A l b u m w a a a a a a a a a a a a y t o o o o o o o o o l o o o o o o o o o o n g . There are some good nuggets here and some bad. When I told myself that this thing has to fucking be over by now, there were still 4 1/2 songs to go. U g g g g g g h h h h h h h ! I bailed on the last song because it was bed time.

This is a tough album to rate. Just considering the jazz scene, this album razzes my berries. Listening to it, I feel like I’m a cool daddy-o who’s got it made in the shade along side my ginchiest gal with a classy chassis. We’re at a club like the Copacabana with a whiskey and a cigar blowing off steam before we burn rubber to the passion pit for a double feature and some backseat bingo. I’m no aficionado here, but I do think Stan Getz is a hip cat on the saxophone. Not to be a wet rag, but I do not consider jazz to be the bee’s knees. I did catch some Z’s while listening to this one (it’s been a long week). We’ll nightingale, here’s my tale: If someone had this album on, I would enjoy hearing it through. And that’s the word from the bird. I’ll put a lid on it now.

Thank you Television for not letting Brian Eno ruin this album!!! They recorded demos of several of the songs and didn’t like Eno’s production. So the band waited for a better suited recording arrangement. I’ve had this album in my library for a long time, and I’ve gone through spurts of repeated listening. I love the guitar work on this album. The twinkling diddle-liddle-liddle-liddle-luh throughout Marquee Moon (song) is a great hook. And the little, repeated licks that go against the grain in several songs, which I found out are called countermelodies, are exquisite. The bass deserves recognition too, like on Elevation and Prove It for instance where it carries the melody at times. Listening to Marquee Moon (song) more closely now, I find it to be an unappreciated master piece. The repeated premature truncation of the chorus on Elevation is unsettling, but in a way I truly appreciate. Have you ever had a conversation with someone about what era you’d want to go back to for the music? Reading more about Television’s history, 1975 at CBGB in Manhattan is now on my list of potential answers. That year, Television shared a residence at the CBGB with Patti Smith when she had just recorded her album Horses. Oh what a time and place to be!

Remember when John Fogerty got sued for stealing John Fogerty’s music? Well John Fogerty won. Then asked for his attorneys’ fees to be paid. And John Fogerty lost. Then the fee collection part went to the Supreme Court. And John Fogerty won…I think. John Fogerty 2…not John Fogerty 0. It got a little confusing there. I do know John Fogerty’s case set the precedent for copyright defendants being able to collect fees when they are victorious. Also Clarence Thomas concurred to the outcome to which the other 8 justices agreed. Not because he agreed with their reasoning but because he thought a previous civil rights attorneys’ fees case result should have been overturned. Typical Clarence Thomas…being cranky and not thinking plaintiffs need financial incentives in bringing civil rights cases. I digress. On to Bayou Country. I find it amusing that a band from San Francisco is often falsely thought to be from the bayou. Understandably the album and opening song titles lead one to believe this myth. But still, hehe. I’m really not sure why this cracks me up. Onto the songs. I promise. I dig the blues rock style on this album. I’m digging Fogerty’s voice, which from past reviews you’ll know can sink an otherwise decent band quickly for me. Actual song info. Really. I knew the two most well known tracks, Born on the Bayou and Proud Mary, very well coming into this. They are solid, but not my favorites after a couple listens. I think I like the third and fifth tracks are the best, but I can’t decide which one. Graveyard Train is a slow and snap inducing blues number. The song is not complicated, yet still impactful. I was humming the bass line during dinner and the kids started clapping along almost immediately. Harmonica can be overplayed, but this is not the case here. Again not complicated, but impactful. John Fogerty’s growls perfectly to convey the loss of his character’s companion amongst the 30 dead. Penthouse Pauper is a powerhouse of a song where John Fogerty sings forcefully intertwined with some screaming lead guitar with every verse. The guitar is like John Fogerty’s wing man in mind conquering over financial holdings for status in this world. I should also mention that this a very good take on Good Golly Miss Molly.

Oh man did it take a couple listens to appreciate this album. This is FANTASTIC!!! Shhhhh…too loud for this album…(soft voice) it’s fantastic. The first couple times through there was a lot of (train) background noise. The subdued nature of this album is best admired in a quiet setting. The minimalist arrangements are just as, if not more, powerful for what is not there as much as for what is there. The most impactful part of the understated approach is that the parts that would seem “normal” in other music appear conspicuous, emphatic, and flamboyant. And here lies the genius. There is something notable about the vocals that I just couldn’t quite put my finger on. Enter Wikipedia where I saw that some critics describe them as singing not together, but past each other. Building upon that, I have a different take. To me it feels like they are in adjoining studios singing out windows that face the same direction. Close to each other, but separate, yet projecting in the same direction. I could go on and on about all the songs, but I will take a subdued approach and just state that this album is incredible. What a gem!

Obviously Eminem’s talent is evident, but the lyrics, sound, and production are quite immature. The album is good enough to notice Eminem’s vast potential and want more music in the future, but lacking enough to not want to listen to it any more than the rare reminiscent indulgence.

Primitive. Bass-y synth beat on Wrap It Up (a song about using a condom?) was good. Sweet Dreams is clearly head and shoulders above any other song and is the only reason I didn’t give 1 star.

There are some really enjoyable songs on this album, such as: Grande Ol Oprey Song, I Saw the Light, and My Walkin’ Shoes. There were too many instrumental pieces which all blend together and kind of drone on for me. In the end, this album would be a decent choice when I’m in the mood for bluegrass, but bluegrass just isn’t my genre. If the album were reduced down to its best 8 tracks or so, I might put it in my regular rotation.

At first I listened to the original 10 track version, which was heavily edited for time. It was OK. Then I realized that the Legacy Edition was different and sounds like the full show. Classic Johnny Cash. Carl Perkins’s Restless is a revelation.

Ahhh love me some T Swizzle. Blank Space and Wildest Dreams are solid and Shake It Off should make anyone want to dance. The opening bass line on Style gives me the chills. This album is the beginning of her musical metamorphosis and is pretty good, but not yet peak T Swizzle.

Completely forgettable. The only redeemable quality for this album is that it is not so offensive that I would turn it off immediately.

Clocks is a highlight as is A Whisper. The rest, meh. I forgot I had this album in my library. I deleted it.

I was really excited to listen to this album because I’ve never really listened to Rush and I’ve always thought there were a band I would like. The openings to Tom Sawyer and Vitals Songs are the most musically interesting features on this album to me. I do not like Geddy Lee’s voice. The album is not bad, but there are not any songs I would seek to play on their own.

Peaceful. Serene. I like the first track and I could listen to it with my eyes closed while getting a massage. The last three tracks are meh.

There are parts of this album I really like. Band on the Run is a master piece. I also enjoyed Jet, Mrs. Vanderbilt (…Ho, Hey, Ho…), and Nineteen-Hundred and Eighty-Five. If Mamunia and No Words were deleted and the various distinct parts of Band on the Run we’re expanded into their own songs, this would be solid, 4 star album.

The closing line of Black Metal (Radio 1 Session) is “Welcome to hell!” An apt line to describe listening to this album, which I did twice. This is the type of album a bunch of goth kids who turned into goth adults make, yet they didn’t realize the goth stage was supposed to end. I understand clearly that they are obsessed with death. I did find myself bobbing to the guitar riff on Don’t Burn the Witch. I thought Buried Alive was kind of funny although I don’t think it was meant to be. In the end, I just don’t have enough teen angst to enjoy much about this album.

The musical instruments on this album are meaningless background noise. Tina’s voice is the main instrument and oh man is it powerful. Unfortunately the album is more than just her voice.

The 80s were wild man, with a unique sound. This album is squarely 80s, but in a good way. The prominent bass driven rhythms throughout, like New Religion, are refreshing, and I enjoy them quite a bit. Rio comes alive at the chorus, which is catchy and much better than the rest of the song. I don’t completely understand why, but I have to point out that parts of the bass line in Lonely in Your Nightmare sound like an underwater recording of whales communicating. Hungry Like a Wolf is solid while Save a Prayer is ambling and soulless. I can see how this album put them on the map.

This album punched me right in the mouth from the get go with Seven Nation Army. I was familiar with the bass line to the song because it is played a lot at sporting events. I thought it was played out prior to today, but now I contend its wide spread use is justified by how much this song kicks ass. Holy shit the guitar sound for Ball and Biscuit is sublime (chef’s kiss to the effects and amp set up), and the vocals are a call back to some super sultry Led Zeppelin tracks. Black Math and Hypnotize are punk inspired songs I can get behind. Now let’s go break some stuff. Additionally there are several tracks without the familiar distorted, guitar driven sound that are most excellent like: In the Cold, Cold Night; I Want to Be the Boy; and the last track, Well It’s True That We Love One Another, which is a playful, refreshing end to the album. The drums are never at the forefront on the album, yet they are solid and perfectly support the overall sound. Overall this album is a great reminder that often times less is more. The stripped down nature of both the musical parts, and having only two members, really allows the parts that are present to shine through quite brightly. A revelation…bravo!

I got through the first disc and stopped. This album is not offensive. It could be on in the background, but I would never choose to listen to it again. Frankly I didn’t listen to the second disc so I could have more time to explore more White Stripes albums and Bob Dylan songs (80th bday!). This is more a statement about how much I thoroughly enjoyed yesterday’s White Stripes album and my lasting admiration for Mr. Dylan.

Is there a better voice than Aretha’s? Fifteen seconds into Respect I get the chills that last the rest of the song. She did it to me again in Save Me. How lucky am I that I get to experience Aretha’s supreme talent? I feel as though aerosolized soul is oozing out of the speakers, and I get to breathe it in, during A Change Is Gonna Come. Several songs are unnoteworthy. Tracks such as Don’t Let Me Lose This Dream; Dr. Feelgood; and Do Right Woman, Do Right Man could go. In the end as an album, there isn’t quite enough here to garner a higher rating that Aretha herself clearly deserves.

A Scottish electronic pop act…I must love this…right? No…no I do not. I most certainly could have died without hearing this album. There are a lot of seemingly random elements to this album somewhat like a Salvador Dalí painting. However unlike a Dalí, there is no overarching theme to the elements, no thematic beauty. Just random shit…like I swear there was yodeling in Amelia…WTF. According to Internet, these guys started the modern dream pop genre. They deserve credit for doing so because Internet also tells me these other bands are dream pop too: Au Revoir Simone, Chromatics, and Troye Sivan. They all kick some major, major, MAJOR fucking ass. So kudos to Cocteau Twins for pioneering this genre. This album is still shit though.

This album is soft and intimate, colorful in its storytelling, and kind of makes me want to leave a car running in the garage. That’s both a complement, because of the strong sense of hardship conveyed, and a negative because it is emotionally draining. If this album were a cologne, the name would be Absolute Despair. It’s an album I respect and am glad I heard it, but I never want to endure again.

Shout out to Johnny P, one of my college roommates who was way into punk music. Senior year Johnny P had a badass mohawk and fought off a would be mugger outside RoFo. Busted up the side of his face something good. The first track of the album, with the brass and saxophone (!) opening, certainly was enjoyable… and misleading. Most of the album is punkish., but not entirely. I would call the album proto-punk … did I just make that up or is it a thing? Whatever it is, the punk songs are more accessible than hardcore punk bands like The Dead Kennedy’s or Minor Threat. This is a good thing. And there are several more rock-like songs sprinkled throughout such as: Know Your Product, Memories Are Made of This, A Minor Aversion, and Untitled. No, Your Product and River Deep Mountain High are highlights of the punk songs while Run Down is a punk song with prominent harmonica, which I had never heard before. And a punk song with saxophone (Orstralia)…wtf is going on?!? I’ll tell you what is going on…a great marriage between punk and other non-traditional elements. Proto-punk…see I told you it’s a thing. This album also makes me happy because I feel bit closer to Johnny P who has been having a hard time in adulthood. You know that would be mugger? We’ll it was really Johnny P getting chased for shoplifting from RoFo. Their fried chicken was delectable after all. His face really did get busted up something good. However, it was because he was drunk off his ass and tripped over a curb.

The Cramps…am I right ladies? A fitting name for…J/k…I know I’m NOT allowed to make that joke. My apologies and I withdraw the entire approach. I’ll stick with the Strychnine angle. Ironically I’m Cramped is the least offensive song because there are very few words. They must have known the minimal words made this track stand out because the song is on the album twice, and sounds essentially the same. I don’t even know what to say. Rock On The Moon should be renamed Let’s Make Loosely Synchronized Noise Quickly. There’s a lot to say about this album, and not much of it is good so I won’t pile on too much. The album is a disjointed mess, which is mostly on the lead singer who comes in and out of tempo at will. The guitar and drums are in synch (a ha! a good thing to say) if not almost entirely basic in their composition (well almost), but still the guitarist played the somberly, monotonic line to Fever OK…the whole song (ahhh the ‘ol complement sandwich). In I Was A Teenage Werewolf (With False Start) someone interrupts a recording session and a member of the band says, “Man, nobody fuckin’ stops a take of The Cramps in the fuckin’ studio! Now get outta here! I mean it. Get the fuck out!” Oh I wish they had stopped all the takes, saved the band their $80/hr for studio time, and mercifully saved me from listening to this album.

I don’t like country for the most part, but I do like the down in the small town sound of this album. Loretta can carry a tune. She’s not an elite voice, but still very good. The musical arrangements are simple most of the time, allowing the straightforward lyrical storytelling and Loretta’s voice to feature. The title track, Devil Gets His Due, and Get What ‘Cha Got And Go are all nice tunes that have a faster, driving beat. It feels like these songs are taking me somewhere. There are too many songs that are just too slow to keep my interest, such as Saint To A Sinner, I Don’t Want To Know, and There Goes My Everything. They feel like I’m stuck in the muck. Aside from this album, I found out that Loretta was a country music pioneer. She was the country music artist of the decade (the only woman to do so) for the 1970s. She also married a 21 year old that she had known for a month when she was 15. She had 4 kids before she turned 21. Loretta wrote a lot of songs supporting women’s issues and has recorded 70!!! albums over her career. Quite a lot of accomplishments.

I don’t know what to say other than this album is mostly boring. The opening song, Wearin’ That Loved On Look, is by far the most interesting song. I’m Movin’ On is also not that bad. A common connection between the two songs is the bass guitar is a driving part of each song. I’ll Hold You In My Heart (Till I Can Hold You In My Arms) is soooooo slooooooowwww. It reminds me of the Apollo 13 scene where their cassette player’s batteries are dying. Get on with it already. I was expecting some blues based, hip shaking, rock and roll, and this album is not that. I guess it was an attempt to demonstrate that Elvis was more than a hip shaking heartthrob, but it’s just a slower, more intimate snooze fest.

This album is a heaping pile of grits, not offensive, but also not very good without something else added to it. This album is missing cheese, shrimp, or even just some basic butter to keep it interesting. I think the guy who goes “oh oh oh oh oh oh” on The Art Of The Noise might be the best part of the album. His part is a total of about 15 seconds on the album. I’m stretching for compliments here. Childz Play is like a bad circus attraction soundtrack. Cee-lo’s voice is unique and grating some times, but not always. Conclusion: I do not think that Cee-lo is the soul machine.

When the bass line plays on A Walk Across The Rooftops, I feel like David Lynch is saying hello from the set of Twin Peaks. There is no melody to this song, just seemingly disparate musical parts. The parts are clearly synced together, but there’s no constant beat. Strangely I like this about the song. There are several other parts of the album that feel similar, like everyone is playing the same song, but they all started at different times. It’s really difficult to pin down a description. There is order to it, not randomness. It just feels like the music is constantly throwing me off. Again, I somewhat like this aspect of the album because I’ve never quite heard anything like it. Another thing I like is the lead singer’s voice. When he says “heatwaaave” in Heatwave, I think it could be the music dictionary’s definition the quintessential 1980s pop sound. I don’t know, I instantly recognize the decade by this one word. Easter Parade is sleep inducing, not in a good way while the bass driven groove on Stay is quite enjoyable. I’ve written quite a bit of positive things about this album, but I didn’t download it. Much like the album itself, my thoughts above are disjointed from my overall feeling about it. In the end I don’t really like the album as much as this review might indicate, but I do appreciate its strange uniqueness.

I once purchased this album through the BMG music subscription service. Side note: my parents did not police what albums I bought at all. Additional side note: this was when I bought albums entirely based on the singles, which is not a great way to acquire quality albums. I don’t remember ever listening to anything but the singles on CrazySexyCool, but still 14 year old me was so with it! Creep and Waterfalls stand the test of time as excellent songs. Waterfalls was also timely for me in the mid-1990s. A few short years later my town switched area codes and had to start using all 10 digits for a phone call. I bring this up because I could no longer use the 7 digit numbers that I was used to for my whole life up to that point. Yet another side note: I must recognize that these are lyrics from Weird Al’s parody Phony Calls from his 1996 Bad Hair Day album that came out the year before the area code switch. Im laughing hard at myself because Weird Al is so good I actually thought these were the TLC lyrics until I double checked just before submitting my rating. I sure hope Weird Al is on the 1001 album list. He deserves it. I recognize and like Busta Rhymes on Can I Get A Witness (Interlude). André 3000 also shows up on the last track. Both their appearances are interesting in retrospect because TLC was likely the more well known act and helped propel their careers a bit. Overall this is a solid album by the best selling American female group of all time (#2 worldwide behind the spice girls). I forgot that they were that big. I only remember the singles and that Left Eye burned Andre Rison’s house 6 months before this album was released. Good times.

False advertising, wanted more soul. …for real…

I’m not a big fan of the lead singers voice. I get annoyed every time he says “ohh-vah” on The Drowners. His voice is not Axl Rose level offensive, but it’s noticeable enough to cost Suede a star. The potential of the songs is consistently let down by his voice. Some of the musical parts are quite enjoyable. I like the piano part on The Next Life. The guitar part on Metal Mickey is top notch. The drum and guitar parts for Moving are great…and then he starts singing, ughh. Sleeping Pills and Breakdown really bog the album down. I thought Just A Day (Early Demo) was by far the best song on the album and it’s a throw away bonus track. What a shame.

This is a solid album. I’d be perfectly happy to have it on from time to time. It’s not an album I would seek to play, but it is thoroughly enjoyable. Brainstorm Interlude has a pleasant chaos to it. Drive You Home and History are solid slow songs, but I did not like them back-to-back. It was too much slow in a row. I enjoyed (Reprise) as the closer.

Ted, Just Admit It… “sex is violent” reminds me of the Bush lyric in Everything Zen “there’s no sex in your violence.” Was the Bush lyric a call back to this song? I wonder. Speaking of Bush, an aside because they are not on the 1001 list. Bush is a strange band for me. None of their albums stand out on their own, a bunch of 2 & 3 stars. However, a compilation of their 10 best songs is really fucking good. Back to Jane’s Addiction. Jane Says is the perfect song for Perry Fewell’s voice and is a great song. I love the bass opening to Mountain Song. Thank You Boys is nice little interlude. Summertime Rolls is a snoozer for me, and the brass section in Idiots Rule threw me off from the sound of the rest of the album. Second aside: Perry Fewell’s voice reminds me of raspier version of the backing vocalist from Sunny Day Real Estate. Specifically I’m reminded of In Circles off The Diary album. I ended up going down the Sunny Day Real Estate rabbit hole, which was refreshing. Perry Fewell does stretch his voice too far sometimes, crossing over the line where it is annoying, but not often. Third aside: While trying to figure out this voice similarity, I found out that Perry Fewell founded Lollapalooza, and he still produces it today. This is interesting. The second year the second stage had such acts as Tool, Rage Against The Machine, and Stone Temple Pilots at various tour stops. What a line up! Asides aside: I like this album. I don’t love it. I probably won’t seek it out again, but I would enthusiastically listen again if someone puts it on.

The opening line of the first song, Pink Moon, sounds like ‘I zaw it written and I zaw it zay.’ Annunciate, bro! Come on! Honestly this really threw me for a loop the first time ‘round. I also thought he might be saying “Zooey written and I Zooey zay” at one point. And I’m like who the hell is Zooey? Then the second song, Place To Be, isn’t that strong, and I was starting to write this album off. But I liked the guitar playing. Was this yet another album with decent music and someone’s voice that knocks it down a star or even ruins it? Turns out no. The first listen I was solidly in the three star camp from a good music, iffy voice perspective. The second listen through had me thinking this is a poor man’s José González. Or that when I’m in the mood for something like this, I’d much rather put James Taylor on. During the third listen of this album, I realized my annunciation and voice hang ups were only on the first two tracks and the rest I liked. All this while appreciating the guitar even more. For instance, I was loving the guitar picking on Which Will. We’ll shit I thought, maybe this is a four star album. On the fourth listen of the album, I turned the lyrics on in AppleMusic and realized he’s saying “I saw it written and I saw it say.” Well now Zooey had revealed herself as a fraud and I got what he’s saying. I like that his tempo fluctuates from time to time. It’s like he lets his mood, in the moment, dictate subtle speed ups or slow downs in a song. Every once in a while it sounds like he misses a beat or skips a note. In the spirit of Bob Ross, I take these as happy little accidents whether they were done on purpose or not. By the fifth time hearing the album, I settled on this being a bourgeois version of the folk singer songwriter genre. Not quite the elitist crust of them all, but a very good representation. It’s going to stay in my library.

This album is a long string of similar sounding songs with OK music and the singer’s voice annoys me. I do enjoy the two guitar, no bass setup. Little Babies is my favorite song on the album, partly attributed to it having a high proportion where both singers are singing together. I just can’t get over the voice.

I respect the hell out of Prince who was a supreme talent. I think the man could play every instrument ever invented. Housequake sounds like a party at Prince’s house where we are all invited and I’m all-in. I’m also a big fan of The Cross. None of the other songs on the album definitely make me want to hear them again. The Ballad Of Dorothy Parker could go away. Forever In My Life too. Most of the rest are nice and all, just nothing spectacular.

