I'm gonna get the only negative thing out of the way first: it's too long. With some definite and notable exceptions, 45-50 minutes is the most an album should run. YMMV. Outside of that, this is pretty damn good, fun, and VERY weird - rhythmic hip-hop with a lot of old school type elements, non-annoying drum programming, and an underlying tongue-in-cheek weirdness that for the most part offsets the length of the album. I usually hate skits or other/similar spoken word transitions but I don't even mind the "interludes" as it adds to the theme. Always loved "Mista Dobalina" so it was nice to hear Del the Funky Homosapien again. I'll definitely put this on again - nice find. 7/10 4 stars.

So. It's The Greg Kihn Band at Halloween. Not that there's anything wrong with that. Just that after having read about this before listening, it was nothing like what I'd expected. Written years before from inside a mental hospital...lyrics snuck out bit by bit until his eventual release... where's the insanity dammit! So honestly I was kinda disappointed (hey I know "I Walked With A Zombie"!) - I wanted this to be utterly and completely unhinged musically but it's really a decent-enough late 70s basic rock band. It's not bad - just not....nuts, or even that out of the ordinary. (Definitely better than his previous band 13th Floor Elevators.) 5/10 3 stars.

I wasn't excited about this at all but as this went on I liked it more than I'd expected to. Power punk / power pop punk etc etc ... whatever you call it - just kind of ... expires for me after a few songs; i.e. I can usually get with the energy for a song or 2 then I'm done, it's all a bit samey; I'm always wanting more layers, more dynamics, subtleties, etc. But I have to give it up for this one, these are all pretty good songs at their core and I feel like if these were done in even a slightly different style I might even love it. The smash hit ("The Middle") might be my least-favourite which is probably a good sign. They end up as one of the more catchy power pop bands I've heard, probably due to the shockingly non-abrasive vox that I liked (rare for me) and excellent melodies. Still not my fave genre but they do it well enough that it's kind of a surprise strong 3 for me. 7/10 3 stars

I feel like I'm almost always turned off by overly-wordy/lyrically dense music but goddamn if this record doesn't bring back some massive childhood flashbacks. Something about Al's rather twee voice (very Pet Shop Boys...?) makes it weirdly less-annoying for me (also it just fits the material perfectly) so as to be able to focus on the lush music behind it. Always loved that they saved the killer title track for the end. Not much to say about that one other than it's perfection and one of the true classic pop/rock songs of all-time; grew up as a little kid hearing that (long!) song on the radio constantly. I do love this album - it plays out like a movie and really needs to be heard all at once. Killer production/mix, too (Alan Parsons!). Caveat: I'm not sure how well this does/will translate to younger/unfamiliar listeners though; I'm definitely listening a lot through a nostalgic lens and objectively even if I do love it it is pretty old-timey in song construction. Anyways for me it's a perfect addition; couldn't believe it wasn't in the original 1001. 9/10 5 stars.

Man this was a wild off-the-radar pick! No critiques there, it's even just hard finding info in English about this band - the mystery makes it more intriguing. First impressions - and from someone who doesn't like punk much at all - this kinda kicks ass? And from someone who generally doesn't love many live albums - yeah this kinda kicks ass. The performance is/was tight. The French language aspect for me enhances it; most music I don't care too much about the lyrics (unless they're uniquely creative, catchy, weird, or... terrible...) but so here it's all about the energy right? The more it goes the more it has a metal bent than punk for me; almost an early-Maiden energy without the twin-harmony guitar attack. Biggest problem for me though is...."the more it goes on" - it's really really long, and feels even longer than it actually is just with the similarities from song to song. It's not really about the songwriting/composition though, more the energy so even if it's not one of my favourite things I'm glad to have heard this! 6/10 3 stars.

Not a country fan so take it all with a grain of salt: it's deep 70s simple country with emphasis on the pedal steel guitar which always turns me off - i.e. it's just not my thing. BUT...I kinda feel like I might have actually liked this a bit more with a different singer - there's not that huge a difference between this and a lot of what was popular in the pop/rock/country blur back then. The voice is too ... idk, Texas? Just a preference, sorry Guy. 4/10 2 stars.

I'm gonna get the only negative thing out of the way first: it's too long. With some definite and notable exceptions, 45-50 minutes is the most an album should run. YMMV. Outside of that, this is pretty damn good, fun, and VERY weird - rhythmic hip-hop with a lot of old school type elements, non-annoying drum programming, and an underlying tongue-in-cheek weirdness that for the most part offsets the length of the album. I usually hate skits or other/similar spoken word transitions but I don't even mind the "interludes" as it adds to the theme. Always loved "Mista Dobalina" so it was nice to hear Del the Funky Homosapien again. I'll definitely put this on again - nice find. 7/10 4 stars.

Well after about 30 seconds I'm thinking get fucked indeed - I am about to hate everything about this. God - this Aussie bloke screaming at me is laughably irritating and honestly the album cover is a spot-on indication of what I'm listening to. ...ya know, but ok yeah I hate it (did i say that?). But. They're actually pretty tight and almost ALMOST feels like if they had a different vocalist - or none at all - there would be parts I could listen to. e.g. "The Price of Smokes" isn't bad. Just stop screaming. Seriously tho this is a good lesson in giving an entire album at least a shot [some exceptions do apply, see terms and conditions] - I really don't like abrasive punk - actually hate most of the genre - but when I sort of let this one wash over me and "got" the attitude ... some of these are actually bangers. I just fking loathe the vocals, jfc woof. 4/10 2 stars.

