted him in the past. Anyway I prefer Frank's earlier work. He's no Astrud Gilberto (although in fact he has more range as a singer but not so much at this point in his career).

I listened to this a bit when it was released, since it made many critic's top-ten lists and "Shameika" got a lot of attention. It's a brave album - experimental, quirky with unusual rhythms, heavy lyrics and no attempts to score a hit. I want to give it a higher mark but it's a bit of a challenging listen.

"Hello It's Me" is one of my favorite Carole King-esque hits from back in the day. Listening to it now, it's still fresh - I love the interplay between Todd, the trumpet, the horn section, the back-up singers and the drums - I would have never guessed it was THE SAME PERSON doing every part, and producing of course. Amazing! I like that he attributes his prolific song-writing and production to Ritalin and weed. There are some great songs, though a few of the sound similar, which is bound to happen when you record 25 songs in 26 minutes.

We owned this LP in 95. Around that time an old high school friend of Sue's surprised us and invited herself and her two kids to stay for the weekend. She drank way too much rum and played "You Oughta Know" so loud I thought the speakers (and maybe her kids' eardrums) would break. After that we didn't didn't listen to the LP much. Listening again to the the first song I think it's great that an album so raw, lyrically and musically, could win all those Grammy awards. But much of it is mellower and more commercial sounding than I remember, though the singing is still emotive. The hits are good, especially Ironic. I'll add a point for being the youngest artist to sell Diamond and I bet this will be better than The Britney Spears LP that stole the title a few years later.

This is very soft, like James Taylor for the next generation. There's a lot of mega selling modern folk singers out there these days who sound equally bad. The modern production makes it worse. The cover of Say Hello Wave Goodbye is bearable, but not for 9 minutes.

The handful of originals are great as is the Tex Ritter cover. The Reznor tune and the Sting tune I was not familiar with but Johnny does a great job on both of them. It's a surprising song for Sting, like he had Johnny in mind when he wrote it. I've never been a fan of mega-artists covering songs that were mega-hits for other artists, so Like a Bridge/ The First Time and a 1/2 dozen others are a disappointment - the exception would be In My Life, which is powerful from the perspective of a dying man who has lost his wife. I'm going deduct a point for the aforementioned mega-hits (1/2 the album), though what remains is probably my favourite Johnny album that we've received from 1001.

Spotify has sent Strawberry Letter 23 my way a few times, and I wondered what’s so special about this guy’s cover of The Brothers Johnson song, it sounds a lot like the original? Duh! Anyway, this is really smooth funky stuff, with nice understated guitar playing - the sort of thing rare groove DJs would love. It reminds me a bit of Sly and the Family Stone. It’s cool that, like Todd R, he played all (or most in Shuggie’s case) of the instruments. The title track and Aht Uh Mi Hed are great songs and I wish he would have continued singing on side 2. David Byrne was very wise to add Strawberry Letter to his release and I’ll give it an extra point for that.

I remember seeing Adele perform Hello live at an awards ceremony the year it was released. I got goosebumps when she belted out the first note of the chorus and the crowd went wild. She has one of greatest and most recognizable voices of her generation. Young girls, and older ones too, must go crazy for her lyrics. On this LP I prefer the songs that aren’t the most popular. River Lea has a bit of a gospel feel, Million Years ago sounds like something I would have heard on 8-track in my uncle’s car in the 60s, I think I Miss You is my favourite with its moody feel. As a side note, it’s interesting that, Adele, like Beyonce & Amy Weinstein had all the songs written or co-written by the producers, who have very impressive resumes. I'm giving one less point than her 21 album.

I was only familiar with “Supermassive Black Hole” from this LP. Occasionally I would try a Muse track on one of my riding playlists, but they didn’t last too long, outside of “The Second Law: Unsustainable”. On this LP they (or should I say he) has an interesting tuned-down guitar sound that gives it a dark EDM feel. There’s a lot of different influences: symphonic metal, hard rock, prog, a bit of a Uriah Heep or Queen influence, plus heavy subject matter and apocalyptical lyrics. It's a tad bloated and ostentatious – you would hope they don’t take themselves too seriously, but they do. I prefer the heavier layered tracks like Map of the Problematique and Assassins and the crazy guitar (?) solo near the end of “Invincible”, which was needed 'cause it sounded like a U2 track up to that point.

I like the dark, trudging sound and Siouxsie's voice. Johnny Marr is a fan of the guitar work so I guess I am too. My favourites are Spellbound, Arabian Nights and Headcut.

I think this is my favourite Genesis album. The keyboard solo in Cinema Show is my favourite-OAT, with its many different themes. The instrumental passage in Firth of Fifth is great and Rolling Stone (I think) ranked Hackett's guitar solo in that song as one of the GOAT. His solo in After the Ordeal is good to. I like the opening and closing bookends + Epping - though I'm not so fond of the hit or More Fool Me. A big plus is that the entire band participates in writing the music and lyrics. Gabriel's lyrics are clever and can be hard to figure out for non-Brits. I once visited Song meanings (I think) to read more about the references in Moonlit Knight - it wasn't a short read.

It was a brave move to do a dark, industrial, electro album when all his previous albums sold so well. This was the first KW music I was exposed to, when it made the critic's lists upon release. I listened to Black Skinhead many times as I remember.

Mr. Soul is a deceptive start to the album, as it sounds different to everything else, like it's from another album, another artist. The rest sounds more country folk. The Neil Young songs in general sound different. Broken Arrow is adventurous for 1967.

Hardcore punk is near the top of my list of least favourite genres, but of that mob, Dead Kennedys are the only group who I can name a song from. The choruses and song titles stay in your head, California über alles, Kill the Poor and Holiday in Cambodia, for example. Not to mention Soup is Good Food, from another album. Dead Kennedys were America's Sex Pistols with more satirical and hilarious lyrics.

I tend to score Stevie's albums on the strength of the iconic hits with their ground-breaking keyboard licks while holding my nose for the syrupy ballads. In this case "Boogie on Reggae Woman" is great, "You Haven't Done Nothin" borrows heavily from "Superstition" but there are too many over produced ballads.

This LP has a big sound, with the strings, backing vocals and synths providing textures different than most indie rock. The lyrics are dark and the lead singer hasn't got a lotta range so it can get tiring after a while. Between a 3 and a 4 for me but I'll round up for the final 2 tracks, especially "cage".

I've tried to listen to Frank Ocean over the years and found him too smooth. The production is subtle and while each song on it's own is okay, there's not a lot of variation between them. I like Pink Matter with the surprise guitar solo and a rapper to give it a bit of edge.

After first listen I thought that many of these would have been traditional jigs and reels but it looks like Shane and crew wrote most of them - that said, there's no such thing as an original jig/reel. The song writing is strong. My favourite is Fiesta with it's polka/ska influences. A great band to see in a pub!

This gets off to a rocky start, the first two songs being throw aways, IMO. It was tempting to Did Not Listen this one, but I read about how much more assessible they became when Smith’s girlfriend, Brix, joined, co-writing and playing guitar. There are some catchy guitar intros as in Spoilt Victorian Child, which I liked. This is followed by L.A which I remember as A Fall anthem, which I’m happy to get reacquainted with and it will come in handy for indoor cycling.

A great combo of traditional country with all it's southern rural hurtin' themes and a modern, rocky, but not overproduced sound. Her voice seems weak and flawed at times but that adds to her vulnerability. I especially like it on Drunken Angel and believe that there may be a few alt country singers influenced by that sound, based on what Spotify sends me. One more listen might get a 5 from me.

I find this interesting from a historical perspective. There was so much happening in 66: pop and psychedelic rock were coming on strong, as was folk-rock; prog was just around the corner. And then there was blues rock from the UK which featured a heavier version of what Muddy Waters & John Lee Hooker were doing at the time. John Mayall's voice is a bit thin for me, but the guitar playing is great.

Vocals sound Queen-influenced, although these guys cut their first LP at around the same time (1970) so who knows. The music reminds me of early Roxy Music, but not as good.

1977 is early for putting out an "electronic punk" album so without doubt they were pioneers, but the music is so minimal plus I've always had a low tolerance for Allan Vega's voice and old time rock n' roll delivery. Frankie Teardrop has landed on my plate a few times over the years and I've never made it past the first screams.

I remember hearing Love is a Stranger the first time and thinking the vocal sounded dreamy and unique. The next song, I've Got an Angel has the same quality, whereas songs like Wrap it Up and This is The House borrow more from R&B. I've tired of the title track but that speaks to its longevity

I would say that Echo & The Bunnymen nailed it with this album, as far as finding that signature haunting & moody sound. The orchestra adds a lot & separates them from all the other post-punk bands. Ian M reminds me a bit of Jim Morrison, but Jim is easier to listen to for a full day. Between a 3 and 4 for me.