For Free? (Interlude) is a nicely strange, jazzy, improvisation. I don’t think I’ve heard anything like that on a hip hop album before. King Kunta has a nice flow. The funk is most definitely within me after having heard this track. A couple tracks lost my interest, like: Institutionalized and Hood Politics. Overall this is a nice discovery. I’ve been meaning to explore hip hop more and this was a good place to start. I will be seeking other Kendrick Lamar albums.

While camping and half listening to half this album I thought liked it. Wrong. The best I can say is that this album is not offensive or I could say meh. I couldn’t wait for it to be over.

Smashing Pumpkins is a band from which I’ve heard their more popular songs quite a bit, but I can’t remember ever listening to an album all the way through. It’s albums like this that make me glad for this experience. Tonight, Tonight and Bullet With Butterfly Wings were singles off this album for good reason. They are both good examples of the varying styles. One is an accessible, positive song backed by an orchestra while the other has a more grungey, lamenting chorus. I mean who doesn’t feel like a rat in a cage from time to time. I enjoyed the piano based title track opener. Cupid de Locke is a wistful surprise with the harp music, or at least what sounds like a harp. Bodies works for me. I will forgive how slow and uninteresting it is hearing To Forgive because we pick right back up with An Ode To No One. The couple times where AOTNO builds and then the whole band rocks out is great. Seems like a great mosh pit moment…you know, for me to skirt around the edge of it to get further forward. A couple other tracks didn’t get my juices flowing, like: Through The Eyes Of Ruby, Stumbleine, and X.Y.U. Unfortunately they are all in a row on the second album. These are followed up by three solid songs, the last of which begins a bit country-ish interestingly. Porcelains Of The Vast Oceans is mostly a soft and intimate track. Then at about the 2:15, 4:00, and 6:30 marks the heavier guitars and drums come in for 30 seconds or so and elevate the song to another level. Great song! On Mellon Collie And The Infinite Sadness, the Smashing Pumpkins lay bare a wide range of sounds from the subdued to inviting to grunge to hard rock to borderline screamo. All of which they pull off extremely well. Being a double album, naturally it’s just too difficult to carry the excellentness all the way through, which is why it’s not in the 5 star echelon. Bonus (for those that really love this album): there is a 92 track, 6 hour version with a bunch of demo versions of the songs.

Remember when John Fogerty got sued for stealing John Fogerty’s music? Well John Fogerty won. Then asked for his attorneys’ fees to be paid. And John Fogerty lost. Then the fee collection part went to the Supreme Court. And John Fogerty won…I think. John Fogerty 2…not John Fogerty 0. It got a little confusing there. I do know John Fogerty’s case set the precedent for copyright defendants being able to collect fees when they are victorious. Also Clarence Thomas concurred to the outcome to which the other 8 justices agreed. Not because he agreed with their reasoning but because he thought a previous civil rights attorneys’ fees case result should have been overturned. Typical Clarence Thomas…being cranky and not thinking plaintiffs need financial incentives in bringing civil rights cases. I digress. On to Bayou Country. I find it amusing that a band from San Francisco is often falsely thought to be from the bayou. Understandably the album and opening song titles lead one to believe this myth. But still, hehe. I’m really not sure why this cracks me up. Onto the songs. I promise. I dig the blues rock style on this album. I’m digging Fogerty’s voice, which from past reviews you’ll know can sink an otherwise decent band quickly for me. Actual song info. Really. I knew the two most well known tracks, Born on the Bayou and Proud Mary, very well coming into this. They are solid, but not my favorites after a couple listens. I think I like the third and fifth tracks are the best, but I can’t decide which one. Graveyard Train is a slow and snap inducing blues number. The song is not complicated, yet still impactful. I was humming the bass line during dinner and the kids started clapping along almost immediately. Harmonica can be overplayed, but this is not the case here. Again not complicated, but impactful. John Fogerty’s growls perfectly to convey the loss of his character’s companion amongst the 30 dead. Penthouse Pauper is a powerhouse of a song where John Fogerty sings forcefully intertwined with some screaming lead guitar with every verse. The guitar is like John Fogerty’s wing man in mind conquering over financial holdings for status in this world. I should also mention that this a very good take on Good Golly Miss Molly.

Pleasant enough and inoffensive, but not something I would seek out to listen to in the future. K.D.’s voice is good, which I appreciate. However, musically this album is quite boring for me. I almost fell asleep walking to the metro. To end on a positive note, Miss Chatelaine is a decent song.

Superstitious is superduperfuckingfantasticalicious!!! It’s one of my favorite songs of all time…yes it’s solidly on my top 20 list. That reminds me that I need to update that list. The clavichord riff is other worldly funk royalty. I had to do some research to figure out it’s a clavichord, and I also found out that Jeff Beck came up with the opening drum part when messing around while Stevie was out of the studio. Stevie came back in and improvised the famous riff and the rest is history. It’s amazing that a seemingly meaningless jaunt by a guitarist on the drums turned into a song adored by so many. Life is funny that way. Big Brother is a solid song. It’s a pointed swipe at disingenuous politicians making empty promises. There some unique sounding instruments that I couldn’t figure out what they are, but I really like them. I also love You Are The Sunshine Of My Life. Stevie’s voice shines through especially well. Maybe Your Baby rambles and rambles and rambles at the end. It’s evidence that modern pop music isn’t the only genre to endlessly repeat the same line over and over. The unfortunate thing is I quite enjoy the first 3 1/2 minutes of the song, especially the instruments, while the last 3 1/2 minutes tear down some of that good will. There are too many misses on this album; like Blame It On The Sun, Lookin’ For Another Pure Love, and the aforementioned Maybe Your Baby; for it to be in my regular rotation. In the end, this album is like a very talented procrastinator…very capable of high end results, but you just can’t seem to get those results consistently.

Honestly, I had no idea that Janis Joplin fronted a band until this album came up. I always thought she was a solo act only. I also found out today that Congress has several subway trains connecting their buildings. So not to brag, but I learned two things today! Janis has a voice that shouldn’t work, but is just right for theses songs. It’s gravelly. It sort of sounds like what happens the day after a night of drinking and screaming too many songs. It sounds like the after effect of smoking too many cigarettes. Maybe she drunkenly screamed too many songs while smoking gravel cigarettes. Nothing would surprise me here. The guitar distortion during the first minute of Ball And Chain reminds me of her voice. Maybe she has a distortion pedal in her throat. The point is Janis’s voice is perfectly imperfect. I like the songs on this album, I don’t love them. There is a bit too much jamming for my taste that’s better saved for the live show.

The music on this album is present, but not really a feature. The music takes a back seat which allows our focus to be on the main thing. And the main thing are the words, the verses, the social exposition. Mista Mista is a stark commentary on a person in need of help who is denigrated when asking for assistance. The Beast is another strong account of a system rigged against black Americans. I enjoy Ready Or Not and Zealots, where the sample is spot on. The famous covers on the album, Killing Me Softly With His Song and No Woman No Cry, are well done. I like hearing this album, and I feel like I should like it more. But when it comes down to it, I’m not putting it in my library, and that’s the line I draw between 3 and 4 stars. I’m not quite sure why. I don’t have a very good explanation, which bothers me. My only thought is that there isn’t much variety to the sound amongst the songs. They all kind of blend together aesthetically from a high level. That’s all I got.

Because of all the references to India, this album reminds me of my biggest life travel regret. In the mid-2000s I could have gone to India with my friend and his family. It would have been great because his parents grew up there and speak the language, and it would have been great insider guided tour. Plus I really like Indian food. I didn’t go because I was doubling up on grad classes, while working full time, and I didn’t want to miss two weeks of the hardest class I ever took because I would not have recovered. I regret not going because I’m almost certainly never going to go to India and I feel like I lost my chance. Missing my opportunity at India was not worth the better grade in fluid mechanics. Homelands is definitely more appreciated following along with the lyrics. Without them the first time, I wrote the song off as gibberish because I didn’t understand what was going on. But seeing the lyrics, I reassess the song as a beautiful melding of several cultures. Most of the songs are well put together and pleasing enough. However, I don’t think this album knows what it wants to be. Thanks to jkav for pointing this out because I can’t unnoticed it. This just is not my thing. Side note: For Father’s Day I request a 5 star album. No whammies!

I asked for one thing, Mrs./Mr. 1001 Album Generator! A 5 star album for Father’s Day. If what I asked for were a gourmet shaved prime ribeye steak and cheese sub, what I got was a pre-made ham and cheese vending machine version that expired 3 months ago. Observer was a bit enjoyable as was Cars, which I recognized. I can understand that the musical sound broke ground for the time. Nonetheless, I pressed my luck with my Father’s Day request and was delivered a whammy instead.

Jam bands are just not my jam. Maybe these guys aren’t a jam band, but this is definitely a jam bandy album. I like songs to have a something to say and get to the point…in and out, which can be drawn out so long as there is continually something more to say. I must distinguish my feelings about this album and other albums with very long songs because I’m sure it will come up down the line. A song can be quite long and continue adding to its point view throughout. For instance, Dylan’s Visions of Johanna is a master piece of poetic storytelling that feels far too short at 7:30. Also, I just listened to Jimi Hendrix’s 15 minute long Voodoo Chile (studio version) and it was engaging throughout. The difference for this album is that the jamming sounds like directionless noise generated just because they could. A good life lesson: just because you can, doesn’t mean you should. I get that this is a live album so there is likely some detriment to not being in the audience. But still, there are other live albums I love listening to at home. I swear I can hear Ginger and Tony loosing interest in what’s going on several times throughout Ginger Baker And Tony Allen Drum Solo. Listen again to around the 7:15-7:45 mark…they don’t want any part of this. No one needs a 16 minute drum solo unless your name is Bonzo (Bonham) or Neil (Peart), and even then I hesitate to claim they could keep it interesting for that long. I do like some of the music, especially the big horn parts. Some of the bass and keyboard parts are worthwhile. Way too much jamming for me.

Oh man did it take a couple listens to appreciate this album. This is FANTASTIC!!! Shhhhh…too loud for this album…(soft voice) it’s fantastic. The first couple times through there was a lot of (train) background noise. The subdued nature of this album is best admired in a quiet setting. The minimalist arrangements are just as, if not more, powerful for what is not there as much as for what is there. The most impactful part of the understated approach is that the parts that would seem “normal” in other music appear conspicuous, emphatic, and flamboyant. And here lies the genius. There is something notable about the vocals that I just couldn’t quite put my finger on. Enter Wikipedia where I saw that some critics describe them as singing not together, but past each other. Building upon that, I have a different take. To me it feels like they are in adjoining studios singing out windows that face the same direction. Close to each other, but separate, yet projecting in the same direction. I could go on and on about all the songs, but I will take a subdued approach and just state that this album is incredible. What a gem!

That’s a hard no from me dawg. I would write more, but I was preoccupied with The xx from yesterday.

At the beginning of Victoria, the lead guitar part is echoed with delay in the opposite ear, which is a pretty neat sound. There are some moments on this album that remind me of The Beatles, like like the latter half of She’s Bought A Hat Like Princess Marina and Nothing To Say. If The Kinks hadn’t been banned from touring in the US for 4 years in the late 1960s during the height of the British Invasion, they might have been way bigger here. The Kinks are clearly British as they sing about countries of the British empire and Mr. Churchill. The song Australia drags on too long and I could do without Drivin’. This album grew on me. I was solidly in the 3 star camp, but after a third listen, I want to keep listening. So I’m keeping it in my library…for now. ⭐️⭐️⭐️⭐️

This is a tough album to rate. Just considering the jazz scene, this album razzes my berries. Listening to it, I feel like I’m a cool daddy-o who’s got it made in the shade along side my ginchiest gal with a classy chassis. We’re at a club like the Copacabana with a whiskey and a cigar blowing off steam before we burn rubber to the passion pit for a double feature and some backseat bingo. I’m no aficionado here, but I do think Stan Getz is a hip cat on the saxophone. Not to be a wet rag, but I do not consider jazz to be the bee’s knees. I did catch some Z’s while listening to this one (it’s been a long week). We’ll nightingale, here’s my tale: If someone had this album on, I would enjoy hearing it through. And that’s the word from the bird. I’ll put a lid on it now.

One of my college roommates was way into The Pixies, so I’m sure I’ve heard this album before. I was very much in the infancy of my music discovery at the time, and I was firmly committed to classic rock. This time I’m actually paying attention. I definitely remember Gouge Away fondly. The biggest surprise of this album is Here Comes Your Man. The chorus, and especially the lead guitar part, sound like a 1950s radio hit by a band of dudes wearing suits on the Ed Sullivan Show projected in black and white. Other highlights are Debaser, Monkey Gone to Heaven, and Hey. I very much dislike the screaming parts of Tame, but they are only a small slice of the album. It’s nice that my friend, J, and I get to bond a bit over this album 20 years after college. He got to tell me it’s about time, dumbass.

The Tracks Of My Tears was my favorite song. I’m a sucker for harmony, so I also enjoyed Hold The Fort. I do not care for the lead singer’s voice. I would prefer this album be turned off if it were on.

I imagine this is an album that was played on many occasions in the late 1980s to signal it was time for sexy times. The slinky bass and emphatic saxophone layers say “Hey there, are you thinkin’ what I’m thinkin’?” Ms. Baker’s mesmerizing vocals say “Yes, let’s get down.” According to expert resource cosmopolitan magazine (2017), the average sex session lasts 19 minutes, including foreplay. Rapture clocks in at 38 minutes…plenty of time.

This album is weird in the good way. I quite like the lead singer’s voice. Give me some bass-led songs with harmonies and I’m in! Dreaming Of You is the highlight of the album for me. There are other good songs too like I Remember When, Shadows Fool, and Goodbye. The lyrics do get a bit repetitive sometimes and the last track is a bit slow for my taste. It sorta feels like they ran out of steam at the end. This album was on the original 1001 list and supposedly was removed by the 2018 edition. I guess we are working off the old list? I am thankful it was still generated for us.

This album is named Synchronicity and there are two songs also named Synchronicity. Which one is the “title track,” I or II? Both? Neither because they aren’t technically the same as the album title? This conundrum should be a clue that someone couldn’t make up their mind about this album. By the way when in doubt, trust the math…Synchronicity II > Synchronicity I for sure. Every Breath You Take is worth a star all by itself. WTF is going on in Mother?!? That is some strange shit. The snare drum is fantastically off beat in King Of Pain. And that bookends this album for me. The offbeat characteristic is great in one case, yet completely perplexing in another. That’s how I feel about Synchronicity.

I don’t have much to say other than I don’t enjoy this album very much. The singing voices are tough to swallow, and I don’t find the music all that intriguing. There is a guitar riff about 45 seconds into Two Beats Off that is decent. I do enjoy how Joe #1 starts out musically. Why is Song #1 the 12th track? Why not first? Or why not name it Song #12? And while we’re on the number thing, why are Joe and Brendan #1s? Is their a second Joe or Brendan? I don’t see one. What’s the deal with that?

I was once an avid listener, and am still a big fan of, classic rock. Surprisingly, I have never been a fan of The Rolling Stones who are commonly considered one of the top 2 or 3 classic rock acts. It’s not that I didn’t like them, but I tried an album or two of their’s a couple times and they just never clicked with me. In recent years, I’ve been on an electronic and alternative kick. So it’s refreshing to get some classic, classic rock today and give the Stones another shot. Side note: I am fully expecting the Pretentious-Ass to comment on the bulge in Jagger’s pants on the album cover, including an in-depth analysis of what statement is being made and why the words “sticky fingers” lead you right to it. The saxophone solo in Can’t You Hear Me Knocking is right on. And the sound of the guitar in the solo just after the saxophone is sublime. And how about the bluesy, slide guitar on You Gotta Move? Mmmm hmmm, I’ll take a side order of that to go. I’m also loving Bitch, especially the brass section. The whole song feels like I’m cruising down the highway, which means we’re going somewhere. I have good things to say about pretty much every song on this album. I’ve seen The Big Lebowski maaaaaannnnyyy times, and thus, I am an ardent fan of the soundtrack. So I was quite familiar with Dead Flowers, which I love. I did not realize however, that Dead Flowers is a Rolling Stones song. So I was quite pleased when it showed up on this album. I must say that having heard the Townes Van Zandt version so many times prior, I prefer it. So I listened to the Stones version then the Van Zandt version … then the Stones version … then the Van Zandt version again. On the Stones version, Jagger is putting on some kind of American country accent that is, well awkward. From Van Zandt, the accent sounds authentic. Then I busted out the GuitarTab app and found the chords. Within 30 minutes I was playing along with the Stones belting out “dead flowerssssss”. I used to “play” (more like fuck around with) guitar often a while back, and I don’t think I ever played a song along with the artist, let alone in 30 minutes. It was a 5 star experience for sure.

The narrator of the first song, Frustration, is going through a hard core midlife crisis. If he were younger and alive now, he’d be a repeat subject on r/incel (Reddit). In this day and age, the narrator’s anger would be focused onto something else through social media by the likes of Steve Bannon. The lyrical misery continues into Radar Love about a relationship gone wrong. I do appreciate the music on these two tracks, and several others due to the pioneering nature of the electronic instruments. Even so, the sound is very dated. So while I respect the ground breaking, the primitive electronic sound is a drag. There are a couple awful songs on here with uninteresting music and unappealing vocals like: Sleezy City, Youth, and Secret Life. Sex Dwarf…I just don’t know what to say. I suppose kudos are in order for the song living up to the album title. One total extra star for blazing the electronic trail and Radar Love.

There are some solid, rocking songs on here. I’m iffy on the vocals. Some tracks they are good while on other tracks not so much. I’m more in favor of the music.

Some nice guitar shredding.

AppleMusic says this album is dance music. I disagree. I think it’s electronic music to somewhat turn your brain off and enjoy the mood. This album is Brian Eno (the airport one) to me, but actually interesting. I listened several times, partly because I couldn’t get through the whole thing at once. I thoroughly enjoyed it more each time. A good find.

Fleetwood Mac is one of those bands that I’ve always been peripherally aware of but never really listened to. I have heard most of the songs on this album at one time or another. This album is packed with good songs. The experience was as if the album tracks were each audience members and Oprah is on stage, “You are a hit song! You are a hit song! You are a hit song! Every track is a hit song!!!!!” This album is a prime example of human beings’ ability to excel while drowning in dysfunction in their lives. The fact that this exemplary art was created with a divorce, an on-again-off-again strained relationship, and an extramarital affair going on is impressive. What is incredible is that most of the dysfunction was not elsewhere in their lives, but rather mostly amongst the artists in the studio. How does one even come into the studio to work with people you despise and create this? It’s likely that the dysfunction actually helped create some of the beauty on the album. The emotional compartmentalization required to do so is spectacular. You know what else helped? Copious amounts of cocaine, reportedly. When the emotional toll was too much, cocaine helped dull the pain. The ability of the band members to stand broadside into the hurricane of negative emotions and create this magnificent album is truly remarkable.

This album is white rice. Bland. Could I live off it for every meal? Technically yes, although likely with some severe vitamin deficiencies. Would I ever choose it for my next meal? No, not unless there were a tasty main dish paired with it. I know 1001 albums are a lot, but I cannot understand how this is on the list. I do not care for the lead singer’s voice. Even the Wikipedia page had nothing remarkable to offer. No ground breaking aspect to speak of. Just plain white rice.

No bueno.

An album of unused Woodie Guthrie lyrics put to music generated for us on Woodie Guthrie’s birthday? Yes please. A coincidence? I appreciate that some of the music exudes country influences, which ties the songs back to Woodie even more. On She Came Along To Me, Woodie writes, “But I’m sure the women are equal. And they may be ahead of the men.” Smart. Walt Whitman’s Niece is my favorite song on the album. I enjoy the “I’m not telling you which…” structure to the lyrics. This would be a good album to play while sitting around a campfire.

I’m in to the house/club/trance-y music. It allows me to turn my brain off and just feel the groove. This is an a reputable example, not a shining star.

Ska in 1979. Surprising, I thought it was a 90s thing. Kudos for that. I could leave the album though.

Now this is a brilliant concept album! An exquisitely executed emotional journey. I used to have the poster with a formation of marching hammers (the college years), which is still my favorite music poster. This album is a level above 5 stars, or at least the other 5 star albums so far. So going back to the fictitious 10 star system, this is a 10/10. I love the echoing guitars on Another Brick In The Wall (Part 1). I prefer it to Part 2, mostly because Part 2 has been overplayed soooooo much. But the guitar solo in Part 2 is beautiful. Call me crazy, but the guitar lick in Another Brick In The Wall (Part 2), right after “Hey! Teacher! Leave them/us kids alone!” and before “All in all, you’re just a-nother brick in the wall,” sounds like it is borrowed right out of the Doobie Brothers’ guitar lick catalogue. I have thought this forever, and I can’t unhear it. Mother lacks the theatrics of much of the rest of the album in a good way. It’s an intimate song, straight forward musically, with a window into the author’s mental anguish. “Mother, do you think they’ll like this song?” “Momma’s going to make all your nightmares come true.” The lead guitar work on Comfortably Numb is inspirational. Other songs that stand out: Goodbye Blue Sky, Young Lust, Hey You, Is There Anybody Out There?, In The Flesh, Run Like Hell, and The Trial. This is the first album to pop up where I already knew ahead of time it is a five star without a doubt. Too bad it didn’t arrive on a Friday.

This album highlights the British influence behind the 1001 list. The album is OK, but does not deserve 1001 recognition. It was the domestic commercial success for Happy Mondays, explaining why it’s on the list. It was rated as the 31st and 51 greatest British album by Q Magazine and Channel 4 viewers. I cannot understand these rankings. Entertainment Weekly was more reserved in giving it a C+ rating. That’s more like it but still too generous based on how little I like the lead singers voice.

On albumoftheyear.com this Jane Weaver album is #159/160 for 2017. So I’ve at least sampled it before. I didn’t download it then, and I’m not going to download it now. If someone else was playing it, I wouldn’t mind listening to it again.