I fully get why people would and do like/love this. Full stop - fully sincere. Alas, I think perhaps the biggest reason - that plaintive and precious falsetto - is what prevents me from ever attaching myself to any Bon Iver. The music is simple and lovely and I do like the atmospheric touches (e.g. "Flume") - we're close here... But. His vocals are tough for me, really tough. If - as Apple Music's bio states wrt this album - this voice truly inspired "generations" (I do not think that word means what they think it means) of imitators - then I have a bone to pick with Mr. Iver. (yes stfu I know it's a nom de plume, I will have my fun dammit). I'll give full credit and respect to the musical creations within and suck it up just a bit (I don't like anyone's voice, I'm an inhuman monster) because it really is lovely, but it's hard for me to sit through more than 20-25 minutes at a time. Give me the instrumental version please. 6/10 3 stars.

Hadn't heard/seen her name in ages and upon listening I do remember a few of these tunes. It's not something I'd listen to often - a bit too smooth/slick (production/mix) and country for my tastes, although I like her voice a lot more than most others in the genre. I mean, it is "nice" and I don't mean that in a patronizing way - it's just nice. I suppose it's easy Sunday morning music and nothing wrong with that. 5/10 3 stars.

Feels like I'm listening to a 40 minute long Volkswagen commercial. Leasing available at $299/month with just $3000 down. Not sure I can explain it even to myself - there's melody here and some unpredictability - but it's overly cloying and I hate it. The vocals? The lack of dynamics / overly compressed 21st century sound? Me having a bad day? All of the above but that's probably the heavy order of things. Doesn't even sounds like a cohesive unit - more like an annoying bedroom project. Who knows. I tried - I really did and I really really don't like it. And I wrote that before I got to the hideous autotuning in "California English" Only elevating it to a 2 in a moment of being generous but now I'm glad I know to avoid Vampire Weekend entirely. 3/10 2 stars.

Yeah I like it - Teenage Fanclub always come up with excellent melodies, the album doesn't suffer from annoying modern mixing bullshit, I'm not a big fan of the vocals but I find them less-annoying/slacker than on their big Bandwagonesque album - this one's better overall. Also it really felt like it ended at the right length - any more I would have started to feel a little tired of it. Was initially feeling between a 3 and 4 but gave it another spin and I liked it even more - will definitely go out of my way for this one again so 4 it is. 7/10 4 stars.

I freaking love this album. It's so weird and non-sensical and creepy that even Colin Meloy's plain-ish vocals don't bother me; they actually might even contribute to the unsettling feeling within. Extra/guest vocalists give it the proper rock opera treatment. Who cares if the story doesn't make much sense, it's almost better that way [e.g. The Lamb Lies Down on Broadway is a total disturbing mess and that's what makes it work] - weird tie-ins musically and lyrically with previous songs/suites on the album definitely make it a full-album listen rather than a few cuts here and there. Some of the melodies in these songs (e.g. The Hazards of Love 2, that descending guitar line) will always give me chills. Elements of folk and prog and metal and smoothed together nicely - this has been a favourite of mine since release; absolutely top-notch addition. 9/10 5 stars

Props for something completely different - not sure there could be something more outside of my wheelhouse but I ... kind of liked it (or I could say I enjoyed this last hour over a few cups of coffee)...? Breezy synthy J-pop with great melody - and entirely more-enjoyable when sung in Japanese; the vocals become more of an instrument for me to not really think about (the English parts are by far my least-favourite, e.g. "Nichiyou No Asa" but fortunately they're not nearly as frequent). Not something I'll probably come back to voluntarily and honestly as with too many modern recordings it's just way too long [e.g. cut this off at about 44 minutes] but honestly it was great music to work to on a Monday morning - glad I heard this one. 6/10 3 stars.

I wasn't excited about this at all but as this went on I liked it more than I'd expected to. Power punk / power pop punk etc etc ... whatever you call it - just kind of ... expires for me after a few songs; i.e. I can usually get with the energy for a song or 2 then I'm done, it's all a bit samey; I'm always wanting more layers, more dynamics, subtleties, etc. But I have to give it up for this one, these are all pretty good songs at their core and I feel like if these were done in even a slightly different style I might even love it. The smash hit ("The Middle") might be my least-favourite which is probably a good sign. They end up as one of the more catchy power pop bands I've heard, probably due to the shockingly non-abrasive vox that I liked (rare for me) and excellent melodies. Still not my fave genre but they do it well enough that it's kind of a surprise strong 3 for me. 7/10 3 stars

Man this was a wild off-the-radar pick! No critiques there, it's even just hard finding info in English about this band - the mystery makes it more intriguing. First impressions - and from someone who doesn't like punk much at all - this kinda kicks ass? And from someone who generally doesn't love many live albums - yeah this kinda kicks ass. The performance is/was tight. The French language aspect for me enhances it; most music I don't care too much about the lyrics (unless they're uniquely creative, catchy, weird, or... terrible...) but so here it's all about the energy right? The more it goes the more it has a metal bent than punk for me; almost an early-Maiden energy without the twin-harmony guitar attack. Biggest problem for me though is...."the more it goes on" - it's really really long, and feels even longer than it actually is just with the similarities from song to song. It's not really about the songwriting/composition though, more the energy so even if it's not one of my favourite things I'm glad to have heard this! 6/10 3 stars.