I think that it's great she would have brought these traditional songs to the attention of the 60s folkies. I like Silver Dagger, All My Trials and especially El Preso Numero Nueve. An obvious comparison point for me would be Joni's Blue album. I give Blue a higher mark because the songs are originals and Joni, as a multi-instrumentalist, created a more varied sound.

I think the inclusion of Jaco Pastorius is a big plus on this album and certainly a factor in why it got the nod to be on this list. When folk/soul artists venture into the free-form improvisational space (Tim Buckly/Van Morrison/Joni) I don't like it as much as when they sing catchy songs with memorable choruses. As a side note this LP reminds me of Bob Dylan’s Blood on the Tracks in that she has a song for every past lover.

The first song is an anthem, of course: I like the soft/loud thing which I guess they got from the Pixies and the clever turns of phrase. The next two tracks are catchy. The more straight ahead punk tracks I'm not fond of but they're better than most straight ahead punk. "On a Plain" and "Drain You" are basically saying, we've run out of ideas so we'll regurgitate some of the chords from our hits. I read a story about the young man who sued them for using his baby image on the cover, but I can't remember how it ends.

The production on the opening track caught my attention, and then again on the title track. There is a lot of original synth chords etc. and overall sound changes, with the dozen or so producers. Onanon is my favourite song, I think. She could have used the occasional rapper to spice it up.

This is one of those rare albums where you know exactly what it is going to sound like just by looking at the cover. I wasn't surprised by the sound of the metal/industrial/classical anthem first track, but I was surprised to discover it was a cover of "Live is Life." Anyway I quite liked the song, maybe more than the original, as well as The Queen cover after, but you know any LP with a vocalist who sounds like an angry Viking isn't going to have staying power.

I was looking forward to hearing this because I wanted to see if it was as unlistenable as I remembered it. Confirmed. It's interesting that their name means "Collapsing New Buildings". Some tracks remind me of the collapse, others of the aftermath. This LP has taken over the #1 spot for the lowest rated 1001 LP. Throbbing Gristle is a close second. Industrial Noise is sweeping up!

We saw these guys live at a small club in Ottawa after the release of their 1985 album. It was a chaotic show that started with Flea smashing a beer bottle on the stage. Most of the band members wore diapers. The punky funk style was new at that time, I loved it, but it didn't hold my interest for long. This LP is more melodic, the guitar playing is great and I think "Give It Away" is one of the top hi energy pop songs of the 90s.

What a brilliant idea to bring in William Orbit as a producer. It’s a match made in heaven with Orbit laying down the catchy but innocuous rhythm tracks and Madonna composing songs over top of them. The album would have sounded super-fresh and club-ready upon release. The first 2 tracks are subtle, not immediately catching your attention and then the title track slaps you in the face. “Skin”, “Sky Fits Heaven” & “Froze” are also classics. Even the mellower ballads are made interesting, listenable and Everything-But-the-Girl-ish by the production.

I'm impressed that he sang, played every instrument, wrote all the songs and produced this. Will Jennings writes good lyrics and Winwood has an instantly recognizable voice, that makes me think of the eighties. The music is often referred to as blue-eyed soul, but it sounds a bit white bread to me.

I played this in the background just so that I could hear enough to dismiss it. But a number of the melodies caught my attention. So I concluded that the song-writing was good and I liked her signing style, like a cross between Suzanne Vega & Lana del Ray. On second listen with more volume I could better appreciate the production which sounded quite indie for a Grammy-type album. It's interesting that all songs are co-written with he National guy. Overall this album was a pleasant surprise.

Imagine the lead-off track of your debut album being "Do It Again"! The future would look promising. The other massive hit, "Reeling in the Years" I've never been crazy about, but that's because it sounds very un-Steely Dan like, with the rockin' guitar. It reminds me more of a one-hit wonder. Listening to it now, the verses and clever lyrics are still true-to-form. It's interesting that some lead vocals were handled by David Palmer, another curve ball. The rest of the album is still predictable, meaning predictably good, with the above mentioned clever lyrics, catchy choruses and horns. As they progressed they tightened up the sound and showed their jazz routes.

He certainly had a spectacular and versatile voice. His version of Without You is a memorable early 70s radio staple. I would question his selection on some of the songs he covers, for example, Let The Good Times Roll.

I like the rhythm tracks to every song, especially the bluesy guitar - I thought maybe I would have enjoyed it more if the Captain's vocal delivery was dialed back a bit, but without that weirdness it would have been just another 60s psychedelic blues album. As it is, It's a brave and eclectic for 1967.

"To Be Young" has a bit of twang to it and overall the album it's a wee bit more raw than the bucket of blandness he sent us last time.

Low-key, listenable and rootsy (pardon the pun) hip-hop. I like the collaborations, especially with Jill Scott and Cody Chestnut. They stretch it out into some more adventurous free-jazz pieces near the end.

I found the first song interesting with its blend of punky-1976-guitar and quasi call-and-response vocals on the chorus. The second song, "Breakdown" was a nice contrast. Amongst the rest there are a fair number of clichéd predictable rockers, which make me feel sad for the American music scene at the time that punk was about to explode in the UK.

Of, course I like the classics, especially "The Kids Are All right" which has been one of my all-time fave Who songs. Overall, the album has lots of energy, kick and seems a bit sloppy, which could explain why critics revised their initial mediocre reviews after punk came along. I guess, that to capitalize on the success of the singles they needed to gather enough material for an LP quickly, so it makes sense to do a few blues and R&B standards, but the James Brown and Bow Didley covers are not up to par with those done by their peers, The Stones, for example.

I remember eagerly running out and buying this album, being disappointed with the drivel Genesis had been putting out since Peter Gabriel’s departure. The wonderfully weird opener Moribund the Burgermeister did not disappoint. Solsbury Hill showed he was going to explore different styles, which he confirmed emphatically with Excuse Me. The production on big rockers like Modern Love sounded vaguely familiar, but I couldn’t place it and realize now that the missing link was Alice Cooper – Toronto’s Bob Ezrin was producing both artists at that time! The Flood preceded by Dolce Vita is a great finishing combo. Between a 4 and a 5 for me.

Although I own a few Salsa LPs from back in the day, I abandoned the genre after one too many aborted salsa lessons. I'll give this high marks because 1) I like call-and-response vocals and they have it in every song 2) the late 70s production doesn't have the shrill trumpets of early salsa predecessors from the 50s and 60s 3) there's a fair bit of variety among the songs 4) When Spotify provided me with other salsa artists after it finished this, I preferred Willie and Ruben 5) it was the greatest selling salsa LP of all time.

I like some of the moody guitar riffs but the vocals drag me down, though the guest vocalist on The Curse is a nice change up. I may have given it another point with another listen but it's a busy day (even for a retiree).

Loads of pop hits on this one! A lot of them have a fifties rock n' roll feel, so it sounds pretty normal when they play a Buddy holly cover. "Heart of Glass" sounds so out of place, like they decided to go all OMD on us for one song, but after listening to the original version from four years earlier, it was clearly the right move. A defining album from that era!

I suppose they were one of the pre-punk pioneers along with other American bands like the Stooges & Ramones, but to me, NYD don't have the punk spirit - I get more of a kitschy rock n' roll vibe from them. I'm surprised so many critics loved them from the start. Usually bands like this get praised in retrospect.

I remember this getting played a lot when it first came out but never coming around to it - I found them a bit cutesy maybe? I can say that with the cast-of-thousands production we hear on Kendrick & Kanye, this, by comparison is one-dimensional and repetitive, but they were dealing with the tech and budget available at the time.

This is just a bad idea, plain and simple. I won't give it a 1 because it's more bearable than the albums I've given 1 to.

The opener on this album doesn't sound very sound-tracky and this sets the town for the album, which seems more listenable on it's own than the last one did.

A catchy mélange of French, Latin, Reggae and whatever else. MC is a great songwriter, political and satirical, and an amazing performer, as my co-judge and I discovered 20 years ago. Bongo Bong was a big hit in my spinning classes. The theme runs throughout this album, and his next one. I found the original fron Manu Negro a few years earlier, which sounds like it could be a Beastie Boys version. I'm amazed he played mostly every instrument and recorded it on his laptop. And this went gold in Canada!