This album is a tweener for me. First off, I like the Cubano style music. I like the instrumentation. It feels like a party. The Spanish language barrier is not a deterrent for me. I’ve studied Español on/off, so I was excited to follow along with the lyrics. Not that I understood most of it, but a decent chunk I did. Per tip from JKav, there are somewhat incongruent styles amongst the songs. Judging the album as a whole, it is a bit off putting. I liked the first half of the album more than the back half. My 3 star bucket is widest of all, and this album bounced off the lower score rim and in.

The opening tracks, Uncomplicated, left me wondering what, exactly, is in whose eyes, Mr. Costello? I’m guessing it was a strobe light in the audience’s eyes to distract from the dearth of enjoyable aspects of this album. Sorry, but that’s how I feel. The album isn’t offensive to my ears, but I literally can’t name one aspect I like. The music leaves a lot to be desired. It’s fairly bland and unremarkable. Elvis’s voice isn’t great and it sounds like he adds extra artificial effects that don’t feel genuine (like extra vibrato on I Hope You Are Happy Now for instance and breaking his voice in Battered Old Bird). There are too many occasions where the music is in the background (because it’s generic), featuring his voice…and it’s just not good enough. Prime examples are I Want You and Blue Chair. There are plenty of others. The most interesting part of this album is that Mr. Costello used an alter ego, Napoleon Dynamite, for some of the credits and somehow, it was not the inspiration for the 2000s cult classic movie. That’s the best I can do.

Joni’s voice is a 5/5 for sure, 10/5? It’s incredible really. Unfortunately the song writing is not getting it done for me. In a weird way, several of the songs rely on Joni’s voice too much. Songs where she’s riffing and there’s really no sense of structure or melody. Again her voice is phenomenal, so I can understand why this approach was taken. I want to rate this album higher for her voice alone, but I need more structure. The two best songs on the album for me were Carey and California.

This album sounds like it was quite advanced in 1993 for electronic music. However, now it sounds outdated. It’s OK, but something I would turn off if I had the choice.

It was rather refreshing to open the album with Ray telling me about the theme and background. It was almost like he was starting a talk at a conference. Unfortunately, this style of country just isn’t my thing. Ray’s theme is dancing songs from their shows around the country. Well, they must have all been slow dances because the pace is sedated. This seems like ideal music for a lazy river ride in the Deep South.

Powerful melancholy is how I describe this album. Maybe the sad overtones were Chris Martin subconsciously foreshadowing Gweneth’s Goop foray into V-Steaming and jade eggs. Whatever led to this sound, it worked. Musically, I find this album interesting. It is slow paced and beautiful. For instance, I love the bass line on Sparks. Chris Martin’s voice fits perfectly with the sound too. When he goes falsetto on “they’re just spies” on Spies it really resonates with me. The same when he says “yellowww” on Yellow.

Utter shite…

I like the distorted sound. The distortion reminds me a bit of The White Stripes. I can definitely hear the punk influences throughout. It’s enough punk mixed in with rock to pique my interest. I really enjoy debut albums, as this is, because it gives me a sense of the foundation of a band’s sound. Often they are the culmination of years of a group scratching and clawing to get an album made. A lot of times debut albums are self produced or at least not overly produced by the big guns because the studio won’t invest the money yet. This all gives great insight into how a band thinks they want to, or should, sound. When bands are successful and then more people get involved in the making of an album. Some times that results in a band’s sound evolving in a positive way from exposure to beneficial influences that keep the sound fresh and/or polish the rough edges in a professional way. Other times it can lead to a band’s foundational sound getting distorted, buffed out, and lost, which is a shame. I am intrigued enough and am ready to listen to this album more and more Arctic Monkeys. I hope the future albums retain this raw, distorted, punk influenced, rock sound I’m enjoying.

The title track is legendary and for good reason. It’s Americana through and through. And even though I’ve heard the song a bazillion times, I still enjoy hearing the verses (the chorus is…well too familiar). The rest of the album is OK. The overlayed vocal tracks on Babylon are pretty neat as is Till Tomorrow and the guitar part on Winterwood. Then some songs are just lacking…Crossroads and Sister Fatima being two. Everybody Loves Me, Baby sounds the most like American Pie than any other song on the album, but it’s also possibly my least favorite song of them all.

Wow! This album really surprised me. Labeled punk rock, this is not what I thought of when punk rock comes up. I’m getting a musical education for sure, which makes this experience so valuable. Props to u/SidledsGunnar! From the get go, Gloria is a blazing, fresh take on a classic. I’m down with the spoken word mixed with singing verses. The androgynous cover picture is a powerful statement contrary to how women in music are evaluated (today included let alone 1975), even though Patti downplayed it stating that’s just the way she dressed. From the subtle reggae beat on Redondo Beach, to the somber scenes of Birdland, to the dreaming hopes of Free Money, and the expansive Land, there is a lot to explore here. This album is fantastic. This album is in the 4 or 5 range, and I’m relying on the historical significance, and my desire to continue listening, to push it over the line.

Not much excited me about this album. It wasn’t awful either.

For some reason, Bongo Rock made me think of Fraggle Rock, a wonderful show from long ago with Jim Henson’s muppets. There were Fraggles, Doozers, Gorgs, and Silly Creatures. The Doozers build, mostly scaffolding out of ground up radishes. Why? Because “architecture is meant to be enjoyed.” By enjoyed, they mean eaten by the Fraggles because that’s what Fraggles spend a lot of time doing. The Gorgs are the farmers and don’t like their radishes being taken. The Silly Creatures are humans. Henson described the Fraggle Rock series as "a high-energy, raucous musical romp. It's a lot of silliness. It's wonderful." That pretty much sums up my take on Bongo Rock, except I liked Fraggle Rock more. I liked the fresh approach on this album and I’d listen to this album again, but I would not seek it out myself.

When I saw this album was published by Scandinavian Leather Recordings and the cover art, I immediately assumed this was going to be a Finnish death metal band. Why? Well, I’ve spent some time in the Finnish southwestern archipelago, riding speed boats, refusing nude sauna hang outs (a prude…I know), and detonating explosives at 10:45 pm in the most beautiful twilight (legal I assure you). And let me tell you, the Finnish people love death metal. In fact, Finland has the highest number of death metal bands per capita of any country. They love death metal so much that they got a bunch of my mates in to it. When the Finns would visit us, my mates got back stage access to some touring death metal bands, including the after parties too. It was a whole scene apparently. Anyway, Turbonegro is Norwegian and not Finnish. This album is a borderline-ish rating for me, but ultimately falls short of 3 stars. At least it wasn’t death metal, which I really don’t care for.

This guys voice really grinds my gears. I dislike his whole schtick. It’s unfortunate because there are some real musical nuggets here, mostly in the guitar playing. When there is singing on this album, it is unbearable. I’m not impressed by the extremely fast double bass drumming either, which appears far too often. I must say there are several riffs that got my head bobbing: Dead Embryonic Cells from about 1:05 remaining to 0:40 remaining, the first minute of Desperate Cry, parts of Altered State, and the beginning of Meaningless Movements.

This is a generic 80s album for me. I just don’t get it being something I have to listen to. Forget the music. What is going on with this album cover? The guy on the right is washed out with the bright light. The guy in front of him is leaning forward. Why? And is he grinning? I can’t tell because he is in dark shadows. The guy on the left is staring at us like he’s thinking, “yes you should be scared.” Why? Because he knows what the dude in the back is caressing. Is that a bag of some sort that he is caressing? What is in the bag? I don’t know, but it should scare all of us. The above analysis was much more interesting than the music.

I like the sound here: bluesy and distorted. However, waaaay too much jamming.

My dislike of the Morrissey’s voice knocks this album down 1 star. In the song The Queen Is Dead, a character he wrote self-deprecatingly agrees, "Eh, I know you, and you cannot sing" If there were a strong lead singer instead, maybe it’s a 2 star drop. Unfortunate because I like the music.

We already listened to Melancholy and the Infinite Sadness and this album is not as good. It’s less polished. More sloppy. For instance, the guitar solos in Quiet and Geek U.S.A. feel overindulgent. I do like the rocking’ guitar on Geek U.S.A. Cherub Rock is good. As is Today. Then again, I could do without Mayonaise and Spaceboy. It’s a mixed bag for me.

I don’t have a lot to say that is negative about this album. I also don’t really have any tracks I’d seek out to hear again. Just meh.

This album would be fine as background music, but there isn’t anything ground breaking here. I did learn that Sinatra was 13.5 lb at birth! 13.5 lb and no c-section!!! He was an only child…I wonder why. They had to use forceps to get him out, which left permanent scars on his neck and eardrum damage. I’d say God bless his mother, but unfortunately she physically abused him as a youngster. Was it pay back for his uncomfortable world entrance?

Do you remember the middle school dance? You know when you had your first dance with someone else. Where do you put your hands? Who leads…and what is leading anyway? You try to slowly move in a circle while your partner tries the lady/right shuffle. You step on each other’s toes. Oops…sorry. Do you stare them in the eyes? Do you look at other people dancing to try and figure out what to do? Do you put your head on their shoulder? How much space do you leave between you? A bible’s width? Or are you pressed up against each other? Everyone in this experience is doing something they want to and are excited to experience. Yet it takes two to tango, and the dance is out of synch because you don’t know how to dance with a partner … it’s a bit awkward. That’s this album for me. The various parts are enjoyable…at times anyway. But I swear none of them are NSYNC (get it? in synch). It’s awkward. They needed tighter arrangements and a conductor.

I don’t like the guy’s voice, and the recording sounds very amateur. There is some enjoyable guitar work here, quite a bit more than I expected. But still, I never need to hear this again.

“This should be played at high volume. Preferably in a residential area.” Right on. I listened to this album many times as a youngster and thoroughly enjoyed it. However after listening again today, I realize that I used to skip a bunch of tracks. For instance, I don’t recognize Lil’ Ghetto Boy, A N**** With A Gun, nor Stranded on Death Row. But oh my are there some great tracks here. F**k Wit Dre Day (And Everybody’s Celebratin’), Let Me Ride, and Nuthin’ But A G Thang are the standouts. The beats sound a bit outdated, but fresh enough to still get by. Nuthin’ But A G Thang is the best of them all. I listened to this over and over again on my Koss stereo writing down the lyrics a couple of words at a time until I had the whole thing. Where was AppleMusic with the live streaming lyrics??? The skits were also enjoyable, especially The $20 Sack Pyramid. I still like that one just as much as 30 years ago. Songs I like even though they aren’t the cream of the crop: Lil’ Ghetto Boy, Lyrical G******g, and The Roach (The Chronic Outro). In the 90s, this was definitely a five star album. If I were hearing this for the first time today, probably four stars due to the filler tracks. But I have too much history with The Chronic to not put it in my top tier.

One of the small things I appreciate about Green Day is their ability to blend the end of one song into the beginning of the next (Jink to Haushinka anyone). Being that Jesus of Suburbia and Homecoming are each 5 songs in one, they do it several times in a row. It really is an underrated skill. St. Jimmy sounds alot like their early 90s stuff: fast and hard yet accessible. Give Me Novacaine is part the old sound (chorus) and something I can’t quite put my finger on (verses). My oh my the verses sound like a dreamy 50s song. I’m in between on this album. I really like it, but I don’t love it yet. I would like to keep listening.

It was a day at work today, but you know what is great for cranking through the inbox? This album. Put it on, let the drum and bass set the groove, and zone into what needs to get done. This is adult adderall. I put it on when driving to lunch, and it wasn’t so interesting. But that’s not the point. This is an album with a specific purpose. And when heard through that acoustic lens (it’s a thing…and it sounds cool), this album deserves recognition.

When I saw Primal Scream, I thought some death metal was coming. Luckily no. However, this album wasn’t much better to me. I didn’t run to turn this off like I would with death metal, but I did listen to a couple minutes and skipped the rest of most tracks. Medication was the one highlight for me.

The White Stripes are the one band who’s catalogue I explored after hearing another album on this list (Elephant) and giving it a 5. I’m so I’ve listened to this album recently, liked it, and downloaded it. I still like the distorted, bluesy, garage guitar sound. But I’m just not feeling it right now. The album feels disjointed. There’s some really good songs here, but there’s also some not so good like Little Room. I had no idea that Jack White wrote We Are Going to be Friends. I am familiar with the Jack Johnson version and I thought he wrote it. Good song. Maybe I’m tired, maybe I’m distracted by looping CHV4 all weekend, or maybe it’s just not as good as I remembered. I’m not deleting it from my library yet, but I might after a future listen.

CSNY are a super group I get behind. I saw these guys in April 2000, and they put on a 3.5 hour show! Impressive for a bunch of guys in their mid to upper 50s. I can’t find the specific set list, but the average set for that tour was 30 songs (includes 2 encores). That’s a lot of entertainment for $40. This album is loaded with great songs! It’s starts off with one of my CSNY favorites, Carry On. I love the opening, pressing guitar part and the break of styles halfway through. Our house is a beautiful song born out of one of life’s ordinary moments when Graham Nash and Joni Mitchell bought a vase one day. There’s even a song about a hippie almost cutting his hair. Unfortunately track 9 is a stinker and track 10 is just OK. For all I care this album stops after track 8. And fuck are they an incredible 8 tracks! It’s interesting to me that almost every song on this album was written by one member alone and not in collaboration. The final product is cohesive and seamlessly blends their instrumentals and voices together. It’s hard to believe they didn’t write together. In order of preference, I like the songs by Stills the most (Carry On and 4+ 20), then Nash (Our House and Teach Your Children), Crosby (Déjà Vu and Almost Cut My Hair), and Young (Helpless and Country Girl). Joni Mitchell’s Woodstock is quite good too. Young and Stills both wrote the closer, Everybody I Love You.

This is one of the toughest ratings for me yet. It took me a while to sort this album out in my head. I’d be listening and really liking some parts and then other times I’d pay close attention and not really be wowed. I had to listen to Kid A to get my bearings on The Bends because I’m more familiar with that album. Needless to say I like Kid A better. More on Kid A later when it comes up. One side note worth a paragraph. Listening to The Bends and Kid A back to back, there is a stark change in style. For the band to master such different sounds (I recognize folks consider this a masterpiece) speaks to Radiohead’s talent and range as musicians. Very impressive. One consistent thing I think elevates this album throughout is when Thom Yorke goes falsetto. I love that. This is one where the automated tennis video replay system would have to super zoom on top of the zoomed in view. I resorted to a yay, nay, or ok rating for each song, which guided me home. In the end, this album just didn’t quite tickle my fancy enough for the next highest rating…by the slimmest of margins. YAY Planet Telex High and Dry My Iron Lung Street Spirit (Fade Out) NAY (Not as in don’t like but rather, meh) The Bends Bones Bullet Proof…I Wish I Was OK Fake Plastic Trees (Nice Dream) Just Black Star Sulk

Ultimately there are two Achilles heals for this album: 1) the lead singer’s voice is not great and most importantly 2) the musical arrangements are undisciplined. It’s very clear that there is ample musical talent here: thumping bass lines and shredding guitars abound. As I’ve complained for enough times in these first 95 albums, Megadeth (like the others) does not know when to rein it in. Far too many times they try to cram as many musical notes in as possible without realizing less is more. Some of these guitar riffs are great…head bang all day and bounce around in the pit. Hell yeah! But the lead guitar is over indulgent…ALOT. It’s the opposite of gluttonous actually…instead of consuming too much, a plethora is produced. If only Megadeth would have known that a 4 oz filet mignon with a side of mashed potatoes is vastly more appealing than the unlimited trips to the Golden Corral buffet they gave us. It’s a pity really. A seasoned producer should have told them to dial it back a thousand notches. A magnificent album could have resulted. Additionally, the lead singer alone knocks them down a 🌟 .

I like the title track quite a lot. The rest I am completely indifferent to…meh.

There’s a lot I like on this album. I like the songs. I even like most of the jamming believe it or not, but it gets out of control near the end of the album.

This album is pleasant enough due to its “tropicalismo” musical instrumentation. However, the arrangements are disjointed at times and of course, I don’t know Portuguese. So I would rather listen to something else.

I really don’t understand why this is something I need to hear. Like Caetano Veloso yesterday, the sound is pleasant enough. The main difference is that I know English. Also, I don’t get very much emotion from these songs. I would still rather listen to something else. Bonus: AppleMusic has an extended version with Stand by Me, which I usually enjoy. This cover I do not like.

I like Nick Drake’s guitar playing style. I dig his voice. Three Hours might be my favorite song on this album. Man In A Shed is nice little jazzy lounge number. Way to Blue could go. It uses strings only I think. And this track is where I realized I’m attracted to the finger picking folk guitar on many of the other songs.

This album is full of thoroughly mediocre rock music. It’s fine as the background music in a main street Nashville club. There is some good guitar work on here, but I expected more from early Aerosmith.

At times the singer’s voice annoyed me (Halo of Ashes). On other songs (Look At You, Traveler) it is OK. I don’t hear anything noteworthy on this album other than the sitar. I powered through, but next time I hear it I’m turning this album off.

Thank you Television for not letting Brian Eno ruin this album!!! They recorded demos of several of the songs and didn’t like Eno’s production. So the band waited for a better suited recording arrangement. I’ve had this album in my library for a long time, and I’ve gone through spurts of repeated listening. I love the guitar work on this album. The twinkling diddle-liddle-liddle-liddle-luh throughout Marquee Moon (song) is a great hook. And the little, repeated licks that go against the grain in several songs, which I found out are called countermelodies, are exquisite. The bass deserves recognition too, like on Elevation and Prove It for instance where it carries the melody at times. Listening to Marquee Moon (song) more closely now, I find it to be an unappreciated master piece. The repeated premature truncation of the chorus on Elevation is unsettling, but in a way I truly appreciate. Have you ever had a conversation with someone about what era you’d want to go back to for the music? Reading more about Television’s history, 1975 at CBGB in Manhattan is now on my list of potential answers. That year, Television shared a residence at the CBGB with Patti Smith when she had just recorded her album Horses. Oh what a time and place to be!

I was listening to Suzanne Vega and I fell asleep. Did I miss anything? No. Ms. Vega’s vocal style is a mix of spoken word and singing, and it doesn’t work for me. It’s like she knows she doesn’t sing that well, but still tries to make her spoken word sound singing-ish. And how is there only one Suzanne Vega album on this list and it’s not the one with Tom’s Diner? WTF?

Another rollercoaster album! Faith and Father Figure are really good. I thoroughly enjoyed One More Try as well. Most of the other songs not so much. This is a solid 80s album. Not my particular cup of tea, but I was pleasantly surprised how much I like about half the tracks.

I’ve never watched The Walking Dead. Shocker I know. So I don’t know where the zombies live. In my head they live underground, kind of like trolls. If there were a club for the zombies in this underground world I imagine, I also imagine it looks like a club I went to in the French Quarter one time. The Dungeon was a place that did not open until midnight. All the walls were covered in bones…fake ones…I’m pretty sure. To get to the bathroom, you had to go through a hidden bookcase (?) door that led to a geometrically awkward hallway. There were also stairs up to a sitting area that was a half a floor up. However, there was also a ladder built in to the side of the bone wall the stairs were on so you could climb the ladder or take the stairs. Trust me it sounds even weirder to me as I unpack this memory. Anyway, this album sounds like the house band for The Dungeon if it were a club in my underground zombie world. Tom Waits’s voice is haunting as is the music. Tom Waits sounds like he’s already dead and his voice reminds me of the last 20 years of Bob Dylan. It’s like decades on the road, partying hard is bad for your voice. Tom Waits’s voice is terrible, but strangely it works at times here. There are nuggets of interest. I like Earth Died Screaming and Jesus Gonna Be Here. I appreciate the unique percussion used throughout. However, a lot of the album is borderline unbearable.

I put this album on the big speakers in the other room while I worked on Friday. It was great background sound whilst I plugged away. It’s now Sunday night and I was prepared to mail in my *** rating. However, I decided to listen and skip around one last time before moving on to the next album on the list. Surprisingly, I did more listening than skipping. The beats are varied, present, but not in your face. I’ve dabbled in electronic/ambient/trance music before. I am quite impressed this came out in 1992. 1992 blows my mind because a lot of it sounds current and innovative for today.

What a great way to start the week! Reminds me of driving home from uni and popping this cassette (I’m old!), that I borrowed from my roommate, in for a 5 hour drive. It’s a pop album, but not of the over manufactured variety. The music has a quality that I can’t quite pin down. There is a a lot more depth, and a uniqueness, that stands out from typical pop music. There are a lot of lyrics dealing with relationships, including: dating a man-child celebrity (Been It), being a commitmentphobe (Heartbreaker), being smitten for an upcoming date (Happy Meal II), being a doormat (Step On Me), and lack of self worth with a side of desperation (Lovefool). Then of course, there is the cover of Black Sabbath’s Iron Man. The two main songwriters were previously in metal bands. Thus, Black Sabbath were a big influence. The juxtaposition of Black Sabbath’s metal sound with the consumable, pop sound of The Cardigans always fascinates me. In fact, they covered several Sabbath songs throughout the years and referenced their lyrics in other non-covers (Heartbreaker). This album is fantastic, but I actually prefer their preceding album Life, which is not on the 1001 list. Too bad because it is awesome too!

There aren’t any fancy beats on this album and it works well. The beats set the mood but otherwise stay out of the way of Jay-Z’s lyrical flow. Jay-Z’s style feels almost conversational. I appreciate that he doesn’t necessarily rhyme each verse. I admire the reverence he pays to those that took care of him growing up on Blueprint (Momma Loves Me). The distorted beats on Takeover are well placed to get my head bobbing. While I like Eminem’s appearance on Renegade is good on its own, it doesn’t really fit sonically with the rest of the album. I also recognize the Izzo (H.O.V.A.) line “Can’t leave rap alone, the game needs me” from its inclusion on Eminem’s Business from his album The Eminem Show. This is an album I will be listening to more in the near future.

Back-to-back days of excellent hip hop (Jay-Z)…what a treat! The flow at the end of A Day At The Races is incredible! And the flow there is only slightly better than the rest of the song, meaning the level is high throughout. The flow is really good throughout the whole album too. I am captivated by Charli 2na’s deep voice. It is divine. I think if he read terms of service agreements, I would actually know to what I’m agreeing. I echo jkav’s note on the positivity in the lyrics being refreshing. This is a great find and I will be listening on a regular basis. One nitpick: Acetate Prophets is kind of weird. It can go.