Sorry to whomever submitted this - I truly and actively do not like this band. Every few years I've tried and with their main entry to the list it sealed it for me - something very detached about them for me; certainly the vocals are a main ingredient - dreary and not even a "let's mock his affected accent" Morrissey way but more in a "...really, dude?" way. In some ways it's not *that* far off from, say, Interpol but that band have a post-punk / truly mysterious and interesting modality to them that The National doesn't bring for even a measure. If I cared more I would be almost fascinated as to what is it about this band that annoys tf out of me - there's something in my brain screaming about it being a bit overly-precious, but if the objective music theory part of me takes over I recognize that these compositions aren't throwaways, i.e. there is creativity here. Perhaps it's just that there's absolutely nothing exciting - nothing mysterious - nothing silly - nothing remotely dangerous in here. And if that album cover truly is of them playing at a wedding I'd rather have heard the chicken dance. "...hey kids. congrats on your nuptials. ....sigh..... try not to cut yourself on the way back to the hotel. anyways. here's our latest 70bpm dirge...." After 3 songs I'd have said I think I "enjoy" it more than High Violet but damning with faintblahblah and all that and now I'm not even 7 songs deep and I'm picking lint off my shirt with a greater interest than anything else I've done this morning. I don't/cannot/will not ever connect with this. 3/10 1 star.

I don't love the lo-fi aspect of it at all - not to mention the approaching-mumble-vocals (thankfully they're mostly mixed low and mediocre enough to not actively detract) but there's the occasional shine from the occasionally-interesting music. I've seen some comparisons to shoegaze and some early grunge and there's definite crossover. Was initially going back and forth almost song by song - while I really paused to listen more closely a few times to appreciate the odd direction on the melodies ... too much of the dissonance just sounds like ass for ass's sake. Never go full ass. It's all ultimately very early 90s though, for whatever that's worth - I'm hearing a Mystery Machine meets Slint but overall it too-often dips into the Dinosaur Jr pool for my tastes in which case I'll just be in the chaise lounge drying off thanks. 5/10 2 stars.

It's ...decent? I have seen a lot of Arctic Monkeys comparisons (and I hear it when the drums have the annoying disco beat) but I can't stand that band - so I'll go with these guys are a more-basic and yet more appealing version? When they veer away from that comparison it's way better - e.g. in "Cavorting" I'm hearing some cool echoes of The Alarm which is an awesome throwback. Overall I don't know how to feel - I'd say I didn't feel much...? But as it went along I thought most of these songs are pretty catchy even if I'm not completely vibing with them - almost like - and this is completely unfair - but if 5 of these songs had been local or national hits near me when it was released I could buy that and then listening again could bring a nostalgia to it. Feels like that kind of album e.g. why was this any bigger than Oasis and why should I like their big album more than this? Familiarity maybe. Again unfair but hey. wayyyyy TL;DR: I didn't dislike anything at all here, just sort of hit me as very nice examples of semi-modern british guitar rock? i.e. wouldn't punch it off the radio, not sure how many I'll remember (although nope that's a lie: I'll pick out "Not Nineteen Forever" as one I particularly enjoyed). Probably a 4 if I'd known any of them, maybe someday I'd bump it up... worst summary ever ramblemuch just commit already 7/10 3 stars

I put on track 1 after work, really enjoyed the majestic and almost-triumphant instrumental voyage it took me on - it was a bit unseasonably warm so I transferred the album to my phone for track 2 and started getting tired ... went to take a nap and woke up 40 minutes later as the album was still playing ... only on track 3! which is entitled "Sleep" appropriately-enough. Decided I was ready for dinner, and reheated an amazing homemade Thai pork meal while reading a book on 1970s baseball and as I finished the meal and the chapter on 1977 the epic album finally came to an end. Coleridge? Homer?? Proust??? AMATEURS. 7/10 4 stars but you're gonna have to work for it. Or sleep through it. Or both.

Mostly-excellent album - grandiose with obvious comparisons to classic 70s Springsteen, but this hits harder (no sax - sorry, Big Man) even if/when Craig Finn's vocal delivery can get slightly irritating if you let it. Always loved the guitar sounds these guys get - props to the mixer/producer John Agnello. I am a much bigger fan of their later album Heaven Is Whenever, where Craig Finn actually tries to sing a bit more - but we're not getting there without this one; glad to have gotten this - but the album feels longer than it actually is, which might mean I have a time-expiry each time I listen to them. It actually seems to fall apart for me starting with "Chill Out Tent" which I've always hated, so I can cut it after track 9. Sum: I hadn't listened to them in ages and I often forget about them, although about 35 minutes at a time is a good enough dose. 8/10 4 stars.