My co-judge and I were surprised that this was only kd's second album, since it seemed that we were hearing her cowpunk stuff for a long time before Constant Craving. However, most of those earlier albums were with the Reclines. Anyway, she has a lovely deep voice that's right up there with many of the all-time great vocalists that 1001 has thrown our way. My co-judge says it's a bit pop for us and I agree, but I'll add a mark for Constant Craving, which I've always liked and made her career. It was generous of The Stones to voluntarily give her co-writing credit for borrowing the chorus - they could have probably gotten away with it, or won in court. Keith Richards is no Jimmy Page.

We bought this album when it was released and didn’t listen to it much – I remember liking the title track, Gun Street Girl and Cemetery Polka, but the rest I had forgotten. It requires a more intense listen, preferable with lyrics handy. You get a feel for the underbelly of America with its imagery of people huddled in doorways and alley ways in the rain. Lots of references to pawn shop guns and of course, dogs. Waits’ gravelly voice and the sloppy, muddy production adds to the feel as do the accordions and trombones and banging percussive sounds. It’s great that a performer late in his career is brave enough to take a turn away from commercial success and toward a more Avant Gard sound.

We had this album and saw the live show down at the Masonic Temple. I suppose a lot of their fans would not have been ready for this more Irish traditional/folk/country sound and the ubiquitous violin, after their first two albums, but we like it. It gets off to a great start with the title track and especially "We Will Not Be Lovers". The interpretation of a Yeats poem is great as is "When Will We Be Married?" "World Party" sounds like it doesn't belong on this LP and it was in fact written before Scott decided to go for a more traditional sound. A few of the songs run on longer than they need to.

I liked the guitar in the fist track and the soulful chorus in track 2. The intelligent rapping and lack of F-Bombs sounded familiar then Spotify played Tribe Called Quest after and I made the connection.

He has an interesting voice, though not for everyone and I like the story of how he was encouraged by his blind friend and collaborator Mansour Seck to take up music. That said I would say he is less versatile than that other Senegalese singer.

I "loved" the Forever Changes album (that 1001 sent us) so I was disappointed after the jarring vocals on the first track and then again on "Seven and Seven", which is might make them a candidate for being a pre-punk band. The rest of the songs, outside of the needlelessly long "Revelation", sound better to my ears and are moving in the direction of that elegantly produced psychedelic meets baroque pop sound that they nailed a year later.

They have a twangy sixties sound. The title track isn't bad, but overall, it's pretty forgettable and not unlike a multitude of other bands from the 80s and 90s.

I bought this album when it came out, I'm not sure why. I liked the title track but that was about it. The sing-a-long choruses are annoying and the ballads are brutal to listen to. Hopefully, now that I've listened to them again, they won't be buzzing around my head. It's not surprising he picked Paul Simon's producer, because the LP does sound a bit like an amped-up, mid-seventies Paul Simon, replete with lame lyrics.

I'm glad that the wiki notes stated correctly that this was recorded in 75 but released in 78. The first couple of tracks are great. Well written and edgy. Things get a bit gloomy after that, at least with the songs still available on Spotify, Alex Chilton's voice conveying sadness and pain perfectly. The strings work too. Chilton/Big Star fall into a category of artists from the 70s, including Television, Magazine & even Scott Walker - Spotify played him both times I finished the album - who didn't fit in to the popular movements of the day, (hard rock/prog/punk) and didn't sell much. But they developed a cult following and were influential and remembered fondly. I was ready to give a 4 but there's too many covers. The Kinks cover I like, the Nat King Cole cover I'm on the fence about, and Femme Fatale has been covered by everybody since.

I took a look at the album releases in 1977 to get an idea of what I was listening to at that time: Pink Floyd>Animals; Steely Dan>Aja and David Bowie>Low. A friend of mine's older brother, who liked the blues, got this album and when I heard it, I found it too rearview mirror gazing and rockabilly-esque for my tastes. But at that point the Sex Pistols or Clash or Talking Heads had yet to touch down in Sudbury. The sound, other than "Detectives", does owe a lot to the 50s rock n' roll. The song-writing is great, especially the lyrics, and there are no dud tracks. My favourite (outside of "Detectives") is "I'm not Angry" which appears to put me at odds with most Spotify listeners. There are other Elvis albums I like more, but this is still a 5 in my books.

The two hits present two different sounds and there are a few other catchy tracks. The Jam were one of the more melodic, up-tempo bands from that era, a bit jangly and funky as well..

The first batch of songs start with eclectic guitar intros, acoustic electric and slide. It's certainly an album for guitar lovers with both Harrison and Clapton sharing duties. My Sweet Lord is a colossal hit with it's recognizable silky slide guitar and spiritual theme. It brings back fond memories of the days when such a song could get high rotation on the radio. I know he lost the plagiarism lawsuit to Bobby Mack but that was because him being a Beatle made it a circus.

It’s a good sign when I start liking the songs more as the CD progresses. The muddy, garage-y, blues rock sound is quite distinct - the sort of thing you might expect from Muscle Shoals studio. I was impressed knowing that one guy, Dan Auerbach, provided all the sounds apart from the drumming. Also that the two of them showed up at the studio without any songs and recorded 15 tracks in 10 days. The song-writing is great, Auerbach has a superb rock n' blues voice that he can play around with a bit, throwing in some falsetto now and then, which, when combined with the change ups in instrumentation keeps the album sounding fresh (examples being “the Only One” and “I’m Never Gonna Give you Up”).

I like the idea of the album – of Tom playing in a “club”, telling stories at the piano and drifting seamlessly into the song without missing a beat. It seemed a bit contrived to me, so I looked up a few YouTube live performances from that time and he delivered some of the same songs with different lead-in rambles and even tweaks to the lyrics. His signature gravelly voice can be arduous to listen to when he goes for the high notes but the jazzy backdrop, especially the sax and piano, is a nice contrast. I found that even when the songs didn’t grab me, the endings made it feel like I’d listened to something epic.

My co-judge and I had similar first impressions in that we both felt the LP was influenced by Pet Sounds-era Beach Boys. Some of the sampled soundscapes are very innovative and the sort of think I generally like, but when you drop the vocal harmonies on top of them they don't seem to integrate too well. The harmonies and melodies of some songs, like Summertime Clothes, are catchy, but they don't go with the music.

The lead singer catches your attention early. He's like a cross between an angry and desperate Frank Sinatra and Peter Gabriel. The production is also interesting, with a bank of synths creating a faux-string section that takes center stage and a guitar that’s hardly ever heard. Not very 80s. Some of the more sparse and gloomy songs remind me of Peter Gabriel’s Security Album. The song-writing falls short of the innovative production.

My research indicates that this is the first of 4 Metallic albums we'll be sent!! Even though 1001 tells me I hate every type of metal (not true - I like metal from the heyday of metal, back when these guys were still in diapers), I will try to be objective in my analysis. There are some wicked riffs, very clean and precise, especially in One and it's easy to see how teenagers from the 80s would want to make this music there own. Also I'm hearing the early roots of grunge, my second least favourite genre. The vocals are a downer. I've read that this LP lost the Best Hard Rock/Metal Grammy to Jethro Tull, possibly the greatest Grammy upset of all time. So I listened to "Crest of a Knave" and, though I lost interest in JT in the early 70s, preferred it to this.

Ms. Jackson has always been a favourite of mine, and Gasoline Dreams is a great aggressive starter. This is more musical that a lot of rap and the non-explicit lyrics gets a thumbs up from me.

Despite the fact that one guy sings and plays all the instruments (and that these are only demo tapes) there is a fair bit of diversity on the LP. The opening two tracks, for example are very different, the only thing they have in common is the super fast fade-out. I like to more haunting tracks like War in Peace and All Come to Meet Her - they sound worthy of a This Mortal Coil cover. A few of the others, especially those added after the original vinyl release are pretty throw-away.

The scratchy guitar, combined with the bass and drums deliver such punch. And the lyrics you don't forget easily. It's a fantastic debut album. Too bad the band blocked efforts to make it more of a success.

First, I found it hard to get past the awful cover art. Then, the songs weren't available on Spotify and when I played the first song on YouTube, I needed to double check the playback speed - it sounded slow and distorted. The next song was the right speed - but barely listenable. And so on. It's good to see that the first Nick Cave album sent our way by 1001 was a decade after this and far less cacophonic.

I prefer the more melodic tracks to those (like Asabache) where the army of conga players takes center stage, save for a few chants. IMO congas are better suited to a supporting role. It’s interesting that according to the Wiki page, the only critics to pay any attention to this release were 1001. That said, it was adventurous for Bluenote to release this in 1957. Between a 2 and 3 for me.