This album makes me think of work, specifically those people that excel in one particular aspect of their job and have no interest in working on their weaknesses, being well rounded, and becoming truly exceptional. In many cases they don’t really have weaknesses because they rise above in anything they put effort into. Their only weakness is the lack of drive to become more. They just want to work on what they enjoy and dig in as deep as they can. On one hand, there is something to be admired about someone knowing, and sticking to, what they like. On the other hand, the main takeaway for me is lost potential. Like what if Elton John had just said fuck it, I am a piano wizard and I don’t need lyrics. What if he never paired up with Bernie Taupin? I would probably not care much for Elton John’s music catalogue, and I don’t think we’d be calling him Sir. Santana’s lead guitar work is top notch. It’s beautiful. The Latin instrumental stuff (conga, timbales, etc.) is good, don’t get me wrong. However, there is just too much instrumental on its own. This is not all to say that instrumental albums can’t be interesting. They can be interesting, but they usually serve a specific mood, and the artist must commit to being an instrumentalist. Abraxas can’t decide if it’s a rock album or an instrumental album. That’s a problem. There are only 5 (of 9) songs with lyrics, and two of them repeat the same line or two the whole song. This leaves just 3 songs that are stimulating lyrically, which is the Achilles heal for this album. I am most pleased to have been introduced to Mother’s Daughter, which is the standout song for me on this album.

I had not heard of Teenage Fanclub until now. 1991’s album of the year over Nevemind? Come on Spin magazine, that’s atrocious. I’m not saying this album is atrocious. The album is OK. And the record company paid off Kiss’s Gene Simmons because he trademarked a bag with the $ on it? That’s stupid. These are my two takeaways from this album.

This album is fine. Enjoyable enough. I don’t find anything particularly noteworthy here. Elliott’s voice is fine too. Nothing spectacular.

This album is best enjoyed when performed live in an Irish pub. I am not in an Irish pub currently, so please turn it off.

Another nice discovery from this experiment. Q-Tip’s lyrical flow is impressive. The lyrics are plentiful and refreshing in their lack of overt misogyny and violence typical of many hip hop albums. The sample in Won’t Trade is on point. There is something missing that I can’t quite point out. There are several times where the album falls flat for me, like the beginning of Dance On Glass and all of Shaka. There is a lot more to like here though. I look forward to circling back to Q-Tip.

I used to be somewhat of a Fuel (1990s - 2000s rock band) super fan. I went to their album release party for Something Like Human which started at midnight in Harrisburg just to give you an idea. Fuel’s most popular single, Hemorrhage (In My Hands), uses the line “love lies bleeding” several times, which happens to be half the title to the opening track here. I believe this is not a coincidence because Fuel used to cover Daniel quite a bit. So I know they have a thing for Elton John. Unfortunately, I love Fuel way more than the opening song, which feels like Elton’s attempt at an epic rock song a la Dylan’s Desolation Row, The Doors’ The End, or Pink Floyd’s Sine On You Crazy Diamond. Those examples are masterpieces while Funeral For A Friend/Love Lies Bleeding feels aimlessly over indulgent. There are some obvious classics here: Candle In The Wind, Bennie And The Jets, Goodbye Yellow Brick Road, and Saturday Night’s Alright For Fighting. I had heard all those before, knowing the greatest hits. Jamaica Jerk-Off is just weirdly out of place. All the rest of the songs are nice enough, but nothing I feel like I’ve been missing. It’s tough for a 76 minute album to carry excellence from beginning to end, especially having put out another album several months prior and another the next year. If Sir Elton had cut this down to a 40 minute album, I think he would have had something truly special. I’ll stick to the greatest hits.

I’m renaming this album Sympathy For The Devil + Mediocrity. After the opening track, I found nothing remarkable. To put this is context, mediocre Rolling Stones songs are still an easy listening experience. I like the bluesy overtones in general. The rhythm guitar and the slide guitar do not sound synched up in No Expectations. And the high pitched singing voice in Dear Doctor is odd.

I feel sorry for pop fans in 1969 because this album is boring. I was expecting to dance. Not offensive, but zzzzzzzzzzzz…

There is some interesting stuff here, but not enough excitement.

My conclusion here is the same as it was for The Queen Is Dead. I like the music. I dislike Morrisey’s voice. His voice is a 1.5 star deduction.

I wish this album stopped after 2 tracks. Chameleon started off strong. I feel the FUNK! Watermelon man is weird…good weird. And then we get to Sly. Sly is all over the place…bad all over the place. Vein Melter bored me to death…bad boredom. I’m stuck at a 2.5 here. I’m putting a priority on the innovation in the first two tracks.

I’m breaking my mold here. Even though I will not be adding this album to my library, it is something worth hearing for all. The biggest reason I won’t be adding it is the language barrier, which is my limitation. But then again, these are my ratings, so the built in limitation is a necessary condition. Miriam Makeba’s angelic voice is one to remember. Her vibrato is majestic. The album sounds like it could be current or from 1960…timeless. The music is light and feels effortless, like floating from cloud to cloud in Super Mario WII. The House of the Rising Sun cover is divine, and I will be adding it to a playlist.

This album is very disappointing. I do not understand what is so worthy of hearing. There really aren’t any memorable hooks. Missy’s vocals are way too laid back to be interesting. It almost sounds at times as if she’s disinterested. There’s just not a lot to work with here.

While I don’t find the music particularly engaging, I do like the reggae voice. I like it even more that it’s not paired with stereotypical reggae beats. I would definitely listen to this again if someone else puts it on.

I heard Song 2 a bunch in college. I’m pretty sure until today it’s the only Blur song I’ve ever heard. I now know why it’s called Song 2, which shouldn’t have been tough to figure if I had thought about it. There really isn’t much else exciting on here other than On Your Own. Apparently the band changed musical styles somewhat on this album and became “more aggressive.” There is not very much aggressive about this album to me. The ambling Essex Dogs is almost interesting except for the spoken word delivery (boring!) and being way too long.

There are several songs on here that I know and enjoy a bunch. I do find it odd that Simon and Garfunkel took writing credit for Scarborough Fair, a centuries olde English tune. A little bit of respect lost here. Flowers Never Bend with the Rainfall is a song I really like that I hadn’t heard before. Same with the offbeat A Simple Desultory Phillipic (Or How I Was Robert McNamara’d Into Submission) where the music is driven by the distorted guitar and (credit to Wikipedia for pointing it out) Paul Simon puts on a Bob Dylan affect. I hadn’t heard the Silent Night / news reel before either. It is a brilliant juxtaposition of a warm, fuzzy Christmas tune and deeply unsettling 1966 current events. There is quite a bit more anti-war sentiment than I ever remember noticing from Simon and Garfunkel before. This album has a lot of good content, but I like many of the later, more mature versions of the songs better. The bones are here. I appreciate them. But it’s not quite tip top.

The social commentary is the real star of this album. Public Enemy muses on the plight of black Americans like: feeling less than marginalized (911 Is A Joke), mistreatment of women (Revolutionary Generation ), and being stigmatized (Who Stole The Soul). There are also several songs with positive messages like: black men should help each other out (Brothers Gonna Work It Out), interracial relationships are acceptable (Pollywanacraka), and black pride (Fight The Power). Musically however, there isn’t much to point to on this album. The vocalists are not great. I get that it’s hip hop, but their voices are not good even with the style being more spoken word than singing. The music screams early 90s, and that’s not a compliment here. The sound is dated. There aren’t any terribly interesting hooks, samples, nor beats. This rating is based solely on the apt social exposition. I remember that Public Enemy pissed off a bunch of the white establishment. Of course the white establishment twisted the focus onto the “vulgarity” of the music by doing some of the very things Public Enemy was protesting against on this album. Unfortunately, too much of the message is still relevant today.

Easy enough to have on in the background. Waylon has a good voice. There are a couple boring numbers such as Ride Me Down Easy and We Had It All.

This album defines outlaw country for me. Johnny Cash is known for being a hardened badass, and I think it traces back to this album. He doesn’t just come off as tough, but rather he seems to take it a step further. It feels as if he is firmly Team Inmate. Of course inmates are people too, and deserve to be treated as such. I admire that he played Greystone Chapel, a song written by inmate Glen Sherley. The song is good regardless who wrote it, but Cash including it shows another side of an inmate capable of something positive. I had not realized that Shel Silverstein wrote 25 Minutes To Go, which fits with both his humor and Johnny Cash’s empathetic embrace of the outlaw inmates. A couple song highlights for me are Jackson, Folsom Prison Blues, and I Still Miss Someone. My one negative is that there are too many slow songs on the whole. I enjoy the slow songs individually, but overall it’s too much.

My doctor diagnosed me with a rare form of amnesia where I can’t recall the existence of 80s bands … …there is no Cure I totally stole that joke from Reddit. But the strange coincidence is that right before I read it (!), I was telling myself that I’m just not into 80s hair metal bands. Like literally 10 seconds before I saw this joke. The guitar part on Raise Your Hands reminds me of Ozzy Ozzybourne. There are some all timer songs on this album that I would scream lyrics to if I were out at a bar. I’ve stood on bar benches and emphatically rocked out to Livin’ On A Prayer. It’s a great song for that situation, but I just don’t care if I ever hear it again. Same story with You Give Love A Bad Name and Wanted Dead Or Alive, which is probably my favorite song on the album. To be more specific, I have 80s hair band amnesia. I respect the album, but it’s just not my thing.

I listened to this album a couple times and I’d be happy to hear it again although I’m not going to seek it out. Rod Stewart has a unique voice with all his raspiness. I dig it. I found out that Rod Stewart had 15 albums in a 20 year period (1969-1988) with no gap greater than 2 years. Even though he’s not “my guy,” that’s impressively consistent production.

Some of this album is fine. I really enjoyed If It Takes All Night. And then there is Bitter Sweet, which is borderline unlistenable especially so during the German verses. In general, the album just feels like there is an attempt to be too artsy with too many influences.

The voice sets the ceiling here and we’re on John Malkovich’s 7 1/2 floor. I do like a quite a bit of the music like Lovers Of Today. Frankly if the lyrics disappeared I would like this more as an instrumental album.

Two in a row! I just don’t like the vocals. The music is decent, although it’s feels off balance at times.

Sinatra makes great background music. This could be the ambiance at a dinner party, an art gallery, or a movie scene of a meeting of one of the 5 families where their rival busts in, springs a well planned trap, and guns them all down. And Frank, who is in on it, just continues to sing on stage through the whole assault. Once it’s over he and the rival mafia leader nod and wink at each other as if to say, “job well done.”

There seems to be quite a controversy about how much of this album is actually from live recordings vs. in-studio overdubs. The producer, Tony Visconti, claimed 75% of the album was recorded in the studio and overdubbed while the band claims the opposite, that 75% was live. Who to believe? Regardless, I’m totally rocking out to the guitars riffs from a lot of these songs like Massacre, Suicide, The Rocker, and many others. I should pay more attention to Thin Lizzy based on this album. Does it matter how much of the album is live vs. in-studio overdub? I think so. I tend to believe the producer because I assume he know most about how the album was…you know…produced, but you never know. The answer is probably somewhere in between…50-50? Some of the appeal of a live album is the presumable authenticity of the album actually being recorded live. That it was one take, one crowd reaction, a one-off symbiotic experience. Does that even exist? I hadn’t considered how the live album sausage is made before. Aside from the in-studio overdubbing, Visconti also said Southbound was recorded from a sound check with the audience reaction was from another live song. What is this Frankenstein shit? It’s difficult to know. Will live albums in the future just be the studio recording with AI dubbed crowd interaction? And while we’re at it, will the studio recording just be AI produced on its own at some point? I don’t want to think about these things. I’d rather just enjoy the album that was laid down. When AI does take over the music industry, I know it won’t be the beginning of inauthenticity in its albums. Album judged based on the music alone, which was an enjoyable experience. However, it’s a less enthusiastic 3 knowing it’s a Frankenstein production.

I’m of the opinion that improvisational music should be played, not listened to. That is all.

Not a whole lot of excitement here. It’s OK. I would write more, but I defer to JKav’s review.

This is an album I would listen to again. I like the organ which provides a unique sound. The title track is a bit much. If it were a live take, then maybe I could take all 17 minutes. But being a studio song, it feels too long. Still a good song overall.

Music is underwhelming. Voice is not great. No thanks.

There are some elite tracks on here: Little Wing, If a 6 Was 9, Castles Made of Sand, and Bold As Love. A 5 star bonanza of sorts. The rest…mmm…a lot of filler. These other 9 songs drown out the elite and drag this album down to mediocrity.

This album offers an interesting perspective on womens’ self worth, sexuality, and relationship power dynamics. Also interesting is the spelling “Heaux”. I’m always down for the Cajun version of words that rhyme with go (e.g., geaux). I’m not really sure what to make of this album. Is it positive? Negative? Or just is? I lean toward positive. There is some objectification present, similar to what is found in male r&b. However, women have taken over the narrative here. And there are certainly more favorably buoyant views of women than what I’d expect from a male lead. In the end, I like the music, but it’s not really my thing and there are too many interludes for me.

I don’t know much about Iggy Pop. From what I had seen, I’ve always thought he was a stooge. Based on what? I don’t know really. The fact that he often has his shirt off while performing I guess? After hearing this album and reading up on Iggy, I have a new found respect for his career. The sheer volume of other artists citing this album, Iggy, and The Stooges as major influences is impressive. The album was originally mixed by David Bowie, who didn’t have a lot to work with. In what appears to go against many opinions, I much prefer Iggy’s 1997 remix of the album. Bowie’s mix is too clean and the volume fluctuations (e.g., Search and Destroy) are utterly distracting. Iggy’s remix is louder, more distorted, and at least one star’s worth more enjoyable. They say this album is the genesis of punk or something like that, and I can understand that. The album is also referred to as proto-punk, which is a genre I lazily wondered (see The Saints’ Eternally Yours) if I had invented. Yes the term proto-punk was already a thing. Here it is again, describing another album that I am pleasantly surprised I like.

This album is a great lesson on the importance of song selection and sequencing. I was linked to the US version Utd. State 90, which is significantly different than the UK version. The US version is missing one forgettable track (The Fat Shadow) and it includes 5 additional tracks. The UK version starts off with two of the weakest tracks (Magical Dream and Acodia) while the US version opens with one of the strongest (Pacific 202). All 5 additional tracks on the US version (Boneyween, Kinky National, Cübik, Revenge of the Girlie Men, and State to State) elevate this album. I’m rating the US version, which is at least a 1 star boost from the UK version.

Sooooo, Robert Smith was depressed about being popular and turning 30 soon, and he wrote a dark and mysteriously depressing album … … the result is quite intriguing. His voice ever so slightly turns me off though. I now recognize that Chvrches’ How Not To Drown (featuring Robert Smith) is reminiscent of The Same Deep Water As You. TSDWAY is a 9+ minute foray into a mystical realm, as is much of this album. Normally I rail against songs this long, but in this case I think the length is not detrimental. The 9+ minutes just continues the mood, read despair. I feel like I should be watching the Labyrinth. Listening to this album feels like a parallel way into Sarah’s (Jennifer Connelly) mind while she’s solving the Labyrinth trying to rescue Toby (dude named Toby) from the Goblin King Gareth (Bowie). A lot of despair. A little hope. More anguish.

A fantastic achievement for jazz. I gotta admire a groundbreaking album, which is clearly good, that the record company didn’t want to make and contemporary jazz critics panned. What did they know? Nothing…that bunch of traditionalists. The offbeat time signatures are innovative, playful, and stand out. +1 star for not including a bunch of improvisational bullshit too. Way to keep it real. -1 star for no vocals. It would make great background noise for a cocktail hour or fancy dinner. It’s probably over qualified for either of those scenarios, but I couldn’t see myself listening to it in many other scenarios due to the lack of vocals.

This album is all over the place. He mumbles so badly at times that I can’t tell what is being said. There are several instances where I dig what is going on. Overall, I’m turning this album off.

Ugh, this album isn’t on Apple Music. Damn them for not having obscure, non-charted electronic music. They have a bunch of his other albums…wtf? So I have to listen on YouTube, which is painful. First world problems. I like the bass heavy beats throughout the album. This is the first album that got my house rattling with the surround sound system I got a couple months back. The accompanying videos on YouTube are a trip. There are a lot of nature scenes. Also quite a bit of shaky camera work. I can’t tell if the videos add or detract from the music. I’m not a fan of the Nine-Inch-Nails-esque electronic drum on Into the Paradise and A Hazy Shade of Random, but that’s not going to bring this album down. There’s a lot of good shit here. An interesting find for sure. I’m starting to conclude that I’m into ambient music. Not all of it, no way (looking at you Brian Eno). But there is a subset that gets me going.

I dig the groove on Brimful of Asha, but my goodness the lyrics are repetitive. I also like Good Shit and Sleep on the Left Side. Good to be on the Road Back Home is the highlight of the album when Paula Frazer is singing. Her voice just resonates pleasantly with me. I wish she were the lead singer on the whole album. I like the mix of electronica in with the rest of the instruments. The sitar is a bit overpowering and changes the feel of the album completely when present.

It’s hard to reconcile this music with The Kinks having a reputation for being rowdy, which lead to them being banned from touring in the US for 4 years. The drummer hit one of the brothers Davies over the head with his hi-hat stand after Davies insulted him and kicked over his drum set mid-concert. Davies went unconscious and the drummer fled the scene fearing Davies was dead. Again, mid-concert. This album contains highly consumable rock music. The juxtaposition with the story above is stark. There’s nothing particularly wrong with the music, but it feels a bit sterile. I want some knock you over the head grit.

This album surprised me. It’s an interesting mix of styles: a little pop and a little punky. I like the album enough to listen again, but not enough to bring it into my musicsphere and call it my own.

I like the stripped down music. There isn’t too much complicated, and I think that’s a benefit considering the music alone. The lyrics however, are another story. There is far too much repetition of the same line over and over again. And it’s not just one song. There are several. When considered with the lyrics, the music isn’t interesting enough to hold this album up. It’s still something worth listening to though. My real problem is the the 1001 list picked the wrong Sault album from 2020. I was very excited when I saw Sault come up because I thought it was Untitled (Rise), which was a pandemic discovery for me. Untitled (Rise) was released several months after Untitled (Black Is) and it’s better. The repetitive lyrics are still present, but to a lesser degree. And the music has more layers, providing more interest. The 1001 editors made a mistake, not in picking Sault, but in the 2020 album of their’s that they chose.

It took 4 listens to figure out my thoughts on this album… First, I love Van Morrison’s voice. I feel genuine emotion throughout. I can feel it in my gut when he lets loose. One minor complaint is that he mumbles at times. I have no idea what most of the lyrics mean on a comprehensive level. They are “conceptual.” Whatever, it doesn’t bother me. The musicians were damn good given that Van gave them no direction on what to play. They essentially jammed to figure out the music. Considering that, Van’s lyrical delivery has a bit of an improvisational feel at times that fits. The blown out brass section on The Way That Young Lovers Do is another minor complaint. 🙏🏼 1001 albums list. Thanks, never would have listened to this and I’m happy to continue listen.

Purple Rain (song) is a masterpiece. When Doves Cry makes me want to shake. I like Let’s Go Crazy. I Would Die for You is decent. The rest is mostly forgettable.

A l b u m w a a a a a a a a a a a a y t o o o o o o o o o l o o o o o o o o o o n g . There are some good nuggets here and some bad. When I told myself that this thing has to fucking be over by now, there were still 4 1/2 songs to go. U g g g g g g h h h h h h h ! I bailed on the last song because it was bed time.

I’ll tell you what is rubbish, Suede. And being that Blur were somehow losing a competition with Suede is embarrassing, yet here we are. Attention r/agedlikemilk: Blur’s Damon Albarn thought the popularity of grunge would soon fade. With a take like that, it’s no wonder that this album is also rubbish. I find the music boring and the vocals too.

The album started off OK with Up Against the Wall Motherfucker. It’s not really my vibe but I could listen to it. Then came Spit On It, which was utterly horrific. Luckily it wasn’t all down hill from there. A couple tracks are also OK like: Spike Island, Getting Bright at Night, and Big Sleep. Again, not really my thing but worth listening to once. But there are also tracks like Meatmaker that make me want to turn this album off. I do feel bad for the band that their label refused to promote the album at all and made them spend their own money for music video production. In the end it’s a mix of ⭐️ to ⭐️ ⭐️ ⭐️ songs.

This album feels like I’m hanging out in Central Park listening to Q-Tip, Phife Dawg and their crew wax lyrical about life’s issues. Some dude could be playing the plastic bucket drums and someone else beat boxing and all would be right. Who knew a great hip hop album could be made without curse words? Rhetorical question…a lot of people, but it’s refreshing. I remember back to the Pretentious-Ass’s comment that Dr. Dre killed hip hop. And this is the type of album I assume P-A thought was killed. I could use more musically to pique my interest. I know they stripped it down to focus on the lyrical message, which I get. However, I would personally be more into the lyrical message with some more layers to the music. It would be nice if there were more hip hop around like this today. Maybe there is and I just need to search harder.

When I first started working, I was on a project with a retirement age gentleman. The main thing I remember about him is that my coworker told me his daughter was the woman in the Legs video. Well what did google pop up when I searched for “ZZ Top legs girl”? A 2013 nostalgic blog post by an 80s music video aficionado where he tracked down the Legs woman and sort of interviewed her. She remembered, “I think the most memorable scene (although some would disagree, preferring the lingerie shot) was being placed by the biker up on the counter and spinning to kick off my boyfriend’s boss. In the process, by accident, just a peek of the crotch of my underwear showed. I was ahead of Sharon Stone. A true slip and never brought to my attention.” https://www.noblemania.com/2013/07/the-girl-in-video-legs-1984-part-1-of-3.html?m=1 The guy tracked down and interviewed a number of lesser known 80s music video stars, like all five women from Robert Palmer’s Addicted to Love. The site is a hoot for consumers of 80s MTV. I watched the Legs video for the first time. All I can say is that special effects were poor in 1983, amazingly so. ZZ Top are at their best when the guitars are driving things forcefully with a steady beat from the drummer. Songs like Gimme All Your Lovin’, Sharp Dressed Man, Legs, and Bad Girl. It’s a bit boring otherwise.