Late-80s "popular" music was pretty funny in retrospect (it was probably just as funny at the time, I couldn't hear it through my mullet) in that there's a very very fine line between this, Billy Idol, Def Leppard, Poison, Prince.... they all had that *sound* - pop songs with crappy fake drums and slightly varied window dressing. OK you guys can take the rippin guitar solos, we'll have the fiery gang vocals, you grab a synth, oh and everyone turn up the reverb. We were all supposed to pick one lane, stick to it, and shun or mock the others. Turns out everyone was in the same lane after all and in the very shallow end. Eh. I'd possibly look at this more-fondly if I'd remembered them or the songs but I'm definitely going to forget this in 20 minutes and I'd like to sooner than that. 3/10 2 stars.

Ooooo... Cookie Monster vocals, dropped D tuning, AND software-drum-replacement high-attack double kick drums??? The full skull-drilling trifecta here. HellNo. 1/10 1 star

Man this was an unexpected surprise and a 180 from yesterday's which I'll leave unnamed ... Mellow, jazzy, simple and spacious, yet filled with unexpected melodic groovy turns. Guitar and music overall reminds me of this fantastic Icelandic jazz guitarist I happened to see years ago in Reykjavik with his band: Omar Gudjonsson. Sometimes you get what you need when you need it. Very nice - I'll be listening to this one a lot. 8/10 4 stars

Kinda groaned seeing this one (although I do like the cover) - not at all a fan based on what I've previously heard from them. But in reading that this was a massive departure I thought ok ... open mind... And as the music starts with the first track I'm immediately liking it more, until the loungey-vocals come in and it just turns me right off. Every song. A nice effort, and I can see why people could dig this - but I'll never get by the horrible voice, vocal effects, and dumb lyrics. I don't like Bowie at all and this is ... a far worse imitation - I'd rather have the 8 Bowie albums again. 4/10 2 stars.

I remember listening to this with others while working in the gen X veal pens back in the go-go dotcom doc martin days. Man - 1993 was a revolution of new music - all kinds of subgenres bursting back then. As for this one, Cannonball was all over the radio and MTV. It's far better than any Pixies album (which is where they splintered off from) - mostly since Black Francis isn't singing - and there's definitely a nostalgic aspect of it for me. And although the sound sucks in that *almost* early 90s lo-fi way I loathe, yeah it was a fun re-listen. You might have had to be there, though. 5/10 3 stars.

I feel like I'm almost always turned off by overly-wordy/lyrically dense music but goddamn if this record doesn't bring back some massive childhood flashbacks. Something about Al's rather twee voice (very Pet Shop Boys...?) makes it weirdly less-annoying for me (also it just fits the material perfectly) so as to be able to focus on the lush music behind it. Always loved that they saved the killer title track for the end. Not much to say about that one other than it's perfection and one of the true classic pop/rock songs of all-time; grew up as a little kid hearing that (long!) song on the radio constantly. I do love this album - it plays out like a movie and really needs to be heard all at once. Killer production/mix, too (Alan Parsons!). Caveat: I'm not sure how well this does/will translate to younger/unfamiliar listeners though; I'm definitely listening a lot through a nostalgic lens and objectively even if I do love it it is pretty old-timey in song construction. Anyways for me it's a perfect addition; couldn't believe it wasn't in the original 1001. 9/10 5 stars.

So. It's The Greg Kihn Band at Halloween. Not that there's anything wrong with that. Just that after having read about this before listening, it was nothing like what I'd expected. Written years before from inside a mental hospital...lyrics snuck out bit by bit until his eventual release... where's the insanity dammit! So honestly I was kinda disappointed (hey I know "I Walked With A Zombie"!) - I wanted this to be utterly and completely unhinged musically but it's really a decent-enough late 70s basic rock band. It's not bad - just not....nuts, or even that out of the ordinary. (Definitely better than his previous band 13th Floor Elevators.) 5/10 3 stars.

After reading a little about this/him, he's taking on a quasi-fictional character as a failed musician? Great - how does this add to or explain the music which is really all that matters (unless you're watching a performance, or Spinal Tap)... and all I hear musically sounds like cheesy 80s music from the latest Andrew McCarthy movie which I had no interest in seeing. Feels like if you have to explain it that hard, it doesn't stand on its own ... and holy hell it does not. In fact the longer this goes on it goes from "come on" to "this is aggressively terrible" This whole schtick about "oh see he's just *pretending* to be this loser and everything comes from that perspective" is just a thin cover for terrible songs - utter and complete bullshit. And finally but perhaps most egregiously: these lyrics are in the running for most-idiotic i've heard in my life, at least since David Coverdale wrote "Slide It In" - and at least he wasn't pretending. Sage words from an elder: there's a fine line between clever and stupid. 1/10 1 star.

Definitely *far* outside what I'd normally listen to, so it's hard to get a full appreciation of a genre I don't like, but just in this first track when I was getting irritated by the mechanical drums and guitar uber-distortion ... the orchestra came in to add a little something ok ok ... and then the voice. That feeling when I'm steeling yourself for cookie monster vocals and a quick *nope* yet instead comes a lovely soft voice countering the aggression ... unexpected and very nice. A perfect compliment and got me listening to the entire album a bit more closely. Overall this doesn't hit me much on a personal level - more than a little too chunky and loud - but props for the contrast of light and dark and the added orchestra really does add a dimension. Not for me but well done for what it is. 6/10 3 stars.