Sheesh what noise! The title track is the most accessible, which isn't saying much, but from there it goes downhill. The gift is the sort of thing that you want to listen to once - just to hear how it ends. The vocal contribution by Reed on Lady Godiva's Operation is grating and amateurish. Speaking of amateurish, Here she Comes Now sounds like it was improvised on the spot. The last two tracks are distorted and hard to listen to and I guess it's that don't-give-a-shit-attitude that made this popular with the punks a decade later.

The title track is a catchy and respectable jazz-pop hit. This stretched out version has some nice electric piano (and sax) as does My Lady afterward. The entire LP is a bit sugary, but I'll add a point because it was quite easy refreshing and easy to listen to after White Light/White Heat, but then again it is easy listening music.

It’s surprising that this was the most critically acclaimed album of 2019, because I always scour the year-end critics’ lists and I would have remembered seeing Nick Cave. The sparse, electronic sound is different and I wonder how the Bad Seeds adapted to playing in that style, but they’d been heading in a mellower direction for a few years, I guess. The sad, moody feel becomes monotonous after a while, especially for a double CD, but then Nick picks it up a bit with his falsetto singing in the last 3 minutes of the last song. I’ll give this the score I expect I'll give it after repeated listening. Plus, I thoroughly enjoyed the “Nick Cave Radio” songs that Spotify sent me afterwards.

I haven't been exposed to Grime but I guess you'd expect UK rap to be influenced by the different electronic dance scene they have over there. I've never liked UK Garage or jungle too much, so I'm not likely to fall in love with rap influenced by these styles. That said, the first few tracks sound original. “I Luv You” with the female rapper Jeanine Jacques is interesting. I was less impressed the big hit, “Fix Up Look Sharp” which sounds more mainstream, sampling a rock song and a drum beat that apparently has been sampled three hundred times – so much for originality.

I like the dreamy textures, the way the instruments all meld together and for sure, Victoria Legrand’s androgynous voice (I thought the lead singer was a guy until a few years ago). I had this playing as I was doing some “work” on the computer. It was quite hypnotic and after the second loop through I still wanted more. They have certainly nailed the long fade-out ending (eg. Take Care) and based on their on-line photos, they've nailed the disheveled look as well. It must take a lot of time to make it look like you haven’t spent a single second getting ready for a photo.

This LP, unlike Ghosteen, I did see on all the critics lists when it came out and I ended up listening to “Red Eyes” a fair bit. I can hear some Arcade Fire influence in that song and Bob Dylan, especially in “In Reverse". After reading that Adam G said he was influenced by The Waterboys, the vocalist similarities became obvious, in fact my co-judge said this sounded like “Mike Scott’s new band.” So, comparing this to the superb “Fisherman's Blues” which we were sent a few weeks ago, I would say that the songs from “Lost in the Dream” by comparison, seem to be cast from the same mould. They have the same desolate feel – to make songs more up-tempo they just add a faster beat. They said, I do like the mood and instrumentation, especially the guitar work. Between a 3 and a 4 for me. I’m wondering if we’ll ever see his buddy and x-bandmate, Kurt Vile on 1001?

I would imagine that 1001 picked this album because ELP were (at that time anyway) the only rock band to record a classical suite and that, surprisingly, it charted pretty high, but so did their first two albums. I was thinking that, because it is classical music, I would need to listen to other classical interpretations of Pictures… and see how this one holds up. So, I listened to the Weiner Philharmoniker version and though I don't know classical music, I would think that an aficionado would prefer this over the ELP version. So, do I. That said, the keyboard playing is quite good and Keith jumps from one movement to another seamlessly. It would have been nice to hear some piano since the original composition was for piano, but Keith was a Moog pioneer so he wanted to demonstrate that he could master it live. The crowd certainly liked the show. I enjoyed the Greg Lake original composition. Personally, I find the self-titled debut album that came out the year before to be a more epic LP.

I guess not everyone can be a good song-writer, so Eric had to rely on people like Bob Marley and Johnny Otis and JJ Cale for the all-important singles that help sell his albums. His original compositions are weak and, while some of the arrangements of the blues numbers are punchy, his voice is hit (Steady Rollin’ Man) and miss (Hand Jive). The guitar playing is good, though if I didn’t know it was Eric Clapton, would I have noticed?

My co-judge and I owned this CD back in the day. I remember songs like Homeland and Nadia being our favourites. Much of the album is quite understated. The more soulful downtempo numbers at first sound like a lot of the stuff that was coming out of London at the time, but the difference here is that the music behind it has cellos and violins and tablas. Sawhney is competent guitar player, pianist and composer. It’s interesting that nuclear destruction was top of mind for him at that time.

This is a brave LP, with its mixed bag of jazz, funk and soul, not quite a U-turn for Paul Weller, since The Jam was moving toward a more R&B sound on their final album. “My Ever-Changing Moods” would have been a good title track, since there’s no shortage of variety, as songs jump from one genre to another. I like the straight-up, swinging jazz tunes like “My Ship Came In” and ballads like the title track and “Paris Match”. They sound less convincing with funk. The arrangements are good but the song-writing and chanty choruses don’t appeal to me.

I get worried when I see a jazz trio with songs north of six minutes because this means I’ll be hearing a lot of bass solos and drums solos. But the solos here seem to fit in nicely and the bass playing is quite intricate. Evans isn’t a flashy player but very melodic and integrated with the other instruments. I guess if I were to listen to a bunch or trio LPs this would be pretty near the top. It captures an interesting time for me, as post-bop was becoming a little freer and less structured and the songs were more drawn out.

I liked Jonathon Richman when I first heard him, but soon the wide-eyed, child-like schtick wore off, and like a 70s sitcom, the jokes aren't so funny any more. From a historical perspective, this album being released in 76 would, I guess, put it in firmly in the proto-punk category. I like songs like Pablo Picasso & Hospital, but the ballads are hard to take.

Nitin Sawney & Talvin Sing within a couple of days! I’m wondering if drum and bass got its inspiration from tabla. There are some nice textures, flute solos etc. and if you listen to snippets here and there it sounds good. Overall for me, the music lacks structure and melody, like freeform jazz over top of tablas.

This is a difficult one to get a handle on. The compositions and arrangements (especially the choir and strings) are innovative and draw on a lot of styles - I had to wait 15 songs to hear the Michael Nyman influence one of the critics referred to. A lot of research went into the lyrics and Stevens plays a whole bunch of instruments. I can appreciate this, though I'm not going to play it over and over. A very ambitious project.

In my Spotify Top 100 of 2022 I have a Deerhunter song - at song #101, if that makes any sense - "Helicopter". I listened to the LP, Helicopter does stand out, it sounds crisper with more synth than the other tracks. On my second run-through the other songs stood out more, a sign of good song-writing. I don't play guitar but a lot of the chord progressions sound pretty simple to me. At dinner my co-judge said it sounded "okay", which is a more ringing endorsement than she gives most. Between a 3 and 4 for me.

It's hard to evaluate a technology-based album accredited with pushing the needle forward without taking a peek at what else was being released at that time. Aphex Twin was the year before, but this precedes Chemical Bros. and Fatboy Slim by a couple of years. I find this sound by comparison to be more of an extension of Kraftwerk. My gripe, as it usually is with electronic dance music is, it's really about the singles, so while Halcyon and Lush are great tracks and entire album is hard to handle in one listen especially the longer tracks with primitive sampling loops.

The singer has a good rock n' roll voice, but this is bad commercial rock. I remember hearing this in '74 and thinking "it's time to move on, my hard rock days are over."

I didn't give the last Def Leppard LP a 1 because I thought the hit, "Photograph" wasn't a bad song. There is no such song on this album. In fact "Pour Some Sugar on Me" could be the worst song on the album.

They said that this LP was a step in the direction of a more commercial sound for RP so I listened to some of his songs from the 50s and they definitely had more twang, although this is still okay. Lots of songs about heartbreak and loneliness, I like the slide guitar and his smooth delivery.

While I like the arrangements, songwriting and overall sound, Beck's dreary voice brings the album down. It reminds me a bit of Nick Drake but not as upbeat.

Their guitarist, Tony Iommi, has gone riff crazy on this one, changing it up every couple of minutes. Black Sabbath were starting to sound a little pre-fab at this point, though now that I’ve listened to Metallica, who sold a zillion times more LPs and claim that BS was a big influence, I can appreciate Tony more. The opening track’s main riff is uninspired, but the guitar work that graces the intro and last 2 minutes make up for it. “Supernaut”, Frank Zappa’s favorite apparently, and “Under the Sun” are quality enough to have been on one of their earlier releases. I'll give a thumbs down to the ballads and the echo chamber song. It's interesting that their record company forced them to change the name of this album from "Snowblind" as they did their second LP, from "War Pigs".