Jerry Lee Lewis sounds like he was shot out of a cannon and didn’t stop for the whole show. Maybe that’s what he meant by Great Balls of Fire. This album is full of energy. Of all the live albums we’ve heard, this would be right at the top. This live album actually makes me wish I were at the show.

The album started out fine with The Wall Street Shuffle. Then it fell off the cliff with the aptly named The Worst Band in the World. And it didn’t fully recover. Succinctly, this album is weird. But that’s not the whole story. There are quite a few bits and pieces that are good. But it’s always wrapped in weirdness.

After getting all 3 Prince albums on the list, my conclusion is that I want to like Prince more than I actually do. He was innovative and talented. No doubt. There are some songs I really enjoy, like 1999, Little Red Corvette, and Lady Cab Driver. But there is also shit like Something In The Water, which is bafflingly bad in comparison.

Meh. The bass or synth bass was the best part.

The best part of this album is the opening of Could’ve Been Anyone. Unfortunately, it only lasted about 10 seconds. Objectively, I think Ms. Mann has a good voice, but I just don’t like it. I think there are too many intonation changes.

This album is rough around the edges. Sure there are a couple polished classics like Heart Shaped Box. The cello in Dumb is a magnificent touch while All Apologies is a masterpiece to me. I can’t get enough of that song. I’m quite fond of the rough edges too. The energy on Very Ape and Serve The Servants is intoxicating. And even Pennyroyal Tea, which was released as a single, kicks up the distortion. The lowest parts are both Tourette’s and the screaming on Scentless Apprentice, which are hard on the ears. Fortunately, these are relatively minor passages of the album. I used to have this album, but I only remembered the singles. I don’t think I appreciated the rawness back then as much as I do now. I’m glad to have rediscovered it on a deeper level.

OutKast’s sound is distinct and instantly recognizable. Their flow and lyrical constructions are refreshing. I could do without the misogyny and gangster-ish stuff (I didn’t keep track of the tracks), and I certainly would prefer not to hear CeeLo’s voice. But overall these feel like minor speed bumps. I want to listen to more OutKast. I have Speakerboxxx/The Love Below, but I never really got into it. I guess I need to go back earlier in their catalogue.

The opening to The Skank Heads is quite nice. The rest of the album…whatever. Some of the music is OK. I do not like the lead singer’s voice, and I can’t get past it.

"Bass, lead, to tell the killing joke, we mean it man ! Total exploitation, no information, anonymity" I’ve read this a bunch of times and I still don’t get it. But that doesn’t matter because Geordie Walker and Youth soon both joined and the band made an interesting album. I dig the post-punk sound, especially the bass player. The guitars shred. I wish the instrumentals Bloodsport had words. While this isn’t going in my library, I would like to listen again.

My favorites on this album are Jamming (ironic because I rail against bands jamming), One Love/People Get Ready, and Three Little Birds. The rest of the album is listenable, but average to me. I prefer Survival to Exodus. I can’t believe Bob Marley died from melanoma found under his toenail. Damn what a tough break. How the hell is one supposed to find that? Life’s a bitch sometimes.

This album starts out very strongly with 4 of the first 5 songs, Sleep to Dream, Shadowboxer, Criminal, and Slow Like Honey. Her vocal delivery on Slow Like Honey is intoxicating and sounds likes the voice of a much more seasoned, mature singer. There is only one song I don’t really like, The First Taste. Some of the songs drag on unnecessarily. Like Criminal for instance, it should have ended with over a minute remaining. The final 4 songs are decent, but not as good as the opening half. All in all a solid debut.

I like the laid back vibe of this album. Streets of Your Town is a highlight as it just sounds so pleasant. I like the songs when Amanda Brown’s violin contributes. The lead singers’ voices are fine for the most part, but it’s a bit off on Love Is a Sign.

This music is not a catalyst for Iggy’s voice like the proto-punk stylings of The Stooges nor his later albums, as confirmed by a sampling of Lust for Life. That’s not to say the music isn’t good. It just doesn’t pair well with Iggy. Highlights include Sister Midnight, the future NIN sample on Nightclubbing, and the guitars at the end of China Girl. This falls on the low end of ***.

Frank Ocean has a unique style that’s for sure. The consensus seems to be that there is no consensus to describe him. I’d go with lounge-y, amorphous hip hop. It’s no surprise that Pyramids is my favorite track as it is upbeat with electronic elements. Overall, the vibe is a tad too laid back for me. I’d like more of the Pyramids energy. However in the end, this is better than The Bends.

This is a really good Christmas album. There are fresh takes on some classics. But I really don’t want a Christmas gift from Phil Spector. Even before the murder of Lana Clarkson, he was a POS according to his ex-wives, ex-girlfriends, and children. Forgetting Phil Spector the person, I would not listen to this 11 months out of the year because, well, we need a break from Christmas. I’m happy to listen again in 11 months if somebody digs this up.

Remember the stories about how some dude took angle dust, cut his skin off with a broken mirror, and fed it his dog? I’d rather do that, without the angel dust, than listen to this again. Halfway through Mind, the words “Go away, go away” appear. I wish SoaD would have heeded their own words. From the “r” rolling to the scream-o, this is a 13 song heaping pile of shit. I’m offended 1 star is the minimum. This album can properly fuck right off!

I’m disappointed. I really thought I would like this album more. I’ve dabbled in The Band before and liked them although now I realize it must have been mostly a greatest hits type deal. I like Up On Cripple Creek a lot. The clavinet provides funky greatness reminiscent of Stevie Wonder. Jemima Surrender has some grit to it. The Night They Drove Old Dixie Down is a nice little ditty. Look Out Cleveland has some good energy. The rest of the album is a bit boring, but pleasant enough. An exciting aside to this album is that Martin Scorsese directed The Last Waltz. And that he was co-director for the Woodstock documentary. When learning these nuggets is almost as exciting as the album itself, mediocrity, and thus disappointment, hath be upon me.

I like much of the music here, but oh my do the songs drone on and on. Cut what’s here down to 15 minutes max, and we can talk.

There’s no doubt that Grace Slick’s vocals elevate a song. Marty Balin has a fine voice too, but Grace takes it to another world. They should have made her the primary lead vocalist. White Rabbit and Somebody to Love definitely carry this album. But IMHO, there are plenty of other good songs here as well, like She Has Funny Cars. It’s a folk sound twisted and sharpened. Kaukonen’s guitar feature, Embryonic Journey, is inspirational. It’s easy to hear why the band encouraged him to put it on the album. In a historical rarity, the recorder sounds good…on Comin’ Back to Me and How Do You Feel. Comin’ Back to Me has a charming intimacy. Jerry Garcia is credited as a “spiritual advisor”. WTH does that mean? He provided the LSD? Whatever his advisement method was, it worked.

I think I can recognize this as a landmark soul album but what do I know. Even so, this is just another jam band album of a different genre. Too much talking and exploration. No thanks. Isaac Hayes only wrote one of the four songs. One Woman tells us the other woman is making a man do wrong. Oh what a fucking cop out from the patriarchy! At least Hayes didn’t write that one, although he did chose to perform it. This album is best when Hayes is actually singing. His voice is silky smooth. I like Walk On By and Hyperbolicsyllabicsesquedalymystic much better than the last two tracks although the second half of By the Time I Get to Phoenix, when you know…he sings, is good too.

Holy fucking shit The Visitors (song) is fantasmagoric! It’s so good, it almost ruined this album for me. No joke. The rest of the album is a let down from this track and it skewed my overall opinion downward. I re-listened to the album starting from Head Over Heels (track 2) and then added The Visitors to the end. A marked improvement psychologically. I totally understand why it’s the first track because it was the first thing one hears when playing the LP and people couldn’t skip around like we can today. They wanted to hook the listener from the get go. I hearby officially petition the next re-release of this album (it would be the 5th release) to consist of the original album, starting from Head Over Heels, and put The Visitors last. What a fucking way to end an album! The Visitors (song) reminds me of Goldfrapp’s Head First album, which by the way also kicks some major ass. Hellyeah! The rest of the The Visitors (album) is solid, other than I Let the Music Speak, but not elite. On their own, tracks 2-9 would be borderline 3-4 star.

This album felt like a wild ride through another dimension. I appreciate it. The funky, bass heavy sound is like nothing else I’ve heard. Right away the Track featuring Kendrick Lamar, Walk On By, stood out, which is no surprise. It’s not exactly my thing, but I certainly wouldn’t mind taking this trip again.

Living for the City is the star of this album. Great song. The rest is up and down.

Now this is a Radiohead album I can get behind. The subdued opening of Exit Music (For a Film) is a great passage that sucks the listener in with an overall benefit of psychologically amplifying the more intricate portions of the album. The computer voice on Fitter Happier is a well placed statement on mid-1990s technology. Computers are here…can do cool stuff… but primitive sounding. The overall sound is experimental and ambitious. It’s rock. It’s acoustic. It’s electronica. It’s intimate. It’s loud and distorted. It’s even got a guest appearance by Stephen Hawking. In summary it’s wonderfully eclectic. The last third of the album does feel like a downward trajectory musically for me, excepting No Surprises. I feel like giving bonus points for Subterranean Homesick Aliens referencing my boy Bob Dylan’s Subterranean Homesick Blues. I’m also tempted to give an extra star because “The album initiated a stylistic shift in British rock away from Britpop . . .” (Wikipedia), which is a benefit to all. However, no bonus stars given.

This album is a sequence of backing tracks. Something one finds on YouTube to practice lead guitar over. That’s a bit harsh as there is a little more than that here, but it’s not far off. I was expecting a funktastic adventure. Instead I got a great album to put on at bed time.

So the Cocteau Twins learned a thing or two between 1984’s disastrous Treasure and this album in 1990. I was not pleased when I saw the twins pop up again. However upon listening, Heaven or Las Vegas is decent. The album unintentionally came on during my car ride this morning after listening all the way through yesterday. I didn’t turn it off. I’ll even say that I enjoyed hearing parts of it again. The Cocteau Twins might be the most improved band of the 1980s.

I’ve previously discovered I like proto-punk and now I know that I also like post-punk. Gang of Four gets to stay.

The sound is softer rock to me. Fran Healy’s voice doesn’t work with the sound for the most part. Some lines his voice sounds good and then the next line it’s back to not quite working. I think his voice would work fine in a band with a heavier sound, but here it gets exposed on full display too often. I think it also comes down to the register for the song because his voice works for Slide Show, pre-hidden track. But also the hidden track on Slide Show is a heavier sound which covers up the problems with his voice and it sounds fine. As You Are has one of the most boring guitar solos I’ve ever heard. I think it got somewhat interesting later on but I had already forgotten what was happening. Supposedly the band performed Why Does It Always Rain On Me? At the Glastonbury Festival and it started raining just as the first line was sung. Apparently this coincidence was all over the news the next day and significantly elevated Travis’s popularity. So much so that they headlined the Glastonbury Festival a couple years later. First of all, Why Does It Always Rain On Me? is a good song. It’s one where Fran Healy’s voice works well for the whole song. I’d definitely enjoy this song on a playlist somewhere. However, this story sounds too good to be true. It rains often in southwestern England. Why was this viewed as some sort of divine sign? Even if it’s true, a minor coincidence does not a good band make. If is it true, my takeaway is that musical popularity is too arbitrary.

The first time I heard Truckin’, it blew my mind. High school me was hooked. I’ve had my chips cashed…all-in…since then. I love this album. It’s easily in my top 15, probably top 10. After several years pursuing psychedelic rock (read: jamming), The Grateful Dead got back to their blues and folk roots, with both American Beauty and it’s preceding album Workingman’s Dead, at the urging of David Crosby. In an effort to save money on studio time, the band rehearsed more before recording, resulting in a more streamlined and well organized arrangement. The efforts paid off handsomely. Truckin’ is still great after all these years and yes, the band did get setup and busted for pot in New Orleans. Ripple is a special, special song. It’s a simplistic, yet profound song about finding your own path in life. Friend of the Devil tells the tale of an outlaw trying to out run his mistakes and rueing them nightly. I can’t get enough of this song as well as Box of Rain, Sugar Magnolia, and Attics of My Life. The harmonies amongst Jerry Garcia, Bob Weir, and Phil Lesh on Attics of My Life always get me. It’s beautiful stuff. I’ll finish with the one blemish on American Beauty, Candyman. No doubt Candyman it is a let down. It’s not horrible, but just a filler track. The biggest knock is that it is also the longest track on the album. BONUS!!!!!!!!!! The band worked on their throw back sound and released Workingman’s Dead just 4.5 months before American Beauty. The songs that were done were released on Workingman’s Dead in June while those still in flux were saved for American Beauty in November. Effectively, these form a double album. Workingman’s Dead is not on the 1001 list. It deserves a review, so I’ll tack it on here. The Grateful Dead, especially Jerry Garcia, we’re not confident about the sound of their voices. Crosby, Stills, and Nash to the rescue. CSN showed The Dead how to stack vocal tracks to blend and smooth out their voices. They didn’t get it quite right all the time on Workingman’s Dead as you can hear in High Time when they sing “high tiiimmmeee.” It’s harsh. They seem to have figured it out by American Beauty though. Of all the tracks on both albums, Uncle John’s Band is my favorite. The harmony throughout is on point. When the chorus shifts to a cappella near the end, I get chills…every…single…time. The lead guitar chimes in here and there to provide apt, short, fill-in licks. Perfectly timed, not over done. And the percussionist adds some kind of ratchet sounding thing that is well-placed. None of the other songs on Workingman’s Dead are as good as half the tracks on American Beauty, but they are all better than Candyman and Operator. I savor New Speedway Boogie, Easy Wind, Cumberland Blues, and really all 8 songs. Jerry Garcia’s pedal steel guitar is fantastic throughout the album. It gives Workingman’s Dead a more bluegrass-y sound than American Beauty. Overall the sound of both of these albums is reserved, not over ambitious (a good thing), and tight. These are not hallmarks of The Grateful Dead, who are mostly known for musical (aided by chemical) experimentation in an unstructured setting. It takes me back to albums like The White Stripes’s Elephant or xx by The xx. Those albums obviously have completely different sounds, but they share commonalities in their arrangement methods. Often times less is more, which applies here too. And this is what frustrates me personally about The Grateful Dead’s musical choices. These two albums demonstrate their extreme talent. These two albums are accessible and soooo remarkable. I am certainly grateful they were made, but at the same time I am left wishing the band had pursued more albums like them.

This is the second album not on AppleMusic, but I did find in on YouTube. I’m stuck on the saxophone is this punk band. It is so unusual and still unexpected even on the last few tracks. It’s a refreshing addition to the Spex punk sound. I would listen to this again, but I probably won’t because I won’t think to search YouTube.

A low end ***. I could listen to that album again, but that last song. Whew, it ambled sideways. Seems like Fred had it tough in love. He was married several times, each ending in divorce after not very long. Then later on he accidentally ran over his girlfriend and killed her. Yikes!

When Evan and Juliana are singing together I perk up. There voices blend well (Drug Buddy). Bit Part is good. Energy to write more depleted.

I recognize Cypress Hill’s unique style. The samples are on point as is B-Real’s nasally voice. The music holds up. The lyrics are another thing.

This album was a pleasant surprise. I can imagine throwing this on with people over. It’s interesting enough to set a good mood. It’s not so in your face that it’ll drown out conversation.

This album starts off like a roller coaster electromagnetically launched out of the start house. The guitars on Toys In The Attic (song) are engaging right from the get go. Uncle Salty starts out a bit slow but then by the end I quite enjoyed it. The bluesy Big Ten Inch Record is a great cover, but I don’t think the lyrics are about an LP. Steven Tyler claims he said “cept on my big ten inch…” I definitely heard suck like everyone else. Walk This Way and Sweet Emotion are all-time classics while You See Me Crying is a nice ballad with piano and backing orchestra. Overall I really like 3 songs, like 3 songs, and enjoy, but am somewhat indifferent to, 3 songs.

Of all the Simon and Garfunkel albums, this is THE one. What a way to end the duo’s run! The title track just feels so intimate. They mix intimate with higher energy songs well. Cecilia and The Boxer are two old favorites of mine to sing along to. There are several songs with which I was previously unfamiliar with good energy: Baby Driver, Keep The Customers Satisfied, and Bye Bye Love where the crowd clapping along takes it to another level.

I have no doubt this is a quality jazz album, but sheesh I nearly fell asleep. The very long bass solo in Solar is just too much for me to handle. I can’t take it. Not enough excitement. This is the background music at a cocktail hour not a concert for which I would want to pay money.

Growing up my cousin was obsessed with guitar and played in many bands, mostly blues. He introduced me to the blues and I’ve enjoyed the genre ever since. With a fairly basic structure, blues music can sound the same. However, the blues are best distinguished by unique layers on top of the basic base. Mannish Boy starts the album off with a bang. I especially love Johnny Winter screaming out in the background. It’s obvious the band has played together a lot. They are seasoned and tight. The guitars, the piano, and the harmonica all offer engaging layers on the basic blues sound. I’ll be coming back to this album again.

I’m jealous of Tracy’s voice. It carries most of this album. I feel like her guitar mostly bland, and I could probably play it, but I will never be able to sing that well. The lyrics are like an Ansel Adams photograph, painting a captivating scene. I can feel the strife in her scenery. One nitpick is that the lyrics are repetitive sometimes although I suppose the messaging for a revolution does need to be concise.

-1.5 ⭐️ for Rick Froberg’s vocals. I’m sorry Rick because I think people who are fans of the music and the band like your style of vocal. The vocals just ruin this album for me, which is disappointing because I do like the music quite a bit.

Insert this Steely Dan and let the pleasure take you away… This jazzy, soft rock always hits the spot… What a great fucking album! Top 15 for sure. It’s hard to find a dozen albums I’d rather hear than this one. Reelin’ In The Years and Do It Again are great songs, but Dirty Work is my favorite song on the album. In particular, I love the lyric, “like a castle in it’s corner in a medieval game…I foresee terrible trouble but I stay here just the same…” then the drums lead into the chorus…rat-tat-tat-tat…mmmmmm yeaaaaahhhhh However after listening again today, I prefer side 2 over side 1. The screaming lead guitar on Reelin’ In The Years is classic while Fagen’s piano on Fire In The Hole is outta this world. The last three tracks all have something special too. Interesting fact that I didn’t know before today is that Walter Becker and Donald Fagen were in a band with Chevy Chase before Steely Dan.

This album feels incomplete. The parts feel disjointed too often. For a while I wasn’t even getting a funk vibe. It does show up around Sing A Simple Song. I think listening to Sex Machine would have the opposite of the implied effect. I find far too much of this album boring.

By the middle of the second song, I thought that this album is a good example of generic rock. The Black Crowes would make a great bar band. Maybe a weekend headliner at a music club on the main drag in Nashville. The songs are nice enough, but I feel nothing from them, until Hard To Handle, Thick n’ Thin, and She Talks To Angels. Struttin’ Blues isn’t half bad either. Next on Unsolved Mysteries…why did The Black Crowes wait until the second half of the album to do something interesting? The bar band quip maybe was too harsh, but there is too much generic rock on this album to warrant further consideration.

How the hell is Introduction 6:30? That’s not an introduction. It’s like a drunk uncle that ambled, swerved, and fell up the stairs on the way to give a suuuuuuper awkward wedding reception speech about how the bride’s ex was more liked by the family. Does Anybody Really Know What Time It Is? comes on and the cringe continues with the uncle adding that the ex is probably a better lay based on the vocals emanating from … and suddenly there are trumpets and the uncle loses his train of thought. Amazingly the uncle gathers himself and tells an entirely coherent story about how deep love made him feel long ago when he met hit late wife and how he can tell the bride feels that feeling and he admires the groom for making her feel that way. Applause ensues. “As I was walkin’ down the street one day…” that whole sound is fantastic! I love it. This album is the ultimate rollercoaster. I really like parts. Then there is shit like Free Form Guitar or the last minute of Beginnings … non-directional wastes of time. It’s frustrating. Im all for mixing jazz instrumentation with rock … the trumpet, bone, and sax with guitars and drums is great. Unfortunately it also came with jazz’s drunk uncle. This was a 4 sided, double LP. If this album were cut in half it could have been something truly amazing. Minus one star for each superfluous side.

Wow … just WOW!!! I forgot how good this album is. And clearly I used to listen to it ALOT because it’s been at least a decade if not more since I’ve listened and I still remember most of the words. This album is banger after banger. Unlike other albums, I don’t have a song that I don’t like or only think is average. I like every single song. This has me rethinking my personal album rankings. I can’t believe I essentially left this album behind. It wasn’t even in my library. WTF??!!?? GREAT. FUCKING. ALBUM.

Hahaha I remember the Pong song from one of my college roommates playing it. Now I know from whence it came. A double album is hard. Too many chances for a lapse or let down. There are ups and downs here. Franks’s voice isn’t great. It’s not terrible and works better here than it would with another artist’s music. The music is quite interesting for most of this album. Frank has a unique, offbeat sound that intrigues. However, it’s not enough to pull this album up further.

This great upbeat, energetic jazz. I would love to here this again when I’m in the mood for jazz. I’m not in the mood for jazz very often, which I don’t want to hold against this album. So I’m breaking my mood a bit. It’s a 3.5, but I’ll round up. I’m not putting it in my library, but I recognize the skill.

I appreciate the lack of curse words in these songs. It’s refreshing to know hip hop can be done well without them. However, the beats are quite primitive and lead to a lack of excitement to hear this again.