I find myself being distracted by everything while listening to this. It's not that it's just mellow - half of my likes/loves are as chill in some ways as this - but here it's done in a way that never ever grabs my attention. And closely approaches *almost* slacker-90s-IDGAF in the way I truly hate but there's (almost) enough earnestness that that doesn't completely fit... I recall not loving "Beautiful Freak" primarily due to the vocals. Here he sounds like Kurt Cobain trying to be Beck. Or vice versa. But all along he's being so careful to give that GenX *I'm not trying that hard* which is the part that grates on me. It doesn't work at all and I suspect that's a lot of my negative or just...nothing...reaction to it. But also even without paying attention to the lyrics there's something about them that's cloying. Annoying in a simplistic way; it might be the meter - i.e. the obvious rhyme that you see coming every time. It's a bit colour by numbers for me and I think Eels just isn't my particular spirit animal at all. 4/10 2 stars.

I acknowledge my prejudice against the twangy accent. Was ready to hate this and honestly didn't love it at all at first but I will admit that after 6 or 7 songs I realized I was still listening - better than I'd expected; peaceful even. Maybe he just wore me down! I feel like I would appreciate this more being in the front row seeing/hearing someone sing these songs in a personal setting; not an album I'm going to ever put on again but if you like the close mic folk country americana you're gonna love this. 5/10 3 stars.

Wikipedia lists them as folk They're as folk as Jethro Tull was heavy metal. Swedish...but this vocalist sings with an almost Indian flair? those peculiar vocal quarter-tones are pretty unique. Music is like this foreboding *slightly* folky trip-hop mixture and I don't know whether I like it or not but it's sure damn unique and not one of 27 Bowie/Young/Costellos so I have to give it props - something I've never heard before. 6/10 3 stars.

Haven't listened to this one in too long - strong modern P-Funk vibes which might be too on-the-nose for some but who cares - nobody else is doing it (or at least doing it well) and I'll take it. Feels like it takes a lot to stand out of late especially with music that's either in homage/tribute/knockoff whatever and this did/does - I love every bit of this. Stay woke... 9/10 5 stars.

I remember listening to Joan quite a bit about 10-15 years ago, but I don't think I'd heard this one.... My memory has me liking her a lot more back then. Hmm - wondering if I've changed, or if it's just this album because this is a drag. I recognize her style for sure but nothing grabs, nothing compels. Also Anohni's voice grates my brain more than maybe any other vocalist I can think of - not a good guest spot. I do like that lead guitar on Christobel - would really have liked more of that energy not necessarily everywhere but ffs, people who claim Radiohead is wrist-slitting-inducing, I offer up this platter. I badly need some cheer after this goodgod. 4/10 2 stars.

If you'd told me this was a new or remastered Siouxsie and the Banshees record I 100% would have believed it. Savages are new to me and I'm a little surprised at some of the harsh reviews - I really liked this. Siouxsie/Banshees for sure without quite the Juju-period guitar work but a nice dollop of my favourite aspects of Joy Division and honestly overall more accessible songs than each of them. All wrapped up in a relatively recent recording that both sounds good/clear and "old" (I'm especially thinking of that vocal reverb sound and the endless slow pick slides on "Waiting for a Sign" - like they recorded this in a dank basement which I want to believe is true). Negative is that it kinda falls apart a bit at/near the end; willing to concede that maybe I just have like a 30 minute timer on these guys as well... If there's any genre I elevated my interest in after the 1001+ it's post-punk so maybe 5 years ago I wouldn't have been as receptive but today I apply the eyeliner, turn the room lights off, light some candles, and crank this up. 8/10 4 stars

I can't believe there was no Phish on the original list. Quite the musicians, these guys - extended live quasi-happy jam sessions over smiley major chord progressions. I never liked Phish. 4/10 2 stars.

Movement 1 - I kept pausing and taking my headphones off...looking around to find who was making that sound ... until I realized it was the piano pedal being released after each repeating note phrase. I love hearing the actual ambient room where a/the recording is made, especially in something pleasantly mysterious like this. I feel like I should have known about Pharoah Sanders (ahh ok he was in Coltrane's band) - so going in with a completely blank slate and coming out with a new keeper album is always a treasure. Not a "for every mood" album (i.e. probably not great on a solo night long highway drive...ooo unless you're bussing overnight staring out at the passing landscape) and I'm sure some might be annoyed by it but for work or just a calming influence I absolutely loved it from start to finish; haven't had something ambient like this in years (harkening back to Eno's "Music for Airports"). 8/10 4 stars.

A personal favourite from someone? :) I remember my roommate buying this CD and seeing that damn LED light blinking all night in the common room for like 6 months. Not a critique - it's fine. I'll happily listen to a little* David Gilmour, especially Shine On You Crazy Diamond so maybe I should have cut it off after the first track? I did/do like this version of Astronomy Domine maybe better than the original, hmm... Nice to hear a few of the old tracks on here, but I was never much a fan of the 80s output (especially Division Bell: snoozer.) and no cuts from Animals is a huge negative. I've also never understood the need for this live album just a few years after....their previous live album. Not sure I could tell the difference even now. And this may sound anathema to the entire experience but even with the talent shown here I really almost always prefer studio tracks - especially with a band like Floyd, even if it truly sounds great. Something about the mystery within these songs gets lost. It gets boring once you're into the "newer" tracks on disc 1. I feel like this plays more or best as a really fine basic sampler for someone unfamiliar with Floyd which again is fine, just not something I'd really reach for. *2.5 hours though? - wayyy too damn long...yikes. 5/10 3 stars.