Since I was listening to prog and metal when this album was released you’d think this would be in my wheelhouse, but I’ve never been a fan. I’ve heard the first side many times and the first 5 minutes certainly catch your attention. They’re well-constructed, I just don’t like the delivery – Geddy’s screeching and the music is mechanical sounding. So, I had low expectations for my first ever listen to side 2, but once I found a way to ignore the cheesy “oriental” guitar on “Passage to Bangkok” I had a greater appreciation of that side of the album. The songs are well written and Geddy is less shrill.

I believe I gave a 2 to Pet Sounds and the other late-career Beach Boys LP we received. I’m bumping it up a point for Smile because 1) I like the story behind it, the idea of trying to recreate an album that was semi-recorded 4 decades earlier but never released, using the vintage equipment 2) I actually like the songs better. Brian Wilson’s voice isn’t quite up to the task, but compared to late vintage Leonard Cohen or Bob Dylan, he hits it outta the park.

My co-judge & I agreed that this album is a bit of a chick-flick, but there’s a bunch of great songs on it. Carole King is one of the great song writers of our generation and wrote/co-wrote a decade’s worth of hits (for others) before she released this album. Many of these songs defined pop/easy listening radio in the early 70s and although the 11-year old me quickly moved on to a more anti-establishment sound, songs like "It's Too Late" and "You've got a Friend" will stay with me forever.

I can’t think of a more apropos opening line to a Morrisey-penned tune than “Stop me if you think you’ve heard this one before…” I like that song, and remember it as been the “hit”. I also like the opener, especially the way he rolls the R on RRRRRush. The production on this album is more wall-of-sound than past efforts and it’s interesting that Johnny Marr said he wanted it to sound like a Walker Brothers Album, since they could sound a bit mushy at times, which would make Morrisey the ideal vocalist for such a venture. Songs like “Girlfriend in a Coma” and “Unhappy Birthday” are warm-ups for Morrisey’s solo career. I will not continue my rant about how this album could have possibly been selected over their debut.

I've listened to a much mellower Gaz Coombes a fair bit over the last year or two, but never realized he led this outfit. Anyway, this LP has a nice punchy post-punk sound, but to me it's 20 years too late. They would pair nicely with The Undertones. I'm deducting a point for the cover.

I guess Joni felt that by '75 she had done all she could with folk and started moving in the direction of jazz and "world". The first song gets your attention. The second, “Jungle Line” is a bit cheesy, but adventurous, using drum sampling and Moog to create a sound way ahead of its time. Also, I like "Harry's House/Centerpiece" with its midstream about-face into a jazz standard. The rest doesn’t really do much for me, though I expect the lyrics are great.

I was not looking forward to a post-2000 prog release and listening to the intro, which ends with 2112-like guitar chords, I was expecting the worst. But the singer is no Geddy Lee. In fact, I thought he had a top-tier hard rock voice, up there with Robert P or Freddie M, but with a much better name – Cedric Bixler-Zavala. I guess if you’re going to be singing choruses like “Exoskeletal junction at the railroad delayed” you shouldn’t have a name like David Jones. The guitar playing is wicked and arty, the song structures are certainly original and the song-titles are entertaining. It’s an intense, ambitious effort, especially for a debut album, and it’s worth a high mark from me despite my co-judge’s insistence that I listen to it on my head-phones.

I think that writing a song about an apocalyptic New Year’s Eve party at the end of the century is a cool idea, and if the song is catchy enough, you’ve got a mega-hit that will probably get repeat plays 18 years later. I like the way they switch up the vocalists early on (in 1999) though I have to admit, the slow bpms could never compete with stuff like the B52s when it came to dragging me onto the dancefloor. “Little Red Corvette”, the other hit, doesn’t do much for me, and its signature Linn LM-1 Drum beat pops up throughout album. I appreciate Prince’s brilliance, playing every instrument & writing every song, but the end result doesn’t appeal to me much.

I love the album title, and the decision to bring in a string quartet and choir to give it a spacey feel, especially on the title track, \"Broken Heart\" and “Cool Waves”. Someone said this LP was high on the list of great albums to listen to stoned, which I agree with, with it’s ever-changing moods and jarring builds. “Cop-Shoot Cop” goes a bit too far.

Wow, 1.2 BILLION listens on Spotify for Take Me On! I always did like that song and the singer really belts it out on the chorus, not aided by Autotune. A couple of other tunes were bearable, but there were a couple of stinkers as well. I was thinking a 2, but I think that's what I gave Duran Duran and this is definitely better.

According to Elizabeth Frazer, what words sound like is more important than what they actually mean, which might explain why she uses non-words and foreign language words that she doesn’t know the meaning of in her songs. Looking up her lyrics on any of the wiki-lyric sites a good way to get your daily smile. I love the 4 songs that start with Lorelei – Pandora (for Cindy) being the standout, for me, but the Souxsie and the Banshees-like guitar in Persephone is great too. My co-judge says that this doesn’t sound dated at all and I agree. There has been a lot of dream pop/ethereal/shoe gaze/downtempo recorded over the 3+ decades since, but in 1984, this was pretty unique, and it still is.

This album doesn’t have the instantly recognizable hits of his early albums, but I agree with the critics who say it was his masterpiece. He borrows from a lot of different styles: jazz, country, baroque pop and blends everything together beautifully. You don’t know what’s coming up next but it always seems to fit. The songwriting is outstanding –Shabby Doll, Man out of Time, and Kid About It are my favorites but there really isn’t a weak track on the album. The production and instrumentation are very sophisticated, and his voice, which can be grating at times is breathy and at its best, due to the mixing I would think. It’s a “mature” sound, different than what came before, and better than what he did afterward.

When I first heard Auto-Tune, I was hoping that it was a technology that would quickly go the way of Peter Frampton’s talk box, but alas, we weren’t so lucky. After the first couple of songs I was thinking no lower than a 2, since the guitar playing is okay, as is his voice. But a few more songs in, I got annoyed with the way that lyrically, it’s one cliché piled on top of another as they plod toward a dumbed-down sing-a-long chorus. No better than 1, I thought. My co-judge agreed. But it ended with “Do you Feel…” with the afore-mentioned talk box, which is kind of catchy, especially since it became more-or-less obsolete the next year, and it has a decent opening guitar riff. I’ve gone to the gym in our hotel two days in a row, where they love to play horrible commercial late seventies rock. It would have been a pleasant surprise to hear PF's talk box. Back to a 2.

I remember hearing the two big hits and thinking that this is the most British Band I’d ever heard, then finding out that they’re from Las Vegas, of all places. Anyway, it’s a great debut album. Bright Side and Somebody Told Me is as good as it gets for Radio Rockers. I also like Jenny Was A Friend of Mine and Andy You’re a Star. The LP fades a bit on side 2.

Back in the mid eighties you couldn't walk through a shopping mall without hearing "Shout" or "Everybody Wants to Rule the World". It appears that T&F had more fans per capita in Canada than in any other country (7XPlatinum)! Overall, their sound is a bit poppy for my tastes, though I thought the track, "Broken" was interesting and the live version suggests they have a lot more edge on stage than on vinyl. As a side note, I really enjoyed the critics' reviews on this one. Since we started 1001, I don't know how many times I've read, "Robert Christgau was less enthusiastic..." Between a 2 and 3 for me.

You'd think these guys spent a lot of time in dance clubs with the abundance of synth hooks in their big hits like “Time to Pretend” and “Kids”. But it’s nice to see they don’t let this sound define them. The more organic numbers are refreshing. I like the slow starts where Andrew VanWyngarden's voice is showcased - I especially like "The Youth". He sounds like Mick Jagger (or maybe Jake Bugg) in “Pieces of What”. The first song I became familiar with was “Electric Feel” which I had on high rotation back in the day. MGMT managed to carve out their own niche in the cluttered indie-psychedelic-electronic pop territory. The best description of their sound came from NME, who said they produce pop music that sounds as if it were filtered through a kaleidoscope. The first half of the CD is easily a 5 for me but I agree with the critics who weren’t as fond of the latter half.