Have you ever been on a major wooden rollercoaster? Compared to steel rollercoasters which dominate the scene, wooden coasters don’t go as high, they don’t have loops, there are no barrel rolls, and they don’t go as fast. You know what wooden rollercoasters have that steel coasters never will? Grit! Wooden coasters have a distinct sound and feel as a rider. They rattle you around more. This album feels like a wooden rollercoaster to me. It feels raw, unpolished, ambitious…and gritty. Lou Reed’s voice fits this sound quite well. But I also contend that Nico’s voice elevates her songs to another plane. I’ve always been disappointed that Nico was only with The Velvet Underground for one album…really just four songs. This album is remarkably distinct. Against my better judgment, I’m going to give the 65 track super deluxe version a go because it has a bunch of Nico solo tracks and a disc full of live songs. Wish me well…

This album sounds like the soundtrack to a 1980s nerds coming of age spoof film. I’ve never quite heard anything like this. It wasn’t overly offensive, but it certainly wasn’t good either. The only appeal, which is the slightest amount, is in observing how weird it could get.

This like a 10 year old when you ask what they want to be when they grow up: a doctor, a lawyer, a football star, the prime minister, a world class bowler, etc. You get it. When the 10 year old grows up, they learn that they need to focus their efforts on one profession, or at least one type. This album needs to grow up. Is it alternative, pre-ska, metal, reggae, rock, etc.? Are they like Metallica, No Doubt, or Jesse and the Rippers? Unfortunately, all of them a bit. Wikipedia calls it fusion. I call it immature. There are some enjoyable passages, but far too many misses.

This blend of R&B with electronica is a great concept. The execution is a bit off though. Too often it feels like the music is like a blanket shielding Kelela from the listener. I feel like she is muffled at times, and I don’t like it.

I’m struggling to put my thoughts into words. It’s a 3. Some parts are worth coming back to…you’re bloody well right! Other parts feel like they were trying too hard be be theatric.

I could copy/paste my review from The Band (album). Overall feeling of disappointment. I thought I would like it more. The Band (band) covers a couple songs I like, Long Black Veil and I Shall Be Released, and I don’t like them. The falsetto on ISBR is off putting. Overall the sound is just not exciting enough. The Weight is an amazing song though.

There is no way this album should be on this list to me. It’s not because I hate the music. The music is fine…for a soundtrack. You know…where there is a visual presentation ongoing simultaneously. This album is devoid of much meaning on its own. Admittedly, I’ve never seen Shaft. So maybe the album would feel more tactile if I had the memory of the action to harken back to while listening. From the sound, I can tell that songs like Ellie’s Love Theme and Early Sunday Morning fit the mood the song title implies. To me, an album shouldn’t be on this list if it is only impactful when paired with its movie. This album would be better fit for a list of movies with great soundtracks you must see/hear before you die, assuming it fits that mold. I’ve definitely had a vastly more profound negative visceral reaction to some other albums on the list (The Cramps, System of a Down I’m thinking of you), but at least I can understand how someone can get into them. This album it’s hard for me to understand how this is a go to listen for someone without the movie. And it does not do anything to make me want to see the movie either. I don’t get it.

Leonard’s voice is simultaneously intriguing and awful at the same time, which makes it more intriguing. His deep talking voice is sublime. Unfortunately he tries to sing which is not pleasant. I’m convinced from listening that he is the spoken word source in Michael Jackson’s Thriller. …searches Wikipedia … No! Alas it was Vincent Price not Leonard Cohen.

I’ve heard Kanye called and idiot-savant. I do not think he is a savant. I think the Bluetooth connection to my auto was wonky because there were two very long periods of silence when I listened. One was almost 5 minutes and the other was over 7. At first I was annoyed that Kanye thought these extended silences were artsy. What a waste of my time. Then I finally realized that I liked the silence more than his misogyny and lame ass suck my balls lyrics. Consolation prize: most of the beats are worth listening to.

These guys know how to play! Too often the blues can be boring, but these guys know how to tear it up. The language barrier is detrimental unfortunately. It’s not their fault, but I am the one doing the ranking. So the lack of my understanding the words prevents me from truly understanding the whole package. One thing I did pick up on is that the lyrics were often repetitive. From a not knowing the language point of view, I think the repetition would be more of a negative if I did know the language. One last comment on the fuckers who ran these guys out of their homeland. What kind of asshole do you have to be to not realize what a treasure their music is? This part of their story bumps them up a 1/2 star.

I wasn’t paying much attention after the fourth song, but this album worked well as background rock noise.

2…3…2?…3?…2?…3?…2…3… I don’t have the energy to nitpick this decision. The cover of Hallelujah is good, but we just heard Leonard Cohen the other day and I’m tired of him, even in cover form. Sorry Jeff.

4…5…4?…5?…4…5… There is real grit here. Grit from the streets of London. I like the music more than the vocals, and I don’t like the music all that much. The electronica bits are intriguing. The cigarette induced laryngital raspy voice is bad. I know Why d’Ya Do It? Is autobiographical, but the lyrics are not very appealing. 4…5…LOL…Just trolling the Jeff Buckley fan club…

This album is all about the vocals. Some have written that Billie’s voice had been ruined by this time due to years of drug and alcohol abuse. It certainly was not as vibrant as it was at her peak, but I wholeheartedly disagree that her voice was ruined. Her voice has a steely resolve, a hardiness representative of her life. A life growing up with an often absentee mother, nearly being raped at 11, being on the road in a transient life, suffering racial abuse, and the long slog through substance abuse. Despite, maybe because of all, this I hear a stark beauty in her voice, and my is it intoxicating. I feel the struggle and the pain, and I am lured in. Pulled by the rip current, the gravelly siren call of Billie’s “ruined” voice. Ruined it is not.

I’m having a hard time coalescing thoughts about this album. I like Berninger’s voice sometimes, but he doesn’t really sing. Other times I dislike it. I’m confused. At times, like Terrible Love, it feels like there is a lot going on in the music and it’s somehow disconnected from, or overshadowing, the vocals. I don’t know … 🤷‍♀️ The best summary I can give is that I liked Berninger’s vocals better on Chvrches’ My Enemy and that’s one of my three least favorite tracks on that album, which is by faaaaaaaaaarrrrrrrrrrrrrr my least favorite Chvrches album.

Public Enemy is pure, unadulterated hip hop. This is no shit, gangsta rap. These guys are using their art to bring awareness to the conditions of their community. It’s not quite my sound in particular with the beats being fairly basic, but it’s pure and I respect the craft.

Ethereal. Experimental. Electronic. That’s what comes across to me. At times quite pleasant, such as the multiple Björks on Undo. And unfortunately followed up by Pagan Poetry. I can do without the hand bell orchestra. This is in the 2/3 range. Bottom line: There were far more songs where I wanted to turn this album off than keep listening.

The “FLAMMABLE GAS” fire hazard sign has the rating spot on. This is pleasantly boring.

Hell Is Around The Corner is decent, but apparently that’s because Tricky stole the sample that Portishead used as I’m confident JKav will point out. Everything before it sucks. After it is a bunch of songs I’m turning off.

I finally got to this album on YouTube. The music is fine. The talking male vocals don’t do it for me. I’m in between 2 and 3.

This is 4 star music paired with a 2 star voice. The lead singer’s voice sounds very thin. Love Vigilantes and Sunrise are my favorite songs.

Leonard Cohen’s voice is the worst thing in entertainment…uninteresting. His vocals are bland…boring…and I can’t get past it. So Long, Marianne was the standout song on the album for me. After two albums and knowing there are three more coming, I’m beginning to wonder if I need to call bullshit on the 1001 list because Leonard Cohen should not be on it. One album I can understand, but 5 (!) means there is a deep flaw here.

After having the Ambient 1: Music for Airports album, I have ragged on Brian Eno several times. And now I regret it. After hearing this album, which is completely different, I’m starting to think maybe Brian Eno is a genius. Let that sink in. This album is full of intrigue. It’s weird in a good way. And I want to hear more. Considering that Ambient 1 came out only 4 years after this, I am stunned at Eno’s range. While Ambient 1 wasn’t really my cup of tea, I have new found respect for the ability to produce both of theses albums. I retract my quip about being thankful for Television not letting Brian Eno ruin Marquee Moon. What a foolish notion.

I’m not a big fan of this summer of love rock with an acidic cover. The vocals are not appealing . And kazoos…WTF? Then there’s Go Cry On Someone Else’s Shoulders, which sounds like a 1950s doo wop song straight out of Back to the Future’s (I &II) Enchantment Under the Sea dance. Unfortunately the next track was not Marty McFly wailing on Johnny B. Goode. I think this album is meant for an acid trip not for me.

The offbeat rhythm section makes reggae instantly recognizable. However, it is also somewhat of a crutch in that it leaves me tired of hearing it after a whole album. I want more variety. That’s the sticking point for me. There are reggae albums I like. This one is perfectly fine, but there aren’t a whole lot of standout songs nor moments. I enjoy Survival better from Marley and The Wailers as an album. High Tide or Low Tide is a welcome departure from the well known reggae sound. I don’t find the song particularly great on its own. But coming off 9 previous typical reggae-beat songs, it’s a highlight on this album. Something I often overlook is that Bob Marley’s voice is quite good. Remarkable in light of all the ganga he smoked (see album cover).

You ever ordered the 7 layer cake for dessert at a restaurant? You ever wondered why there are so many layers? Why not 3, 4, or, 5? You can’t even fit all 7 layers in your mouth at once anyway. But my are they all good. Cake…icing…cake…maybe a layer of fruit filling thrown in. Then the last bit of icing is extra thick. This album reminds me of that 7 layer dessert. The pianos, synths, and organ provide a vast, beautiful chocolate cake base. Layered between is a purposeful, graceful lead guitar. The bass, percussion, and even saxophone add accent layers, resulting in a multi-Michelin star palette. I could listen to this album over and over. I’m involuntarily letting out a “Mmmmm” after every sweet, mouthwatering bite. Bonus: Because we ARE HERE, I’ll put a plug in for Obscured by Clouds, Pink Floyd’s album just before Dark Side of the Moon. It served as the soundtrack for the French film La Vallée. It’s not talked about much, but it is worth checking out.

Ding. Ding. Ding! We have another member of the JBZ*!!! I can’t get into the neutron bomb either, but I am really into the deep voice singing Into You. This album gets me moving and grooving, but there are too many parts that drone on. *That’s the Jeff Buckley zone for the uninitiated.

California Dreamin’ is fantastic! Flutes don’t get very much dap in rock music. So, I’ll give a deserved shout out to Bud Shank for his flute solo, which I love. I also very much enjoy Monday, Monday. The rest of the album varies between mildly interesting to boring filler. Interesting side note that I Call Your Name is a John Lennon cover. The Beatles version apparently has their first attempt at ska in the bridge. It’s hard to recognize.

This is a unique sound for sure. And for a short while I can appreciate it. One song, maybe two, then I get annoyed. I can barely understand what is being said, which is probably my fault. Except half the time I can’t tell what language it is. Reading the lyrics it’s English, but it’s difficult to hear. If this sound were one or two tracks in another electronic album, I could dig it as a good change of pace. However, all stacked together it ends up being cacophonous.

Autobahn started out well. The singing is bad, but thankfully minimal. The middle five minutes (8-13-ish minute mark) were bad too, but Autobahn does come back around. Overall I am impressed with the sound being that this album is from the Stone Age of electronic music. The end of Autbahn sounds a lot like Pink Floyd’s On The Run from Dark Side Of The Moon. At first I was pumped because I thought DSOTM came out in 1975. But alas DSOTM debuted in 1973, making it seem like a ripoff. I like all the other tracks, so this album gets to live solidly in pergatory. The Pink Floyd ripoff is offset by the trail blazing nature of the sound.

I just can’t do this. Improvisational jazz is the oil to my water. The first couple minutes of In A Silent Way is my favorite part of the album.

I’ll focus on the music because I didn’t read anything on this one (Ryan Adams is a dickhead based on inference). There’s a lot to like here musically. I prefer the more upbeat, honky tonk-ish sounding songs. Some of them are very good. Like the one with Carolina in it. But there are also some almost inaudible tracks too. I like a stripped down arrangement as much as the next person, but one requirement is that I shouldn’t have to double the volume to hear it. Some of the songs, the more stripped down ones that I could hear, were boring. There is more to like than not. However, I’m judging the album as a whole which has too many misses.

If you look up classic rock in the dictionary, a picture of this album should appear and nothing more. This is the quintessential example. Musically, the changes in volume, pace, and energy are captivating. Lyrically, there are a lot of overt and metaphorical sexual references: “Way, way down inside, I'm gonna give you my love. I'm gonna give you every inch of my love” “I wanna be your backdoor man” “Squeeze me baby, 'til the juice runs down my leg” “I try to make love but it ain't no use. Give it to me, give it” “I'm going to give you loving, baby” Every song is about a woman. Some are loving (Thank You) while several discuss wanting to get laid (see above). From a personal perspective, I have an internal mismatch. I love this album and Led Zeppelin in general. However, I’ve never had a phase when I obsessively listened to them, which I have done for other artists/albums that I feel the same. Frankly, Led Zeppelin deserves this kind of attention and I intend to annoy everyone around me by playing Led Zeppelin, and this album, more and more.

Some really good stuff here, like the title track.

This would would be at least a star higher as a live show. As an album, it’s solid, but not great. I want more structure.

Feels like an album long build up to something that never comes. I like the build up, but I’m still waiting for the payoff.

Eh…OK I suppose.

I find Cheap Trick’s songs to be generic rock filler. Nothing exciting. I Wany You To Want Me is memorable. The rest. Meh.

Too often I feel like this is the soundtrack to a carnival. Not a good thing.

There is a range of goodness on this album. One and Mysterious Ways are well known for good reason. There are one or two other tracks I like almost as much. There are 4-5 decent tracks and 2-4 clunkers I’d skip right over.

A lot of this music is interesting, except the saxophone filled tunes. I very much dislike how the lead singer sings. I think his voice could actually be good, but the way he uses it is very annoying. It almost sounds like he is imitating opera sometimes.

Do you ever wonder if Zack Attack (the Saved By The Bell friends’ imaginary pop band in season 4 episode 22’s Rockumentary) actually did exist then broke up but Screech started a side project in 1980 instead of searching far and wide for the meaning of life from the High Geek? Weirdly, I did and I think this album is exactly how that would sound, like a parody of pop music in 1980. In some ways Saved By The Bell’s Rockumentary is a parody of the early 90s. There is waaaay too much color blocked clothing. Post Zack Attack break up Lisa was a US Gladiator, Lethal Lisa. Casey Kasem hosted the Rockumentary. And of course Zack Attack’s hits include too many rock ballads. In fact Screech, Kelly, and Slater demo a song in the studio to ego maniac Zack called School Is A Bore that sounds too much like this album (11:49 mark). 1980 side project Screech should have learned that it was terrible and never played it for 1991 Zack.

The album started out with a bang and I wish the whole thing were like Let The Good Times Roll. There is a noticeable dichotomy between up tempo tracks and slower ones. The up tempo tracks are more fun although they tend to have a bit too much of a big band feel. The slower tracks are nice. Ray Charles’s voice shines through, but I want more up tempo stuff.

This album is the musification of manic depression. It has two gears: I) RAT-TAT-TAT-TAT-TAT-TAT-TAT-TAT!!!!!!!!! and II) Snuffleupagus (“Heeeyyyyyy Biiirrrrrrrrrd”. With respect to the first gear, there is a saying that goes: don’t confuse motion with progress. The corollary for this album is: don’t confuse notes with music. Rapid motion does not result in progress necessarily just as rapid fire notes do not mean music is being made. It applies to the whole band, but is best noticed in the drumming. Also the singer’s falsetto in the first gear is annoying. Completely annoying. The second gear seems to exist to give the band a rest in between their bursts of machine gun fire playing. In the manic phase, everything is a good idea and a diarrhea of thoughts and ideas come spewing out. In the depression phase, there are no ideas left worth conveying. Suddenly something clicks and the manic is back, RAT-TAT-TAT-TAT-TAT-TAT-TAT-TAT!!!!!!!!! I’m not giving this a one star because the first gear stuff (with no vocals) is impressive technically and somewhat enjoyable, but only in very very small chunks.

I have a lot of feelings about this album and Kendrick Lamar in general. Though I don’t have the words to express them well. All I can say at this point is that Kendrick’s style is correct. His flow, the vibe, is great. To use an expression I despise, but is appropriate: I really dig his energy.

I’ve never given Van Halen a chance until this album. Sure I’ve heard the hits, but I never so much as listened to an album of theirs. Admittedly, it was on purpose. There was a guy in first year of uni that loved VH, staunchly in the DLR camp…hard core. One weekend I went home and when I came back something had happened and our friend group had shunned him. Like ignored his existence moving forward. I don’t remember exactly what happened, but I followed along, which I’m not proud of. I was never close to him, but I feel bad for how it all went down. I love that VH took a turn toward the synth sound on this album. Now I realize that the synths are why I’ve always loved Jump so much. It’s also no surprise that I like I’ll Wait. On second listen, Top Jimmy is a nice song with some well executed triplets in the lead guitar part that feel playfully offbeat. However, the 30 second appearance of the whammy bar (1:45 mark) is deflating. I fucking hate the whammy bar. I’ll dissect this more in a year or two when we get to Metallica’s Master of Puppets. For now I have to say that I enjoyed this album, whammy bar excluded, and will be listening again soon. Now I have to figure out if I’m in the DLR or Haggar camp…or both if that’s even allowed.

Just offbeat enough to be interesting. Just weird enough to ask myself, “what the heck is this?”

So this album is the result of David Bowie doing so much cocaine that he can’t remember making it. Hmmmmm… The title track starts really kicks into gear about halfway through and maintains my interest afterward. I thoroughly enjoy the 1:00+ intro for Stay as well as it’s extended guitar outro. Golden years is so fun. The claps are a nice touch. I think this track highlights the best use of Bowie’s voice. He doesn’t have a classically good voice. However, Bowie knows how to change his delivery to make it effective. I don’t think Bowie always uses his voice well though. And when he doesn’t, it’s clear his voice is not “good”. Or maybe when his voice wasn’t “good,” it just means he had done too much cocaine before that take. 🤷‍♀️

Once again for the third Leonard Cohen album in a short time, his voice is a major problem. It’s just bad. Not offensive, but bad nonetheless. His voice kind of works on Avalanche. It’s still disappointing though because the song could be so much better if someone better were singing. I am not looking forward to the last 2 albums of his on the list. I’m already expecting my review for his 5th album to start, “Not this asshole’s voice again…”

It’s too bad there aren’t more tracks like The Seed (2.0) and too much cacophony like !!!!!!! and the back end of Water.

With this being the only Underworld album, I would be remiss if I didn’t mention Born Slippy…the only track I’ve ever known by them. Born Slippy is incredible for 105 seconds. Once the synths go away and it becomes drum and bass dominated, I lose interest. Those 105 seconds were magnificent enough to get me semi-interested in Trainspotting, which is a feat. On to the album at hand: Banstyle / Sappys Curry has a pleasant atmosphere then ends with a flurry of quick, energetic synth runs. Rowla is a howla. Pearl’s Girl is a step back for me while the last three tracks come back around. The relevant conclusion is that I’m a sucker for well crafted synths. I’m very much on the fence and it comes down to the genre. This album is more of a house/trance vibe, and it’s a very good album in that genre, which 20…even 10 years ago, I would have been more into. Today, I can appreciate the quality of this album, but I’m not that into the genre. So I round down.

Entirely forgettable. I don’t remember one thing about this album and I just listened to it a couple hours ago.

The final position for this album really comes down to tracks 3-6 because 1-2 and 5-7 are quite good. Baba O’Riley is an all time banger. On the second listen, tracks 3-6 hold up well.

This album is like a guy who falls asleep at a red light. Obviously he was driving because he got to the stop light. The beginning of Papa Was A Rollin’ Stone is the moment after he passed out. Like the car is still idling, but nothing is happening. Four minutes later he jerks himself awake. “I wasn’t asleep!” Then he starts driving. Was he overly tired from a double shift? Was he drunk? I don’t know. All I know is that someone was asleep at the wheel here.

I ended up liking this album more than I thought I would. To the point that I wouldn’t mind hearing it again. For a live album, I was surprised how little we hear the crowd.

The music is interesting. I don’t care for Siouxsie’s voice, especially affects she uses. I disliked her voice less on a second skim through the album though still not much.

Man, Pete had me for 0:45 of Till Your Well Runs Dry. I was going to give him props for breaking up the monotony of the reggae sound, but then the chorus kicks in. Even the non-reggae part isn’t enough to improve my opinion of the album other than the reggae sound wasn’t actively annoying me. I’m not anti-reggae, but most of this album is slow paced and, in combination with the basic reggae sound, boring. The more upbeat tracks like Why Must I Cry were the best offering.

This album feels like one long James Bond soundtrack where the villain kidnapped someone from Portishead. And at some point in the movie’s plot, they end up at the circus (Oompah Radar). I like the electronica mixed with throwback 60s cabaret, but that circus part is very tough to get through. I understand why one critic referred to it as strange and beautiful. As I do, I’ll write something about the Goldfrapp album that should have been on this list and isn’t, Head First. It’s less strange and more soaring, synth-y pop…yes let me inhale some more of that. I recommend you do too.

From the get go the sound of this album let’s you know that it’s pushing the boundaries. I’ve never heard anything like Speed Of Life with the harmonizer creating an industrial electronic high pitched sound. One of my favorite aspects of the album is the prominent bass guitar. It is in the driver’s seat for several songs, like Breaking Glass & Sound and Vision. The video game like feel to What In The World is fun. I have two main issues with this album. First, too many of the songs feel short and unfinished. It feels like the full concept for each song was not fleshed out. Second, the back half of the album is mostly instrumental, which I enjoy here by the way, but it feels like a different album. It’s the Brian Eno effect. The two halves do not go together for me. This album is exciting. I listened to it several times. The sound is incredibly interesting. And yet because of that excitement, the album also incredibly disappointing due to its incompleteness and change in style.

I propose cutting this album down to tracks 1-7 plus Road Trippin’. There’s too much uninspired sounding filler in between. I would rate that album one star more…addition by subtraction.