<checks wiki page before listening> genre: "Comedy hip-hop" ... c'mon SPOSE - SPRISE ME. You might have even served me ice cream at that overpriced lobster shack you worked at 20 years ago. Tough to truly rate since this kind of hybrid rock-rap is something I usually actively dislike .... but I'll say it's better than I'd expected. The music does work pretty well (+1 for organic instrumentation) and his rapping/speaking/semi-singing is just different enough - keeping it lowkey actually made me pay a bit more attention. I think I was expecting Limp Biskit but it's (thankfully) nothing like them. Not sure I'd agree with the comedy hip-hop label but maybe that applies to his earlier work - not intrigued nearly enough to explore the progression of Spose. Anyways after damning with faint praise it's still not something I'm gonna listen to again. Also ~35-40 minutes is enough; 3x that length is woooof. 5/10 2 stars.

This album cover is meta-1993. Song one finishes...song two starts...with the same tempo and feel. Eh I get nothing out of this / feel nothing. Rote high-tempo punk-ish vibes with a non-abrasive voice is all ok, but it ended and I don't remember anything. 4/10 2 stars

Very dreamlike, with the album title actually giving a fairly accurate representation of the music. Has a real 80s vibe, although points deducted for too many forced-retro aspects that make it feel a bit much at times (overused scratch effects). The limited vocals get old after a while [see note below about album length!], but I do love the deep synths which fortunately are more of what I noticed / hung my hat on. I've been expecting a lot less out of the user-submitted albums of late and this was no exception ... until it was. I don't know if I'd personally call this a keeper but it was nice to work to; found myself subtly bopping to it from time to time. It's too freaking long though - this is a legit commentary on modern "music" (really the presentation rather than the music). Keeping albums to a digestible length has more of an impact than a lot of acts realize. blahblah anyways I enjoyed it outside the Kate Bush cover which was alternately not different enough synth-wise to cover up the weaker voice - best forgotten. 6/10 3 stars.

Ahh heck yeah - now this is an album that definitely should have been on the 1001 list. Album with an iconic single... a band that was influential on/to so many artists in different genres...hell, they opened for the freaking Stones and The Who. Starting with that all-time classic leadoff single brings back memories of being a little kid and hearing it all the time on AM radio in the parents' station wagon. The rest of the album grooves as well - the band (Meters!) and particularly the rhythm section propel each song. Serious props to that BASS (George Porter) on every song. Easy keeper and absolutely should have been in the book. 8/10 4 stars.

Wow I really hated this during/after the first song. Was pretty sure I wasn't going to get by the squeaky/precious/modern-up-to-the-microphone pop vocals. But.... by the second song ("Killing Time") ....am I kinda digging this...? There's a bit of Cardigans, a bit of 80s synth goodness, and the bass gives it all a groove. Glad I've been giving this a chance - her voice is what it is and yet as it goes on it's less-grating; I think I'm both used to it after a while and it fits the songs perfectly. Also not mixed too high, thankfully. The music in "Death & Romance" is another great one. This was a definite surprise - after being ready to judge and slaughter this one down to a 2 or 1 after that first song, there was a LOT more here. It's not my favourite, I still think it feels overly-dense in a lot of places but the composition is really good. Too many mid songs to raise over a 3 but the best cuts are ones I'll listen to again. 6/10 3 stars.

Overly faux-clever and frankly fucking annoying right from the start which rapidly descends into a near self-parody of full-impact cringe. Well-recorded, at least. Yeah - I do not like this at all, no need to go on about it. Next, please. 2/10 1 star

Marc Bolan + melodic noise (i may have made that up but it sorta fits) It's not bad - just not really anything I'm interested in or clicked with, but I get why ppl could really dig this. giving a cowardly mid 2.4ish and moving on 5/10 2 stars.

Well I don't like this album cover one bit, no thank you. As for the music... how about "holy shit...?" I imagine this is what it sounds like being trapped in a nightmare revolving around a demented circus/carnival. ?? What in the hell IS this? After I was 3 songs through ... I honestly couldn't tell if I hated or was/am fascinated by it. The swirling tempos in "Dog like Sparky" are completely unsettling yet I can't turn away. And if I'd thought things would "even out" after that - hahaha. No. OK...nearly breathless as I'm done listening - I have absolutely no idea what this was and very few comparisons to make. I now think that's objectively kind of awesome - even if I'm still not sure how much I liked it? This is *utterly and categorically unique* in the rock (or any) realm. I'll go with: Blur on LSD meets Roger Manning while on a runaway high-speed circus train locked in the caboose by Madness with a sadistic Mr Rogers ... I can't imagine listening to this under any sort of affected state, but I'm also intrigued by the idea. One reviewer in here wrote "requires active listening" - understatement. I have to give this props even if I'm not sure how much I can listen again; I'd also not fault any rating given for this one, but I have to give a 4 because I would say yeah - everyone *needs* to hear this. You might hate it, but give at least half of it a try. Actually half of it would have been better - the biggest negative is that it's too long - it's overwhelming after *3* songs let alone a double album's worth. They absolutely should have Use Your Illusion'd this with 2 separate releases because after a while it's impossible to distinguish songs from one another - they jam ten ideas into *each* song so getting through >20 tracks is a tall task. I've rarely been more confused-yet-intrigued by an album. I suppose for that - rather than just another unknown low-rent selection - huge props for/to whomever submitted this. Please let me know where to send my impending psych bill. And in retrospect...the album cover absolutely does fit. 8/10 4 stars.