By 1990 I had lost interest in this type of music. I was introduced to “Personal Jesus” and “Enjoy the Silence” when I heard remixes a decade letter and by the time I heard the originals, they sounded like they needed a little more punch. That said, “Enjoy the Silence” is a great song, and “World in My Eyes” and “Policy of Truth”. Dave Gahan’s voice isn’t that strong (normal for a synth pop band I guess) but it really brings down the slower tarcks. I like the Pink Floyd-ish bits in “Clean”. Between a 2 and 3 for me.

My co-judge and I listened to this on our drive back from Ottawa. The first song builds nicely and has a moody feel to it. It’s catchy, in a Levi’s commercial, movie-theme kind of way (I cheated). The vocalist on the next one provides some spark but the underlying mood and rhythm is similar to song one. A complaint of my co-judge was that there are a number of beat-oriented songs – some that run past 7 minutes – without discernable melodies or hooks. This remains true even when the songs become more guitar-oriented. Occasionally the vocalist saves the day, but not always (Iggy Pop, for example). This is one of those LPS that didn’t sell much and critics ignored. Between a 2 and a 3 for me.

I didn’t have a lot time to listen to this, so maybe a second or third listen would have brought a few things to the surface that I would have found more palatable, so I’ll add a point. I liked the songs on side 4 best, the “rock n’ roll” side.

If memory serves me correctly, I gave Willie Colón & Rubén Blades high marks because their 70s salsa was devoid of piercing horns. Tito Puente, I scored high in spite of the brassy horns because the music was danceable and I enjoyed the smooth vocalists. This music is piercing, but not danceable and without vocals so it gets a lower mark from me. Some of the pieces sound like they would be perfect for a James Bond car chase scene. I like the occasional sax and trumpet solos. This would have been quite a waker-upper in 1957 & Machito was certainly a major influence on the emerging Latin Jazz scene.

It says a lot for an artist when some of the greatest songwriters of your era write an album’s worth of songs for you to perform. It’s fun listening to the songs and trying to guess who the songwriter is. I can hear Nick Cave’s voice in the epic first song and I was sure that he must have done his own version, but apparently not. The one Philip glass contribution is easy to pick out as is the first Elvis song. The Case Continues, by Neil Hannon is maybe my favourite on the album - I especially love strings. My co-judge and I saw her perform this live at Massey Hall in 2001 with a bunch of Kurt Weill and Jacques Brel songs thrown in, so I have a slight bias.

Michael Franti is a cross between Check E and Gil Scott-Heron. I like the political, head-on easy to interpret lyrics and the overall sound. The unplugged self-reflective "Music and Politics" is a nice change in direction. I think some of the songs run on a bit long. I saw these guys live around the time of this LP and while I can't remember the music much, I do remember the chainsaw (on the LP cover ) as well as an anvil and sheet metal being part of the show. So, I was expecting a more industrial sound, but this is very listenable.

I would think PJ purists wouldn't have liked this album, which is more mainstream and less raw than her earlier efforts. But what it lacks in edginess it makes up for in song writing. The 1st song (which is pretty raw actually) I couldn’t get enough of the 1st time I heard it and it keeps me bouncing off the walls, much like “Dress” from her first album. The 2nd song is a definite hit, with full-on Patti Smith channeling. Of the remainder, I lean toward the rockier numbers like Whores Hustle and This is Love, not so much Radiohead influenced ballads, although the duet with Tom York is right up there with the best Radiohead songs. I've been listening to a ton of PJ since 1001 and this might not he my favourite album of hers, but I think it's the best that we have been sent.

What a great week it's been for 1001! We just got PJ Harvey's most commercial release and it's followed by Kate Bush's least commercial and most avant garde. This is such an original album, I keep wondering who her influences might have been. I was thinking Tom Waits maybe, but Tom didn't start his weird phase until 1983, a year after that this album was released. I know she had a Peter Gabriel producer and the overall rhythm reminded me a bit of the "Security" album - but in the end Kate is unique and doesn't really need any influences. I love someone who isn't afraid to sound different and the song-writing is strong. The first 7 songs are 5 stars for me. It eases up a bit from there and the last track is a jarring. I'm between a 4 and a 5 but I gave Hounds of Love a 4 and for me this is a more exciting and eclectic album.

Wow what a great week it’s been for 1001. This is such a great album, a unique & relevant (for ’79) mix of punk, ska, reggae and rock n’ roll, with the backdrop of working-class England under Thatcher. All done with a great sense of humour. I’ve always loved the pogo-worthy rockers like “Night Club” and “Stupid Marriage” but had forgotten about the slower tracks like “Doesn’t make it all Right” which puts their song-writing skills on display. The tinny production gives the LP a nice vintage feel. It’s disappointing that they became more subdued with their transformation to Specials aka, but in some ways it makes this album stand out more.

This would have fit nicely into the late 60s psychedelic scene. His voice reminds of someone, but I can’t put my finger on who – some reviewer compared him to Nick Drake (who Spotify sent me three times after the last song) but I disagree, other than the fact they are both solo singer-songwriters, playing acoustic guitars. The closest I can think of is Tim Buckley or maybe Ray Davies on a ballad like Sunny Afternoon – but weirder of course. Still it’s very original and interesting material, especially for 2004 and kudos go out to all the people who got this out there. The songwriting is the weak link for me, but with 16 songs sung unaccompanied on solo guitar, I’m not expecting more than a handful to really resonate and songs like A Sight to Behold and Insect Eyes I will definitely listen to again. Between a 3 and 4 for me.

A couple of days ago I was listening to Jazz FM and a version (featuring some nice tenor sax) of Seven Nations Army came on. The DJ went on to provide a short analysis of the lyrics and how the song meaning has changed over the years – this is a jazz channel, remember. Outside of that anthem and future jazz standard, “Hardest Button” was the only song that was familiar to me. I was pleasantly surprised by the number of nicely crafted songs on the of the rest of the album. The power and energy, the vocals and especially the guitar-playing are all outta the top drawer. I think the fact that there are only two instruments is a plus – the empty spaces give the rest more impact. My co-judge saw them live in 2007 and still talks about it.

Todd is quite scattered on this album, dabbling in (too) many genres. The beginning is hard to take. It gets more melodic later, but still, who decides to throw a 10-minute medley of 60s soul hits onto a 56-minute album, especially after what has preceded it? A drug induced concept album that seemed like a good idea at the time.

When Spotify offered up the Aphex Twin after playing this it helped me articulate what Orbital is missing: the songs are rhythm tracks waiting for a catchy melody or hook to be played over top but they never come. That said, this music was likely pushing the needle forward in 1994, and Orbital has always been central player in the rave movement, which was declared illegal around the time of this release. Their name (and maybe the names of Orb and William Orbit) refers to DJs and fans orbiting London looking for farmer's fields to play in. In that sense this is a protest album.

Song 2 is a definite 90s hit, up there with "Teen Spirit" and "Loser" . The songs on the album in the same vein I'm not to fond of. I preferred the moodier songs like "Country Sad Ballad Man", "Death of a Party" as well as the opener. Damon Albarn's is a good vocalist and I'm glad he went on to form Gorillaz.

I think that Natasha Atlas is the star of this album. The best songs she co-wrote and sang in, and probably got less credit then she deserved. As a side note I was surprised to hear her singing in Spanish, though Wikipedia tells me she started her career in a Belgian salsa band. Natasha's songs I would give a 5. Musically the rhythms and textures and bass playing are nice & I'd give the rest of the album a 4, except that Jah Wobble's voice ruins everything. He should know better.

I decided to listen to a dozen or so cover versions of Long Tall Sally. I think my favorite was The Beatles - Paul really ratcheted up his voice to another level. Wanda Jackson did a great version as well, though Wanda Jackson is hard to listen to for more than a couple of songs. I like the Elvis version too. It must be something to write and record a song, have a minor hit and then have the greatest rock and roll artists of all time make the song a standard part of their repertoire. Little Richard has a relentless energy. I love his screams, hollers and whoops. Performers started singing differently after that. His piano pounding is crazy too. And by only hearing the music, we're missing out on his live show, possibly the best part. After listening to this I get a clearer picture of what a game changer this music would have been in 1957.

I'm torn on this one. Introducing bossa nova to the world was an important event and many pop music listeners would have suddenly become " jazz fans " as a result of this LP. The Bossa Nova/Samba genre got a second life in the 90s with help from the acid jazz movement. I like the Jobim compositions the best and "One Note Samba" has been covered or remixed many times since. On the minus side I would think that jazz fans would have found this a bit soft and some of Stan Getz solos pretty simple. It's interesting that he would have already been a recording musician for 20 years by the time this was released.