This album sounds like a forced attempt to be considered on a plane above the rest. It’s a concept album for which I don’t understand the concept. The overwhelming thought I’m left with is the improvisational jazz piece, Alladdin Sane (1913-1938-197?), was awful. I could not wait for it to be over. And back to my first thought, the date sequence in parentheses of the track name is a prime example of the over indulgent pretentious feel of the whole album.

I had already listened to this on a road trip in November based on it being part of jkav’s musical journey. Its looong and I don’t need to hear it again although I tried for about 10 minutes.

This starts out a little rough. I know they were bored, but Si Tu Dois Partir would have been more enjoyable if they hadn’t translated the lyrics to French. Highlights for me are Who Knows Where The Time Goes? and the last two Dylan covers, Percy’s Song and Million Dollar Bash. I like Sandy Denny’s voice. I’m not really keen on giving credit for an album full of covers, and the tracks are uneven. It’s on the low end of the rating, but in the end, I could have this on in the background and be content. What this album reinforces more than anything is what a prolific song writer Dylan is. A well deserving Nobel Laureate.

I’m not exactly sure what to say. Most of this album is listenable, but nothing special. A couple tracks I would turn off.

Fine background music. I enjoyed Where Do I Begin.

🤘 🤘 🤘🤘 🤘 🤘 🤘 🤘 🤘 🤘 🤘 🤘🤘🤘 🤘🤘 🤘 🤘 🤘 🤘 🤘 🤘 🤘 🤘 🤘 🤘🤘 🤘🤘🤘 🤘🤘🤘 🤘 🤘 🤘🤘 🤘 🤘 🤘 🤘🤘 🤘 🤘 🤘 🤘 🤘 🤘 🤘🤘 🤘 🤘 🤘 🤘🤘🤘 🤘 🤘 🤘 🤘 🤘 🤘 🤘 🤘🤘 🤘 🤘 🤘 🤘 With that display one would expect a higher rating. I really should have written rock on instead, but hell yeah took forever to write out and I’m too lazy to change it. Good solid hard rock album. It gets my juices flowing and gives me FOMO that I have not seen AC/DC live. I was told once by a friend that saw them at Madison Square Garden that before he even left the concourse to go through the curtain into the arena, it was already the loudest show he’d ever been to. 🤘

One of my college roommates loved these guys. He was my inroad into hardcore punk. I did not not like it. The first time I listened to this album (this time) I was enjoying some of it. Nostalgia had something to do with it, but I’ve also come to like proto punk and other punk adjacent genres. There is some good guitar stuff throughout. The energy comes shooting out of the speakers. The lyrical social commentary is anti-establishment, pro-down-trodden, and anarchical. The poor get fucked over and corporations control everything. Not much has changed. Upon second listen (this time), my feelings are similar to those from college. My biggest issue is how Jello Biafra uses his voice, his affectations. It’s thoroughly annoying. The way he sings makes it difficult to understand the lyrics. Maybe that’s part of the point, but I had to look them up. To end on a positive note, I do like Holiday in Cambodia.

Probably the most surprising album to date. I love it! I haven’t been able to move on to today’s album because this one has been on repeat. It’s labeled country pop. I hear a little twang here and there, but there is more pop than country, which is a good thang.

Utter disappointment, Dire Straits, considering how it started! This is an album of three, three songs acts. Act I - You had me hooked you magnificent bastards! So Far Away, Money For Nothing, and Walk Of Life are 80s as hell and engaging. A solid 4 ⭐️ performance. Act 2 - WTF? Did Mike McDonald arrive in alien, body snatcher form and take over all band members? Ugh 2 ⭐️. Act 3 - The Man’s Too Strong brings something back, with the timely aggressive guitar passages. One World and Brothers In Arms are songs I could take or leave, but wouldn’t mind hearing from time to time. 3 ⭐️.

This album is raw and unpolished, just as hardcore punk is. It cost $6,000 to record in 1979, which is equivalent to about $24,000 today. That’s not a whole lot of production and it shows. To some that rawness is appealing. Not to me. I was glad when the album was over.

Pleasant background music. I’m impressed that Shuggie wrote and played most of the music.

I dub this album Beats Machine 1.0 programmed by Beats Technician 1.0. The amateurish beats are off kilter like two middle schoolers stepping all over each others’ feet at a dance. It’s hard to get into body bouncing rhythm Fix Up, Look Sharp was my favorite track.

Call me a bee because I want to be in The Hives! This music is energetic with and edge…and organized. To contrast with the Germs the other day who are energetic with…and anarchical. I like The Hives much better. I’m not sure if this being a compilation album should have any effect on my rating. It’s seems to be a bit outside the spirit of the 1001 albums list. However, this is the release that made them well known. It doesn’t matter in the end because all I know is I’m going to come back to this one.

I really dig the atmosphere of this album. There isn’t much too intricate or complicated. However the layering of piano/synth with the guitar, and to a lesser degree the drums, makes me happy. I’m not sure how else to put it. A couple nitpicks are that some of the tracks are a bit long and could be shortened. Suffering is a miss too. Cut that song out and trine another 5-10 minutes off smartly and I think this album could border on being great. Nitpicks aside, I just want to lay back at night on a muggy summer day, close my eyes, and enjoy this some more.

There is nothing overtly offensive about this album, but I find it offensive. It’s as if Find Somebody exists because they discovered that one could have the guitar play in the left ear then the right then the left again, ya know stereo. Maybe that was a big deal in 1967, but it sounds archaic as hell now.

Are We Here? is a dud…a 15:33 long dud…about 1/6 of the album. Not good. Other than that this album is great techno. 15-20 years ago I would have been way into this. Today, I don’t care so much for techno, but I respect how this stands out in that space. A quality listen.

I’m going with stcarp on this one. The upbeat stuff is great. The slower stuff is nice, but I’m unplussed. Less slow, more upbeat. Mr. Charles is quite the talent.

Of the Bowie albums we’ve had so far (this plus Station to Station, Alladin Sane, and Low), this is my favorite one. Bowie’s turn towards soul was a good one. I really enjoy the call and response in Fascination. Win is a miss for me. It was a big miss the first go round, but not quite as bad upon a second listen. Can You Here Me is just OK. The Beatles cover seems to have turned a bunch of critics off, but it works for me. Fame is the stand out track for me while Young Americans is close behind. These two tracks are strong, but not strong enough to carry the album higher.

This album is the bees knees of jazz. When I want to here jazz, I’m coming here.

“Whereas previous Traffc albums had been dominated by more concise song structures, John Barleycorn saw the group develop into a looser, jam-oriented progressive rock and jazz fusion style…” This sums up why this album has a ceiling of OK.

My education of real hip hop continues. Gangsta rap is a scam…bitches and hoes…blah blah blah…I bought that shit hook line and sinker for far too long. Done By The Forces Of Nature is entertaining, uplifting, and actually feel like a genuine cultural representation, not some Death Row Records manufactured bullshit.

I really liked Paint It Black and Under My Thumb. The rest is mostly OK. I know rock stars were gods in 1966, but WTF is with Stupid Girl. It’s a pompous, bore of a song.

Fever is a great showcase of Elvis’s voice over the lonesome bass. It’s fantastic, along with a couple of other good hip shakers, but they are not enough to carry the album higher.

I’ve been waiting for a Dylan album. How exciting! I get that he’s not everyone’s cup of tea. I don’t drink tea often so screw that…Bob is my pot of coffee. It’s remarkable that Blood On The Tracks was his 15th album from 1962-1975 and he still brought the goods. This isn’t my favorite album of his, not close, but we’ll cover the favorites later. Let’s get the turd burger out of the way first: If You See Her, Say Hello is a miss. It leaves Bob’s voice isolated and sounding strained. Skip please. There are four 5+ minute songs on this album and not one of them feels arduous. Bob could have extended them and I’d still be engaged by the colorful, lyrical landscape he paints. The longest track, Lily, Rosemary And The Jack Of Hearts, is so much fun. I feel like I’m standing in the cabaret observing it all go down. Tangled Up In Blue is a classic. I love Simple Twist Twist Of Fate, especially all the “-ate” rhyming words emphasized before each “twist of fate.” Listening to Idiot Wind was a new experience reading the lyrics along with the song. Bob is a Nobel Laureate with words and his sharp tongue is on full display here. The new part were my thoughts relating this song with my oldest child’s sharp, witty tongue. I remember from one of Bob’s biographies that he was a voracious reader, in addition to listener of music. My oldest is also a voracious reader and I’m certain that provides the lingual command to be sharp witted and biting. I was left with the thought that my oldest could someday write something just as powerful. I can’t wait to experience it.

Totally 80s. Totally not my thing. The best part was the opening 90 seconds of Vanishing Point until he starts singing.

I never owned this album when it came out. Everyone else seems to have had it, but not me. Of course, it was all over the place at the time. Upon hearing the opening track today, I was confused for a second why Weird Al wasn’t singing, “Now I’m mumblin’ and I’m screamin’.” Today’s listen was a bit of a restart with Nevermind for me. I had heard the whole thing, or so I think, but it felt new, fresh, which was nice. My initial read is that this is a first half album with a fall off in the back half. Upon another listen, I think the second half holds up well. It’s definitely not as good as the first half, but still quality stuff. I’m currently reading Dave Grohl’s book, which is timely. He writes about living on Kurt Cobain’s couch for 7 months, scraping by. And then this album came out and everything changed quickly, especially after the Smells Like Teen Spirit video came out. Ahh MTV used to play videos, and you know, not suck. When shopping around for a record company before recording this album, Cobain told an exec in New York that he intended to be the biggest rock star in the world. It happened and unfortunately he did not like the consequences. This album was revolutionary and kicks your teeth in from the get go. It’s soft and melodic one second and like a distorted war zone of machine gun fire the next. This album knocked Michael Jackson out of the #1 spot for weekly album sales. In other words, it was HUGE, and deservedly so. Side note: I wish their were room for Weird Al in the 1001 list. I understand why he’s not there, but I feel like he created an original genre worthy of recognition.

The album cover picture of Fiona struck me as a bit off kilter, a little imbalanced. The album certainly has a uniqueness, and I appreciate the construction of the songs: found percussion instruments and unprocessed vocals. Unfortunately, the sound is too much like my initial impression of the cover photo. There is a lack of cohesion in the improvised construction and the final product is off balance. I tend to enjoy the second half of the album better than the first. Respect to the concept of this album; however, I do not enjoy the execution.

From my review of Arthur (Or The Decline And Fall Of The British Empire): “If The Kinks hadn’t been banned from touring in the US for 4 years in the late 1960s during the height of the British Invasion, they might have been way bigger here.” Not a chance based on this boring album.

Based on their record company not promoting them much, I starting to think The Velvet Underground and Lou Reed are under appreciated. At least by me they are. I enjoyed this album quite a bit. Pale Blue Eyes is intimate…delicate…magnificent. I may have a new one for my top song rotation. The Murder Mystery is captivating. It feels like being in the mind of a schizophrenic…not that I actually know what that is like, but it’s somewhat how I imagine it might be. I’m going to be coming back to this one again.

Quite a solid album. I have neglected many of The Beatles albums and the remediation starts here.

Not too bad. Not too good. Just OK. I take offense with another “live” album that is recorded over multiple shows and has studio overdubs on it. That’s not what I think I’m getting when “live” is advertised. I suppose almost the whole recording was taken from live performances, even if they weren’t all from the same show. But the overdubs are definitively false advertising. The talk box on Do You Feel Like We Do is cool, but it’s a gimmick after all. Not enough to boost this album. As I do, I’ll mention another related album that should be on the list: The Dave Matthews Band Live At Red Rocks (L@RR). How is it related? Well, it’s live. Wanna know how L@RR is not related to Frampton Comes Alive!? It was recorded during one show and not overdubbed. L@RR is one of the only jam bandy albums I like. It’s full of energy, more so than the corresponding studio takes. This is the album that got me into The DMB, and boy was I hooked. I annoyed the fuck out of my first year uni mates by putting Watchtower loudly on repeat far too many times than I care to admit. Of the bands I’ve noticed are not on any of the 1001 albums versions so far, the biggest omission is The DMB due to their popularity, longevity, and unique sound. I don’t get it other than they must have not become popular enough in the UK to displace Bowie’s 8th best offering.

The guitar work is nice. There is too much of a hippy-dippy attempt to make artsy music though.

Sorry Jazz, you are just not my thing. It’s not you, it’s me.

I enjoy MC REN’s flow the most, especially on if It Ain’t Ruff. Dr. Dre is pretty good too. Easy-E and Ice Cube have minimal flow as evidenced by the mechanical 8 Ball (Remix) and I Ain’t Tha 1. Something 2 Dance 2 is my favorite track while I cringe at the overt violent degradation of women.

This is a very good techno album. I’m sure many people put this album on in the mid-1990s, popped E, and had a grand old time letting some random dude massage their scalp because it felt great. My biggest takeaway is that all I can think about during Break And Enter is the dude working the vacuum in this video: https://www.reddit.com/r/toptalent/comments/vq7zl6/dj_spin_that_shit/?utm_source=share&utm_medium=ios_app&utm_name=iossmf I’m not sure if this album will go in my library, like all other 4+’s, because techno isn’t really my jam, but the rating is deserving nonetheless.

I did not find auditory ecstasy while listening to XTC.

My first thought before hitting play is that a 6 song, 42 minute album is hard to pull off and make interesting. Let’s see where this takes us… Was ABBA’s fantasmagoric The Visitors (song) influenced by Yes’s Yours Is No Disgrace? There is a synthesizer part in the Yes song instrumental where I kept adding a synthesizer part from ABBA in my head. Example: the Yes song at 8:58 feels like it’s missing the ABBA song’s contribution from 2:41. Yes is most certainly progressive rock, with their artistic detours part of the actual trip, not an aside. Personally, it’s all fine but it seems a bit indulgent.

I very much am jealous of, and digging, the guitar and bass setups on this album. Their combined sound, for the most part, is great. Whatever instruments, effects, amplifiers, and production used are spot on 42 years later. They nailed this aspect. Three ends somewhat suddenly and weirdly. Then The Final Sound ends suddenly. I don’t know what’s going on, but then it leads into The Forest, which has that sound I like so much. Checks Wikipedia…OK they were on a low budget and literally ran out of tape 53 seconds in to The Final Sound. But why not just leave the unfinished track off the album. Pick it up on a future album. I don’t get it. I don’t like Robert Smith’s voice much, but what I do find very interesting is that the title track is last. Does that exist on any other album? Probably, but I bet it’s rare.

This album is the antithesis of synergy. The sum is most definitely much worse than the parts. Sea Song is very difficult to listen to. That non-word, moaning part at the end is the fingernails on a chalkboard to my ears. Yikes! I had to skip the last minute. I hate the squeaky noises in Alife. I could write more but I don’t want to listen again to pinpoint my comments. This is an album where I think being a professional critic is a bunch of bullshit because this album was overwhelmingly well received.

3.25ish

This more like the hip shaking Elvis I’ve been wanting to hear.

It’s a good thing this album came up over a weekend. This is one of the albums that delivers the ultimate payoff for this experience. It is something I’ve never even heard of and likely never would have listened to. I enjoy albums where the artist writes and plays a multitude of instruments because often something truly unique comes out. Especially on debut albums. That doesn’t mean they are always good, but they can be refreshing. I love the atmosphere of this album, as in the horn and string drenched The Shining. The left/right echo/delay on This Song is trippy. It feels seizure inducing with headphones, but is much more subtle through a speaker system. A couple things I’m not all in on: his voice isn’t great and the album is too long. It feels like he tried to get all his ideas on his first album, which is understandable. But holding 20 minutes of this material back would have been a net positive.

Having two “lead” vocalists, one singer and one rapper, who play off each other is interesting. And there are quite a few of the heavy guitar riffs that I can get into. But those are not enough. I cannot get past the screaming choruses, chorii (?). Whatever the plural of chorus is, I wish there weren’t any on this album. Every time the the screaming starts, I want to run to turn this album off. The verses earn Stinkin’ Park an additional star for Hybrid Theory.

There are some middling tunes on this album, but Mr. Souls and Good Time Boy are pretty good.

There is a lead guitar master class or five within this album. Between Clapton and Duane Allman, soaring guitar riffs are a bound. For example, there is some great work on the slow paced blues number, Have You Ever Loved A Woman. I noted recently that The Cure’s Seventeen Second’s title track is last on the album while here we have Layla appearing second to last, which I find equally odd. Layla is of course a hell of a song. Kudos to Duane Allman coming up with the famous lead riff. The song is in two “movements,” the guitar driven first and the piano heavy second. I’ve always appreciated the second movement more than the first. I saw Clapton once in Philadelphia where he closed with Layla. When movement two kicked in, a significant portion of the audience walked to the exits. I was flabbergasted. The piano part is hard to describe, but it just hits home with the subtle squealing slide guitar laid over top. Also, I didn’t know until now that Duane Allman was playing the slide above the last fret at the end of the first movement. It’s so high pitched I think I’ve never really noticed it. At 77 minutes, these 14 tracks are too much too ask to keep my interest. There are several tracks I’d rather have been cut: I Am Yours (boring and way out of place here); Little Wing (Hendrix’s original is vastly superior); It’s Too Late; and Tell The Truth. If those were gone, another star would be given.

I’ve lamented a couple times that jazz isn’t really my thing. However when it’s fused into tightly arranged rock music, I’m down. Steely Dan have a meticulously organized sound. There are no loose ends. I have a strange album history with Steely Dan. I started with their Greatest Hits, then Alive In America, a live album. Then I bought their box set, Citizen: Steely Dan, which contains their first 7 studio albums on 4 discs plus a couple oddball tracks. I never owned any of their studio albums even though I had them all on the box set, which is strange to me at least. I’ve heard Bodhisattva hundreds of times and never realized how much I like the guitar solo leading up to the halfway point of the song. My Old School is the highlight of this album while Pear Of The Quarter is forgettable. Overall, this is one of my least favorite of Steely Dan’s first 7 albums, but it’s still enjoyable nonetheless.

Ian Curtis can’t sing very well. His voice isn’t terrible, but when he’s isolated on sustained notes it’s obvious and uncomfortable. He’s more suited to talking his lyrics melodically. The problem is that he tries to sing. He should have just stuck to what suits him best. From Wikipedia: According to Colin Larkin, Closer has since been "deservedly regarded by many critics as the most brilliant rock album of the 80s" Pump the brakes, Colin. I recognize that the bass guitar and drum parts are high quality, but let’s slow down please. I wrote that before hearing the last three tracks for which the music is outstanding. And every one of them would be better as an instrumental piece.

First of all, I didn’t know that Judas Priest rocked this much. Or metaled this much? I can hear future 80s hard rock/metal in these tracks. Second, I often rail against lead singers that don’t have great voices singing. So when one that can’t sing well uses his voice smartly, like Rob Halford, I must applaud him. Rob doesn’t have a great singing voice, but…brilliant idea…he doesn’t try to sing a lot. He talks musically and kind of grunts, which works great for both his voice and Judas Priest’s sound. He does sustain a sung note from time to time and it works because 1) his voice isn’t bad and 2) he doesn’t do it very much which allows the occasionally strained note to be forgiven. Although I’m relistening to The Rage while writing this paragraph and I might be underselling his vocal quality a bit. Third and most excitedly, I finally get the references in Sun Kil Moon’s song Glenn Tipton from the Ghosts Of The Great Highway album. I now know Glenn Tipton is a guitarist is Judas Priest. It’s strange that the opening song is titled for Glenn because there is only one line in the song referencing him (“Some like K. K. Downing more than Glenn Tipton”). I now also know that K. K. is a guitarist in Judas Priest. I have to say they both shred. Continuing with my albums-that-are-not-on-the-1001-list asides. GOTGH is a really good album. Stylistically, it’s nothing like Judas Priest. It’s more folksy indie rock. It gets my recommendation seal of approval. British steel is likely not much different than steel from elsewhere around the world because they generally use the same standards. However, British Steel is made of the stronger stuff.

The album should not be titled Loveless but rather Vocal-less. It’s sounds like the music and the vocals come out of two different speakers and the vocal speaker is buried in a sand box. The music itself is enjoyable, but the producers, and everyone involved in the mixing process, of this album were hopefully employed for this one album only.

Independent Women, Pt. 1 is good. I expected to think similarly of Survivor and Bootylicious, but they are all chorus. The rest of the album is forgettable pop.

It’s hard to believe this album came out in 1992, 30 years ago! I would have guessed late 90s. Regardless, this album rocks and the shining star is Tom Morello’s guitar with Timmy C’s bass being notable too. These guys’ music makes me want to run through a brick wall. It’s that powerful. Zach de la Rocha’s delivery also gets me amped up. The guy strongly dislikes the establishment. The last two songs trail off a bit, but not enough to totally derail this flaming wrecking ball of rage.

I am left a bit speechless. This is an excellent offering from Elliott Smith. Yet another album where a renaissance man composes and played almost all the instruments plus vocals. The one thing I know I like are his doubled up vocal tracks. Having his own voice more than once provides a comforting quality to the album. There isn’t a bad song on here. Truly a revelation.

Today this album sounds primitive. It’s difficult to keep in mind the technology of the time when evaluating this. The music on several tracks holds up fairly well: Personal Jesus - I hear some future Marilyn Manson in there. Waiting For The Night - I can hear the opening to this as the driving layer in a Radiohead song. Enjoy The Silence - I can shimmy my shoulders to this. Clean - I dig the bass part. I can hear why these guys influenced so many bands. In a historical context, this album is likely a 4 or 5. For my listening pleasure, it’s a 3.

Too much brass, too much sax, wake me up from the bad dream.

Pioneering, high energy, punk-ish rock and roll. The two track recording sounds primitive and raw. An enjoyable listen.