This is the perfect example of poncey fluff I despised when I was younger and just trying to work out the coolest hammer-ons, pull-offs, artificial harmonics, and power chords of whatever the latest spandex-laden "metal" band just released. Now I just think it's quaint and mildly fun. Definitely more a historical musical artifact seeing how the lovely lads started out, they got way better over the decade; a negative would be that it sounds incredibly dated but that's also admittedly part of the fun. I still say it's fluffy, but that probably says more about me. A fine-enough listen. 5/10 3 stars.

My initial (i.e. first 10-15) minutes reminded me a little of Ian Dury and Bon Scott but a little less fun. Like... maybe you had to be there? I know Alex was a big influence on a lot of artists I enjoy but 50 years later it comes across as fine guitar-based rock... ...until the ridiculous "Tale of the Giant Stoneater" and "Ribs and Balls" - the former is just weird enough to make me notice and the latter really drives home the Ian Dury comparisons for me. I don't know how/why but this grew on me - previous SAHB listens/albums I've hated his vocals but maybe it was the Fish (Marillion) sound-alike (yes I know AH was ages before) on this one combined with the general weirdness that hooked me a bit more. Not at all prepared to give this a 4... yet? Feels like depending on the (my) mood I could either really love this or throw it in the trash. Hence my gutless 3, but I think I may give it another shot. 7/10 3 stars (also funny to me that half of this band ended up as most of the Michael Schenker Group)

Expected worse, wanted better. Industrial music is almost never anything I'm interested in. This one dragged down by lousy university-level over-effort Tom Waits like vocals and dated drum and keyboard sounds. Really just a hard pass for me, Milton. 4/10 2 stars.

More of an overall comment - and apologies to whomever submitted this, it's not personal... I was perhaps selfishly hoping/expecting these user-submitted albums would be entries that people thought were egregious omissions from the original book, i.e. albums/artists I missed out on for decades and get to discover for the first time (even if I hated them/it). Not just little K-tel pet novelty projects like this. Mashups? nah. It just feels throwaway and tiktok-ish, especially that I had to go to youtube to find it. Hardest pass for me. 1 star.

Yeah now *here's* a worthy submission - an album that made more than a bit of noise out in the world back then, with even a few bars here and there played on the "Lost" island [get Hurley some more batteries]. For a mostly-acoustic album many/most of these songs have a tremendous build; well-written and constructed songs with perfect instrumentation and arrangements. In particular I love how the strings are used - not too much, but the perfect lead or simple accompaniment. I usually get a bit or quickly bored by albums of/in this genre; the sensitive solo singer-songwriter but something about this album has always hit me the right way. Love it. Very solid 9/10 5 stars.

First cut is relatively nice/dreamlike - not a style I usually listen to but I'm thinking very nice melodies... ok I'm semi-interested... Then Ponyboy hits. That was ... different. Yeah this kind of jarring chaotic glitchy noise construction is definitively and categorically something I dislike. It's not all glitchy after that but the grand sum including the squeaky hedgehog vocals (track 5) .... this album is not for me. 2/10 1 star.

Here's something I'd likely never have been exposed to - I feel like I definitely would have to be in the mood for it (i.e. maybe not commuting music) but then again on a rainy Monday morning it's hitting kind of perfectly. Over the past few years I'm finding that I enjoy non-English singing quite a bit, which shouldn't have been surprising in that I often don't focus on the lyrics anyways. Black and white cover fits (see again: rainy morning) the music - hard to "rate" in any sort of personal pecking order since I doubt I'll often go back to this but in the end... I like it. 7/10 4 stars

Honestly didn't think I was gonna like this - sometimes it's not a good idea to read about it beforehand, bc "dub" threw me off - but this was actually really cool to work to. I'm not a big reggae fan overall (hence the personal semi-mediocre 3 stars) but I could listen to this again. 7/10 3 stars.

Definitely fits right into that early 90s GenX sound - what a time machine. Can almost feel getting the Doc Martins and flannels out of the closet which would be such a cliché if not true. One of those bands that revolved around me back in the day but I don't remember explicitly listening to a full album. It's nice in that throwback kinda way and actually quite a bit better than the standard Flavor of the Month back then. fave cut: "Definite Door" Yeah I don't know if this is super special but I'm digging it more than I'd expected. Holds up from that era for sure. 7/10 3 stars.

Now this is a personal throwback - I actually played a gig with these guys in Cambridge MA about 1000 years ago. I absolutely appreciate how good they were/are much more now but I remember them killing it live. Great/fun/perfect length album. Not sure which is my fave, good variety even within the funk umbrella - although completely unexpectedly "Tug Boat" has a weird Zappa vibe ("let me go...down with the ship") This was and is a blast - love it - high five to whomever rec'd this! 8/10 4 stars.