It's strange to hear Napalm Death and grindcore in general being cited as an influence and inspiration for a jazz artist tribute album. It's also interesting that the folks at 1001 did not choose any Ornette Coleman albums for their list, despite his winning the Pulitzer prize for music. So I took a listen to some of the original Coleman tracks that John Zorn covered. They are much more listenable, and needless to say, much longer.

This reminds me a bit of Aladdin Sane which came out around that time, with a couple of singles like "the thrill of it all" and "all I want is you" a few art rock ballads like those that start side 2, plus some straight ahead rock and roll numbers. With Bryan Eno out of the picture the other musicians like Jobson on strings, Mackay on sax and especially Phil Manzanera on guitar take center stage. "Out of the Blue" is a track that's about 10 years ahead of its time, not necessarily due to the fazing which is very seventies, but with it's baseline and dance-ability it could be a future new wave hit. The most consistent of the RM albums we've received.

Whan can I say about this album that hasn't been said already? I will try: It's a brilliant production by Alan Parsons (Money listened to with headphones is still unbelievable). Pink Floyd asked AP to produce Wish You Were Here but he was too busy putting together the Alan Parsons Project debut LP. As a side note, no APP albums made it onto the 1001 list. There's a song on the 1972 album Meddle called Echo, that takes up an entire album side. If you listen to that song you can hear the roots of songs from DSOTM like "Time" and "Us and Them" in the harmonizing of David Gilmour and Richard Wright. Anyway, what kind of score do you give an album that since its release more than 50 years ago, still pops up annually in some county's sales charts?

Clichéd mainstream blues based rock.

It's interesting that when Arctic Monkeys won the Mercury prize, edging out this album, they said that Richard Hawley was robbed. Especially so, because these days, Arctic Monkeys sound alot like this - except better. I like the title track and a couple others, though some are more Paul Anka inspired, as mentioned by JG. I give Hawley credit for his ernest attempt at creating music half a century out of time that had little chance of commercial success.

I was mistakenly preparing for Queens of the Stone Age, waiting for the guitar onslaught that didn’t show-up (and barely, at that) until track 3, Waterfall. Once I got over that, I found a number of songs catchy in a jangly, sixties way, especially Made of Stone. I should give this a higher mark based on the quality of the song-writing but it’s hard for me to get excited about this genre, especially in 1989. As Robert Christgau would say, it’s a “likable effort consumers attuned to its overriding aesthetic or individual vision may well enjoy”.

Although I've never been a big Aretha fan, I'd guess this is the period that would best suit my tastes - early sixties would have ben too tinny and the seventies would have been too syrupy. The cluster of songs led off by Chain of Fools has a nice rootsy feel. I'll round up since she's the GOAT.

Pretty brutal, but not as bad as I was expecting. I think the fact that the songs aren't all in the one minute range is a big plus for me.

I like the production, especially the way the soul-snippets get worked into the song, like an early Kanye West LP. It's more melodic than many rap albums, though Jay Z's rapping style is too close to yelling to suit me.

I vaguely remember that we'd already received an album from this guy, and I'm sure I would have mentioned Scott Walker in my review, so I won’t do it again. I find most of the songs pleasant and listenable, with nice arrangements, tongue in cheek lyrics and the added bonus an occasional trombone or whistle solo. I like "Becoming More Like Alfie” and "The Frog Princess". The hit single doesn't really grab me. I'm impressed that someone would bring together (and pay) a twenty-piece orchestra for a 1996 album release. Between a 3 and 4 for me.

It's something that Joe Zawinul, an Austrian immigrant, could write two songs so emblematic and oft-covered by American Jazz greats: Birdland and Mercy Mercy Mercy, though I think jazz aficionados did not like the fact that the first notes of this album are played by a synthesizer. This is a jazz super group - Wayne Shorter and Joe paid their dues with the top acts of the sixties, joined by Jaco P "the greatest bass player in the world". I was never a jazz-rock fusion fan but this is near the top of the list, I would think. A higher mark would be forthcoming except for Rumba Mama. To say it sounds out of place is an understatement.

I won’t continue with my rant about how 1001 could pick two Ray Charles’ crossover albums over his R&B classics released around the same time and cited by the 60s British invasion bands as being major influences. Anyway, on to the music. My negative attitude heading into this LP changed as soon as I heard the opening track, and I realized that I could warm up to an album (or 2) of up-tempo R&B-tinged versions of country songs. I would have preferred a few more of these over the orchestrated ballads we received, though I think Ray’s voice shines on the ballads. He's a versatile singer and you can tell that he feels a strong connection with country music. There’s much written about how this LP brought the races together and contributed to the civil rights movement. I’m a bit skeptical of this since most of the quotes in this regard (in Wiki) were post-2000. For a great story about race and country music, look no further than Charlie Pride.

They maintain the same high energy as their earlier efforts but the overall sound isn't as high impact because they'd been around for 1/2 a decade or so by that time. I like that the message is targeted at specific events and issues. The fact that it's free of F-bombs means 3 is my starting score.

So Bad. I think the lyrics are the worst part. They're one rock and roll cliché piled on top of another with rhyming schemes that are laughable. I'm proud that for the most part I don’t recognize any of these songs. By 1986 I was listening to college radio exclusively and managed to be oblivious to all of this horrid 12X platinum pop metal for the masses. Some of the guitar solos seem OK but I'll let my brother be the judge.

It's interesting to chart the trajectories of the big British invasion bands during the course of the sixties as they jumped from straightforward rock and roll to psychedelic to prog. The Kinks were possibly the weirdest of the bunch, maybe because they were banned in the US for 4 years during the height of the British Invasion and elected to explore a very English sound, as can be heard on this album. It took me a couple of listens to warm up to this mix of psychedelic folk, baroque pop and dancehall, especially since Ray Davies’ voice can be quite weak and grating at times. I like the hit, “Victoria” (even with that voice). “Shangri-La” is my favorite I think. There are many good songs throughout, with eclectic themes, lyrics and changes of pace. For a concept album it lacks the epic-ness of Tommy which came out in the same year, which I can understand since the main character is a carpet layer as opposed to a deaf, dumb & blind pinball wizard. I’ll ignore the ugly cover art & round up because my second listen was so much more enjoyable than the first.

I remember seeing Miles Davis in 1988 and he played Time After Time. I was impressed that Miles thought this CL co-written melody was worthy of a jazz-standard. This boosted my impression of Cindi, which at that time was based solely on Girls Just Wanna Have Fun and therefore, not so great. The rest of the album I liked more than I thought I would. “She Bop” is another catchy hit that she co-wrote and the fact that it led to the creation of the parental advisory sticker is a feather in her cap. The songs she selected to cover were wisely chosen and nicely frame her punky-pop delivery. Between a 3 and a 4 for me.

There's a handful of well-written tracks (like Survivor or Fancy) with choruses that stay with you and I like the interplay between the different vocalists, not that I could tell them apart. Overall I find the sound a bit one-dimensional with similar themes, but I guess that's R&B for you - the packaging is as important than the content. Beyonce's material these days is more eclectic, maybe due to the fact that she has more artistic control and isn't afraid to take chances.

This is Lou’s most accessible album and very pleasant on my ears, which are still recovering from White Light/White Heat. The song writing is solid throughout, though at times the lyrics go from clever to goofy. I like the lesser known tracks, (like Andy’s Chest and Make-up and Perfect Day) especially when they feature a tuba. I didn’t realize that the reigning Spiders from Mars produced this and contributed in a big way to the overall sound.

If memory serves me correctly, this LP was on high rotation back on Willard Avenue in Sudbury. It was no doubt a challenge for Townsend and his pals to follow-up Tommy and I think it’s good that the Lifehouse project got aborted because the second rock opera in as many years would always be viewed in comparison to the first. So instead, we get many epic tracks from the ditched LP with a fuller, more expansive hard-rock sound and less reliance on the acoustic guitar and French horns of Tommy. I had forgotten how good some of the lesser known tracks, like Bargain & The Song is Over are, the latter sounding like a sneak preview of Quadrophenia. And of course the epic tracks seem to get more epic as time passes. I will defer to JG for a more comprehensive analysis, but I must add that I was shocked to discover that 3 of the 4 urine blotches on the piling in the center of this iconic album cover were made with a can of water!