Started off hating it, then minutes later was in a trance. It's weird AF and low-fi but low-fi 70s Krautrock electronica is infinitely cooler than low-fi 90s emo rock garbage. Not sure it's entirely repeat-listenable yet ("Rote Riki" is a tough one) as by the end a lot comes off as a bit of either a demo reel or "look what i can do!" with early electronica but the best of this is cool and considering this came out in '74 it's pretty nuts. 6/10 3 stars

I never understand the screaming. Ever. Goddamn stupid shame because the music is pretty good, but the absurdity of the screaming absolutely kills and wastes any aspect of this or any music. 2/10 1 star.

In some moments, this is reminding me of John Martyn's "Solid Air" which I like very much .... unfortunately there aren't many of those moments. I think what bugs me most about this is how much it sounds like it was recorded in his/a basement, and yes that is meant as criticism. e.g. his voice is annoyingly loud in the mix, so distracting as to make it frustrating. And that cello man - somebody dampen/compress that. The atmospheric aspect of it is really interesting - or could have been more so - but I'm too-often put off from track to track. Points for occasionally "nice/melodic" weirdness and I could absolutely see *parts* of these being utilized in the construction of better *songs*/music but not sure it's a good "album" - there's no flow to it. 5/10 2 stars.

Somehow had never been familiar with Harmonium. It's got that dry 70s progressive sound that is kinda like a warm blanket - clarity and variety in instrumentation, not a ton of resolve but not out there like an absurd King Crimson or ELP epic - not even much like much more accessible Genesis or Yes. Just kind of a lovely sound, one I'd probably put mostly outside of rock/pop; actually maybe even like a progressive Al Stewart kind of sound. Negatives include the falsetto vocals kind of grate after a while (not a long while, either). And even though the music isn't "out there" as I'd mentioned, there aren't many super-hooky songs either, which in and of itself isn't bad but perhaps ironically without the songs being overly-adventurous it may be a weird dichotomy that there *isn't* a big hook anywhere. Anyways, glad to have heard this - quite enjoyable, but almost a touch too smooth for me overall. 7/10 3 stars

I had no idea this band was still around - I honestly think the only cut I knew was the classic "Under the Milky Way" This is really good - again I've been unfamiliar with their work since the 80s but it still retains that ghostly/ethereal sound while still sounding modern. I think my only critique is similar to so many modern records: it's just way too long. Keeping this at a tidy ~45 minutes or so would have been amazing. Still - I've really enjoyed it, like a childhood flashback in ways and I'll definitely listen again. 8/10 4 stars.

Actually....listening to this after the Jays lose in one of the most heartbreaking World Series ever I don't know whether to bathe in this or jump over the falls. I remember these shoegazers - pretty and ethereal, completely washed under layers and layers of reverb to the point where you barely tell what instrument is playing. It's not bad, just a little too.... rounded? Won't ever be found under the "I can play this album anytime" file since it's so moody and emo but I do like it. Mostly. 7/10 3 stars

It's not ... *bad* per se in terms of talent ...but it kinda sucks, know what I mean? All sorts of flashbacks going through my head....Georgia Satellites meet Badlands meet BulletBoys...wait is this 1989 all over again? I did this once. Exhausting. 3/10 2 stars

When/if I don't pay attention to the lyrics I can hear this as a catchy platter of modern simple pop/rock. It's not like the lyrics are terrible, but... file under the entire 21st century Swifty teenage+ myopia which there's absolutely nothing wrong with, just that it's one of those albums/artists that if/when I notice the lyrics it makes it cringey. I'm not the market. As for the music, it's not revolutionary or adventurous in any way at all - it's a safe modern vocal-forward marketing album which are dime a dozen these days (and if I'm REALLY cynical I could say there are AI algorithms that can and will nail this exact sound and will we really tell the difference?) but less-grumpily there's good variety here which helps propel it and keep it above the water line; overall that was surprising to me as a first-time listener. Her voice gets a little typically-modern-young-female after a while; i.e. her obvious influences are bleeding off her (Lorde, Halsey, Swift, etc etc) which makes it all a little lost in the soup for me, but taken as an individual unit ... it's a good enough album. 6/10 3 stars.

I'd unfortunately never heard of them - this is uniquely weird in an accessible way. Those swirly seasick sounds can go either way (I never particularly loved the MBV version...) but the chill ambient dark lounge-jazz vibes this gives off is perfect. Of particular note is the bass <chef's kiss> - love the way it propels the album overall - but each instrument is so creative and never overplayed, but offers just enough in each song to colour everything. Only criticism: it's far too long. I'm a big fan of keeping albums under 50 minutes - maybe a relic of/from the vinyl era but it's scientifically proven* that the right length of an album is around 45 minutes, +/- 3. Great addition, I'll definitely be seeking others from their catalog - merci boucoup! *science still awaiting verification 8/10 4 stars

Love the intro - bring back those analogue-sounding synths! I'm not crazy about Starburster - seems a little too Arctic Monkeys for me so I wasn't thrilled with the potential direction, but the album and sound really grew on me as it went on. "In The Modern World" has a vibe of very early Coldplay with <something else familiar yet I can't quite put my finger on> to it. Had heard of these guys but never heard before today - not sure if I'm ready to elevate to a 4 since I didn't quite get *that* feeling but seems like it could have staying potential if (when?) I give it a few more listens - good entry. 6/10 3 stars.