I have fond memories of the title track. We were spending a few weeks in Austin Texas, we got a rental upgrade to a Jeep SUV and the indie radio stations played The Suburbs over and over, as did the malls, grocery stores and gyms. I felt very patriotic when I discovered it was a “Canadian” band hotting up the fabled Austin music scene, though in fact the Butler brothers grew up not far from Austin. “Ready to Start” is another great track and up-tempo enough for me to use in my spinning classes so I have to give the LP at least a 4. Many of songs have a bleak, hopeless feel to them, a combination of the lyrics and Winn Butler’s vocals. The multi-instrumental approach gives them a big sound and they keep things as fresh as they can, mixing up the song intros pace and letting Chassagne sing a bit, yet the hopelessness still comes out. If they condensed this down to a 40-minute effort it would be awesome.

I like the Jungle Brothers laid-back delivery, sense of humour and non-hostile approach. The lyrics are often Afro-centric but not angry, accompanied by Bootsy/Clinton inspired funky fat bass lines, especially on tracks like and "U Make me sweet" and “What U waiting 4". Bringing in guest female vocalists was a good idea, either live or sampled. And the hit “Doin our own Dang” is a great feel-good song that puts rap's fun side on display.

The first two songs are such classics, especially the guitar intros, which are real waker-uppers. The third song reminds us that we’re still in the sixties and speaks to the fact that they showed up at the studio without enough material for an album. Speaking of the sixties, the first half of “Ann” sounds like it could be a throw-away track from Soft Parade. This LP reminds me of what the so-called punk artists kept saying a decade later: it’s just rock n’ roll. I think their following album is more consistent with better overall song-writing but without the signature tune(s). This LP had my vote as the “first punk album” until I heard The Sonics.

This is the first album that pops into my head when someone mentions 60s psychedelic. “Somebody to Love” and “White Rabbit” are iconic songs that still sound good and keep working their way back into popular culture. “Today” is a lovely folk ballad and I like the duelling vocals on “She has Funny Cars”. The other songs aren’t as strong but they’re nice period pieces that transport me back to Haight Ashbury in the summer of love.

This is an interesting debut album with it’s nod to jazz, its scat intro, flute and trumpet solos and Amy's Sarah Vaughan impression on “October Song”. Most of the tracks are presented within a R&B framework spiced up by some jazzy/reggae/downtempo bits. It’s a little smooth for me, but Amy’s voice does manage to break through the blandness, especially when accompanied by a well-written song that commands your attention like “In MY Bed”. Having had the opportunity to look into the future at the Back to Black LP I would say that B2B benefits from Mark Ronson’s organic, rootsy production not to mention better song-writing. This LP gives a hint of what’s to come.

I mentioned on yesterday's LP that R&B/neo-soul isn't my cup of tea, but Amy managed to break through it for me with good song-writing and some jazzy solos. There are no such breakthroughs on this album.

Robert Fripp is an impressive guitar player who’s not afraid to experiment. I like the way he jumps around from heavy rock to jazz to acoustic. David Cross’s violin is also a highlight. Some of the longer songs don’t hold together too well, with the sudden changes of pace, lack of melody and structure, and Fripp’s penchant to create jarring experiences for the listener. I’m not crazy about the vocalist – it’s kinda like they asked, out of the five of us, who’s the best singer?

In reviewing the credits, I see that this record should be stamped "Powered by Chic" since Nigel Rogers and Bernard Evans wrote and produced the songs and most of the back-up musicians were Chic members. The sisters were talented, but were in search of the allusive first hit for most of the seventies until NR & BE came to the rescue. "We Are Family" is one of the songs from the disco era that I most despised, but listening to it now I can appreciate the signature guitar and bass from the Chic guys. "He's the Greatest Dancer" & "Lost in Music" are tracks I reacquainted myself with over last decade and quite like. The ballads are cringe-worthy.

I think that one of the ways Eno described this was "music that could be ignored" and that's fairly accurate. The song patterns don't build, or ebb and flow much, they remain constant, sparse and uneventful, but at the same time, pleasant in the background when you need to focus on something else.

Dancing in the Dark is definitely the low point of Bruce's career. I remember my shock and disappointment the first time I heard it. Plus, it got played in the discos and it was awful to dance to, with it's super slow beat. Then of course, there's Born in the USA which most of the flag-wavers, including Ronald Reagan, didn't realize was an anti-war song. Once you get past those, there are a handful of good songs, if you can bear the 80s radio-friendly production. I'm tempted to give this a lower mark by comparing it to Springsteen's earlier efforts, but in comparison to mid 80s releases by other mega-bands, like U2 or Dire Straits, this holds up pretty well.

I gave the first two CCR albums 4s. They cranked out three LPs in one year, chock-full of hits, all of which made 1001, and sounded like they could have been part of the same album. This LP isn't as consistent as the others. The 8 minutes songs didn't need to be and they borrow a little too heavily from old time rock n' roll. But the signature tunes, Born on the Bayou and Proud Mary, are classics. They sure sound swampy for a bunch of California guys and Fogerty sure has a bluesy voice for a white guy.

I get more of a Woodie Guthrie influence in this album than the ones that followed, especially in songs like "Talkin' World War III Blues". The lyrics must have really shaken up the folk world in 1963. They would've been certain that the messiah had arrived. “Blowin’ in the Wind” announced his talent as a song-writer and poet, especially since his debut album a year earlier was mostly covers. Here, a number of songs are based loosely on traditional arrangements but my plagiarism radar wasn't activated since there's enough Dylan in them. Besides "Blowin' in the Wind", "A Hard Rain's a-Gonna Fall" and "Don't Think Twice, It's All Right" are standouts IMO. Interesting vintage 50s pop/country album title cover and title. That must be snow on the ground!

I have a couple of 60s-70s Gainsbourg albums. They sound very different from each other and very different than this. He’s a diverse artist, I used to think of him as a French Leonard Cohen, but he’s more esoteric and ambitious, and of course his voice is better, though that’s not setting the bar high. My bilingual co-judge says his lyrics are as clever and full of double entendres, which shouldn’t be surprising, for a French guy.. I love the baroque pop orchestrations contrasting that scratchy electric guitar. The “Ballade” and “Valse” de Melody are my favourites. This is one super-short album and it seems to me that the 7+minute first song and the 7+minute last song are more or less the same, though, as a 1001 reviewer, I’d be last person to claim that an album’s too short.

Eddie Hazel's lead guitar really makes this album. The title track is epic, as is the story behind it, and his solos take center stage in a number of the other tracks. I prefer the loose arrangements, improvisations and hard rock feel to the material they released later in the decade. Between a 4 and 5 for me.

I wasn’t looking forward to the 20-minute title track, but it was better than I was expecting. Palmer’s drumming is the standout and the fast time signatures give it a car-chase feel. Emerson’s playing is brilliant but the over-reliance on organ is a bit grating to my ears. The addition of Greg Lake’s guitar in the second half makes for a more expansive sound. Side two, has a few nuggets like “Bitches Crystal” and “Infinite Space” but the inclusion of rag-time piano, old-time rock n’ roll & gag-tunes is in sharp contrast to side one and even some of the songs on side 2. I read Emerson & Palmer were bickering about side 1 and maybe this is what the compromise led to? For a more consistent and fuller sound, as well as a few epic tracks including “Take a Pebble”, I prefer their self-entitled LP released the prior year.

Weller has bounced around a lot in his career, from punk to funk to soul and here he appears to have settled in to a mid-seventies roots rock sound, like a Traffic or CSNY spin-off. The guitar-driven first song is my favourite and I'll round up for the JG video of the second.

I was so ready to give this a low mark. I wanted to dis the 1001 committee, since most of the material on this LP came from the two Deep Purple albums released the year prior, In Rock & Machine Head, which are the only other two DP LPs put forward by 1001. What could be so special about this live LP except for maybe 10-minute drum solos? However, the first minute or so changed my mind. They are kick-ass rockers live. Paice’s drumming is so fast and driving and Ian Gillan’s voice (and screams) is as good live as in the studio. Still I need to deduct a star for the typical live album overindulgence.

I find it amusing that a band with a name linked to Paul Revere and dressed like American revolutionaries would be cashing in on the British Invasion. When I started listening my gut reaction was “Kicks” is a great song, and oh, so is “Stepping Stone”. But those are Brill Building songs and it was The Monkees (due to marketing dollars, maybe), not these guys, who made the latter a hit. The Raiders’ original compositions have few redeeming qualities, the ballads with “Girl” in the title brought my score from a 2 to a 1.

This is the Nick Drake album that seems to get the most recognition (and plays on Spotify). I find the song-writing across all three of his albums consistent but I prefer more versus less instrumentation. For example, the baroque-pop sound of Bryter Lyter makes that LP more interesting, maybe ever less melancholic, easier to listen to, end-to-end. Due to the sparse arrangements I would rank this third of the three we’ve been sent but still good. The title track is great.