Having been introduced to Nick Drake out of chronological order I would have thought this was after both Pink Moon and Five Leaves Left. I assumed that he started out solo and added layers to his music as time moved on. Instead he stripped all the layers away for Pink Moon, his last album which is the one I enjoy the most. Bryter Layter contains what I like most about Nick Drake, his guitar playing. The additional instruments work some of the time, mostly the strings. The piano is fine as is the brass section. The flute is OK. But we’ve got to talk about the saxophone. No thank you. The second time I listened to At The Chime Of A City Clock I turned my car completely to the left channel and the song vastly improved because the right channel sax was gone. Poor Boy makes Nick sound like the leader of a throw away lounge act unfortunately. Thankfully the misses are limited. Overall the album is uneven, up and down. I’m glad Nick figured out the formula for Pink Moon. It’s just a shame that was his last go at it.

I’m very disappointed in this album. Not because it’s terrible but rather because I had high expectations. Sunshine Of Your Love is awesome. Tales Of Brave Ulysses is good. The rest is so so. The last track is weird AF.

I’m gonna need to figure out the secret to Morrisey’s success on this album. He’s gonna have to give up the goods. Either that or maybe the record company is gonna have to tell me. I was gonna say Mick Ronson, the producer, was gonna have to let me know, but he died a year after this album and can’t. The real secret are songs with “Gonna” in the title as they are the strengths of this album (Your Gonna Need Someone On Your Side, I Know It’s Gonna Happen Someday). Or better yet, Mark E. Levin is the success engine because he wrote the music for both those songs, the only two he wrote on the album. There are some other solid songs on this album too like Glamorous Glue and Certain People I Know. I would venture to say that there are not any truly bad songs on the album. Just not enough other solid ones to lift this album higher. Looking back at The Smiths reviews, I hated Morrisey’s voice while I enjoy it here. Im not sure what changed, but this is by far Morrisey’s best performance I’ve heard so far. I definitely like this album and would listen again. 3 & 1/3 star.

This music sounds pretty dated to me. It bounces between a 2 and 3 for me until It’s The End Of The World As We Know It and The One I Love pulled it just above the JBZ (Jeff Buckley Zone).

The album is 65 minutes of utterly, irredeemable shite! And 5 minutes of somewhat interesting guitar work (Glory Days) ruined by terrible vocals. This is yet another less than mediocre band with a singer that can’t sing who tries to sing and miserably failed. To be consistent with other rankings I should give this a 2 based on not being overly offended by the music. But I am overly annoyed. Music is boring. Vocals are awful. And it drags on for 70 minutes! -1 star for the extra suffering. NME ranked this the 166th greatest album of all time. Holy fuck that’s offensive. Finery put in the 1001 list. Bollocks! Is everyone fucking insane?

The music on this album is thoroughly impressive. It blows my mind that Dave Grohl wrote all the parts, played every instrument, and sang all the vocals. Dave’s a kick ass drummer and a pretty decent professional guitar player and vocalist. He’s a rock music renaissance man. Overall, it shows that Dave spent little time writing the lyrics. They can be a bit repetitive (Big Me) and hard to understand their meaning (This Is A Call, the whole “minicyn” verse). If I had to pick a weak link, it would be X-Static. With the subdued verses, it feels like a song that should kick in with a high energy chorus like the preceding For All The Cows. No matter my minor complaints, this album is a revelation. It’s unfortunate that only one Foo Fighters album is on the list. And they got the wrong one. Clearly the one Foo Fighters album should be The Colour And The Shape. It also kicks ass, but in a more musically mature way. If I’m in a Foo Fighters mood, The Colour And The Shape is always my album of choice.

I’m cruising through town in my Pontiac Firebird Trans Am with the windows down and this album blasting of course. Joe Elliott wails “There’s danger in the air” (Billy’s Got A Gun). God damn right and the danger is me. At a stop light, I glance in the rear view to comb my mullet and adjust my black leather jacket. I turn to the babe in the waiting car next me and wink. I just made her day. -Billy Madison…maybe -break- Rock Of Ages has two tie ins to other songs I know in the first 20 seconds which is fun: First, the “Gunter glieben glauchen globen” is also used by The Offspring in Pretty Fly (For A White Guy). The phrase is gibberish according to Def Leppard. Second “It’s better to burn out…yeah, then fade away” is a direct lift from Neil Young’s 1979 song My My, Hey Hey (Out Of The Blue). An interesting homage from this glam/hair rock band to Mr. Young. If I were of the impressionable musical age in 1983, I’m sure this album would have a great deal of nostalgia. Lacking that experience, I could’ve definitely pump my fist to this at 1230am at the pub, except I would have gone to bed 2 hours earlier.

Sprawl II (Mountains Beyond Mountains) is far and away the highlight of this album. It’s dark and synthy, my kind of jam. It reminds me of The Dø, who are definitely worth checking out…Shake, Shook, Shaken is a great place to start. The key to this song being elevated, other than the dark synthiness, is that Régine Chassagne sings lead. Her voice is great. Win’s voice is fine but not on Régine’s level. I’ve had Funeral for a while and listened to it many times. It stayed on later editions of the 1001 list while this album got cut. Right call, amongst the Arcade Fire albums at least. Anyway, I brought up Funeral because I like the vocals a lot. Sampling Funeral again for this review, I noticed that they used more effects than this album, which worked better with that musical style.

The three song run of Houses Of The Holy, Trampled Under Foot, and Kashmir is just fantastic. Brown-Yr-Aur is a beautiful guitar piece, and I’m into the vibe on the laid back Ten Years Gone. Boogie With Stu is also fun. There are some flat numbers…for Led Zeppelin. The opening 3 minutes of In The Light is a bit bizarre. And the second half of Down By The Seaside is much better that the first. Black Country Woman and Sick Again are just OK. Just OK for Led Zeppelin is still pretty damn good. The 1001 list done fucked up though by putting this album, and not Houses Of The Holy, on the list. BIG oversight. I wish I could make it so when you read BIG the letters get bigger and bigger until they consume the entire screen while an alarm sounds and an ominous voice says, “big, Big, BIG!!!” BIG OVERSIGHT!!!

I’ve listened to this album nearly three times and I’m still having a difficult time formulating a cohesive summary. My enjoyment as a function of track number would definitely show a downward trend as the album moves on. I’m with Ivey that the Wurlitzer piano and steel guitar sound great on See The Sky About To Rain. Walk On might be my favorite song on the album. I dig the harmonies and banjo lead on For The Turnstiles. Vampire Blues is an odd sounding slam against Big Oil. The harmonica/guitar solo interplay on Motion Picture (For Carrie) sounds like a bad take that they powered through. And there is Neil’s voice. Not classically good, but he knows how to use it, most of the time. The back half of the album leaves Neil’s voice sounding thin too often. This album is worth hearing and I’d listen again, but I’m likely to skip side 2 unless I’m in the right mood.

I liked this album a lot more than I thought I would. It’s got energy. It’s fun. It’s dance worthy. It’s another feather in the Brian-Eno-is-a-genius cap. Eno produced the album and had the band crank up the tempo as compared to Talking Heads: 77. My favorite part is the bass and rhythm guitars as demonstrated in The Good Thing and I’m Not In Love.

This album is erratic and unorganized as evidenced by the subdued Think (Let Tomorrow Bee) followed immediately by the screamy Flood.

After a ⭐️ Darklands experience on album #6 (!), I was not hopeful for Psychocandy. I was pleasantly surprised. The feedback heavy sounds are quite nice. I imagine this was quite the innovative sound in the alternative/pop scene in 1985. I can hear some future industrial rock during In A Hole. Something’s Wrong is my favorite track. They don’t consistently carry the distortion I like throughout, but there is enough to carry my interest. Now having both TJAMC albums on the list, I conclude they are not total shite.

This is almost a greatest hits album. It’s half of a CCR one at least. Ramble Tamble lives up to the title and rambles too much. It’s 7+ min. I find the cover of Before You Accuse Me to be bland and robotic…too clinical really. It’s not a bad song, but I feel little passion, which is what the blues are all about. Then the album rips up to speed like a clowder of crotch rockets on the beltway. 7 of the last 9 songs are very good to great while the other two are decent. Quite a remarkable run of songs on not-a-greatest-hits album.

This album is yet another example of why the 1001 journey is great. Because the album is great…and I never would have listened to it otherwise. The consistency of the tracks is remarkable. They are high energy, and there isn’t a bad one, nor even a mediocre on IMHO, in the whole lot. I wouldn’t say any individual track is amazing on its own, but 11 very, very good tracks on a row is elite. Belinda Carlisle’s, who I hadn’t known started out in The Go-Gos, vocals are wonderful as are the harmonies with the backup vocalists. The instrumentalists each stand out at various moments throughout the album. However, the bass guitar deserves the most recognition to me. It and the drums are the driving force behind this boot-sole-to-the-chest pop album. I can’t believe this is the first, and still only, all-female band debut album that topped the Billboard where the band wrote all the songs and played all the instruments. There are a couple qualifying categories there, but this fact is still insane to me. That alone has to make this one of the most important female albums of all time. 🤘🤘🤘🤘🤘

This album makes me want to dance, shimmy, and shake. All My Friends is a magnificent song. I love the repeated synthesizer part that drives throughout the song. I sincerely hope this part is on a digital loop for live shows and that there isn’t somebody that has to play that same repeating notes for 7+ minutes. I could nitpick a couple things like 8 1/2 minutes being too long for Us V Them and a couple funky cowbell-like sounds, but I won’t. This electro-pop, sometimes bordering on trance-pop, sound is remarkable. Now let’s dance!

I was expecting some noisy, annoying shit from Captain Beefheart. My college roommate was into him and I hated that shit. Fortunately, CBH hadn’t yet hit his disdainful stride for this debut album and it’s very listenable. I actually like it and I would gladly listen to this album again. CBH shows his eccentricities in his varied song styles: delta blues, soul, and psychedelic rock. The weirdness is there just not fully formed yet…thankfully.

Bob Dylan is a prolific song writer as evidenced by this album. He is the most covered artist of all time in terms of the number of his songs that have been covered [4th most in terms of total number of cover versions of his songs]. https://247wallst.com/special-report/2021/12/08/most-covered-artists/11/ His voice isn’t the best, well not close, but it is an acquired taste of mine. I think this stands out the most of Sad-Eyed Lady Of The Lowlands. Still a good song but his voice is strained in the beginning and it gets better throughout. If I were to be allowed to only listen to one song for the rest of time, it might be Visions Of Johanna. I can’t get enough of this song. Even though it’s 7+ minutes, I am always disappointed when it’s over. I love so many other songs on this album, too many to name. This album is a masterpiece. Of the 350+ albums we’ve had so far, Led Zeppelin’s II is the only one I would put ahead of this and it’s verrrry close. And this isn’t even my favorite Dylan album.

A pleasant folk album. Linda’s voice is radiant. I think The Great Valerio is my favorite track.

He’s The Boss, but not a boss for me. Tenth Avenue Freeze-Out and Born To Run are well recognized hits, which have their time and place for me (generally at a bar which I don’t go to very often). I don’t like Meeting Across The River. I understand why people like this, but it’s not for me.

I don’t have a lot of flowery, over the top words to write about this album. It’s just awesome and the music speaks for itself. The Beatles pushed the envelope with intricate layered production that was “out there”. I love A Day In The Life. I love the multiple songs with complete style changes in the middle. I love the crisp, clean guitar opening to Getting Better. Lots to love here.

I waxed and waned, enjoyed most, but was turned off by some. When it comes down to it, I could listen to this album all the way through with some enthusiasm.

Just strange enough to to be interesting throughout.

These guys cannot sing…and they know it, which is wonderful. They don’t force out shitty sung vocals. Instead they intelligently speak their vocals. It works. Kudos. This album is long, and there are a couple misses here and there, but not many out of 40+ tracks. The nice thing is that the songs are short and the misses don’t last long. I like the vast majority of the songs here. I especially like the instrumental, not very punk-like Cohesion. Welcome to my collection, Double Nickels On The Dime. The biggest surprise for me in this 1001 experience, 360 albums in, is that there is a spot in my musical enjoyment for punk adjacent music. Hard core punk, not so much, but proto-punk, punk pop, post-punk…I’m into enough of it that I can clearly say now that it’s a collective genre I can call my own.

Fuck, Jazz!!! Just fuck!!! I can’t do the improvisational shit. The lack of structure drives me insane. It’s cacophony! This album is at least 10x too long. I quit before the second song was half over. I just can’t do it. I know this is somewhat unfair, but I have to stick to my rating system and this album is unbearable. My apologies, Mr. Davis. I know you are a master at your craft.

This album is OK. I went back and forth between preferring to not listen and intrigued. The spoken word poetry is nice. The Bottle was my favorite track. The jazz background is not improvisational, so that was welcome. Overall a pleasant album that I could listen to again, but will not.

Secret-77 is by far the best song to me, and it’s just OK. I do not care for H.R.’s vocal delivery at all.

Twangy country from back in the day. Feels like sitting around a camp fire after hearing some cattle. Not really my thing, but pleasant enough to which to listen.

I like this album quite a bit. I listened to it 3 times. The guitar work stands out. I like Plan 9 Channel 7 fairly well. A solid punk experience.

This album is quite the accomplishment. The alien, Android theme is interesting and shines through. If I were a critic, this would be a 5 no doubt. The variety of musical styles is impressive and engaging. However, I’m not a critic. I’m just me, being critical, and there’s something missing in this album for me. A lost connection. Maybe the theme is too high falootin for me. I don’t really know what it is. I recognize the feat, but it’s for others.

This album is definitely better than bone collector. There were nuggets I enjoyed on that album, which were songs for which Tom Waits’s haunting, but terrible, voice fits. I would say his voice fits the songs on this album much better overall. I just wish for his sake he could have extracted the gravel from his throat. It is probably very uncomfortable.

The guitar work shines the most on this album. I liked the punkish Personality Crisis the best. Their style is somewhere between rock and punk. The harmonica threw me off. And the lead singers vocals are too raw for my taste. Overall a good album, a nice debut, but not great.

Little Richard shines most on his high tempo, high energy numbers. These numbers (Tutti Frutti, Readdy Teddy) remind me a bit of Jerry Lee Lewis’s Live At The Star Club, Hamburg. The slower songs are fine too, but they don’t get my juices flowing.

I didn’t hate this as much as I thought I would. I can see why late 90s, coming-of-age, angsty teens, who rejected the culture of the cools, would be in to this. But at some point in one’s life, the angst should lift, so I don’t see this having lasting power except as a nostalgic experience. Drive isn’t bad. I don’t like the DJ’s scratching, a la Battlestar Scralatchtica. Fuck the screaming on Out From Under. I was prepared to go full STINKUBUS for this review, but I’ll settle on stIncubus.

This album is pretty good and I’d certainly enjoy hearing it again. It’s impressive that all this sound comes from only three musicians. I love the bass on Start!. The Jam did essentially lift it from The Beatles’s Taxman, so the credit is not all theirs.

My conclusion is that this album’s reputation is entirely based on one hook (the title track chorus) and Alice Cooper’s bad makeup. School’s Out Isn’t even a good song. The chorus is vastly overrated from where I sit, but I can see why it gets the youth excited. I’m not trying to shit all over this album, but I don’t know what is must hear. It’s tolerable, not enjoyable.

Much like Astral Weeks, this album took me multiple listens to come to a conclusion. Just like Astral Weeks, I’m a new fan of this album. Van Morrisons voice is sublime and I dig the vibe of his sound. I like the jazzy, swinging bass lines and the flute. All of it. I will be revisiting both albums in the future and I’m glad we still have one more Van Morrison album to come on our 1001 journey.

As far as I know, I didn’t know Air existed before this album came up. Maybe I had heard their name, or a song, before, but I don’t recall them. This album sets quite the mood. I love the mellow electronic ambiance. I prefer more vocals, but I understand this is a soundtrack that doesn’t lend itself to that. I’m excited to take @Ivey’s advice and explore more of their catalogue. Unfortunately I don’t know if that will happen before 2025 when our 1001 trip is complete.

evermore is the follow up companion to folklore, both surprise 2020 pandemic albums announced less than 24 hours before their release. evermore came second and it feels ever so slightly less than folklore, like the album formed once the crème de la crème was already packaged into folklore. For me Willow is the only stand out song on evermore, but to its credit, evermore is greater than the sum of its parts. The album, as a whole, forms an essence. I get the whole folksy, forest vibe. The glitzy pop sound sound of Lover (top notch album by the by) is gone, replaced by low key instrumentation. It feels intimate, like an album that should be listened to snuggled up under a fuzzy blanket next to a fire in cabin in the woods. The answer to my question from The Cure’s Seventeen Seconds is answered: yes, there is another album with its title track appearing last. So maybe it’s not as rare as I thought. While not up to folklore’s level, evermore is a very good album on its own. I enjoy Ms. Swift’s pandemic, musical change of direction. The 1001 list includes two Taylor’s Swift albums, both which are solid but are surpassed by similarly styled, better albums. Lover should appear instead of 1989 and folklore should appear instead of evermore. Potato, po-tot-o.

The first “Doesn’t it make you feel betterrr …………………………,” is so great. The piano break juxtaposed against the industrial sound, the 6 second anticipation-inducing pause, and the reengagment with the concussive sound is the best moment, amongst many, on the album. The main riff to Closer is probably my second part of the album. The concept of a person’s downward spiral through depression to suicide is incredibly well executed. Even more impressive to me is that Trent Reznor wrote all the tracks and mostly played all the musical parts, being a one man wonder band. That’s talent. Nothing after March Of The Pigs and Closer rises again to these levels, leaving me to want a bit more. This is a very good, but not quite great, album for me.

They weren’t yet the “Three Guitar Army,” but my goodness the guitars soar throughout this album. Gary Rossington’s and Allen Collins’s guitar flex is strikingly great. Free Bird gets all the attention from this album, and it is a great song, but I prefer several others. Gimme Three Steps tells a tell of hitting on another guy’s girlfriend at a bar and then asking for a three step head start as a favor. I like I Ain’t The One because that guitar riff is fucking awesome, including the bass part. Simple Man is definitely my favorite song, an arpeggio filled ballad about advice from Momma. It’s so down to earth. Things Goin’ On is full is slinky coolness in the bass, piano, and guitar parts. I really need to learn more Lynyrd Skynyrd songs on guitar. Mississippi Kid is my least favorite track, and it’s still good. Even though it’s only on the extended version of the album, Mr. Banker is a phenomenal slide guitar driven blues piece. Lynyrd Skynyrd are a band I’ve listened to a decent amount over the years, but I should still give them more time in my rotation. This album is magnificent Even though it wouldn’t be my first choice, if I were given only this album to live on a deserted island, I would be content. It’s that good. The story of Lynyrd Skynyrd is amazing and heartbreaking too. Showtime made a very good documentary that is worth your time called - If I Leave Here Tomorrow: A Film About Lynyrd Skynyrd. It’s available on Netflix.

I didn’t hate this as much as I thought I would. I like the bass prominent grooves. However other than that, I don’t find much else interesting at all. The sound, on the whole, is vapid, which makes sense for a genre (disco, although this is more funky disco) known for cocaine induced all-nighters at the club.

Gillian’s voice is top notch. The sec harmonies are wonderful. I liked Elvis Presley Blues quite a bit. I am not a banjo fan. The sound is thin. It can sound good at times, but I can only ever hear two versions: the fast finger picking or the slow plucky version here. There is only so much of it that I can take. Also some of her vocal voicings are off putting, like the sustained, chromatic second to last line in each verse of Ruination Day Part 2. I swayed from ugh I should turn this off (2) to wow this is beautiful (4). If all banjos were replaced with some equivalent guitar part, this would earn another ⭐️ and a place in my library.

I like the blues and Muddy Waters is one of the masters, but this album is filled with standard average stuff. Hoochie Coochie Man and I Feel So Good standout. The rest, not so much. The recording is not great quality and doesn’t help either.

Not only did I not hate this album, but I actually kind of enjoyed it. I listened to it two times in a row, one after the other, which tells me something. The album title and its track make a clear point of view about carnivorous diets. According to VegNews (https://vegnews.com/2013/6/vegnews-music-week-the-history-of-pop-music-and-vegetarianism), this album was a seminal moment in musical vegetarian activism. So it’s got that going for it. While the bass part on Barbarianism Starts At Home is rad, I’m still not sold on Morrisey’s voice. More so, it’s how he uses it. It’s OK most of the time but at other times it grinds my gears.

No surprise that Love Is Like Jazz, an improvisational jazz tune, is my least favorite song. Although there is definitely worse singing on many other tracks, which also displease me. I was going to write about how insane one would have to be to think a 69 song, 2 hour 53 minute album is a good idea. But then I remembered that many people are involved in creating an album. So there had to have been several insane people involved here. I shouldn’t write insane people, that would be capricious name calling, but rather collective insane thought. SeLF EDiT PeOPLe!!!! For the love of all that is sacred, self edit. There are plenty of tracks I really like here, at least an album’s worth. It’s too damn exhausting to go back through this album and figure out which ones so I can convey them to you. As it turns out, this was originally 100 songs!!!!f*$k!!!! To their credit, they decided that 100 was too many and cut it down to 69 songs. Way to miss the mark. The range of song writing is commendable. Their are a wide variety of styles and voicings, which isn’t easy to pull off. As it stands, I’m turning this album off if it’s on. Maybe not right away, but eventually I’d hear more than one grating song in a row. Power button. With pROpeR self editing, this has 4, and maybe even 5, star potential if the best 30-35 minutes were chosen. 5 stars would likely be too generous, and if I were a dedicated reviewer, I would pick apart this album until I identified those top 10-12 songs to be sure. However, that would require enduring a plethora of exhaustion that I am not willing to suffer.

The beats are primitive and the rapping style might be considered a parody if it weren’t the firstly bona fide incantation. Hollis Crew (Krishna-Groove 2) claims “The beat is big, It’s kind of large.” Agree to disagree, but it’s immaterial. I like the rudimentary beats. They fit the whole mood of this album. It feels like a window into the birth of a rap evolution and it is special to be able to witness (listen to) it. Rock Hard is commendable for combining the early 80s rock guitar sound into the rap genre. Wake Up is akin to Lennon’s Imagine, dreaming of a version of reality where all nations and people get along and all people have a job and a home. The album is the antithesis of gangsta rap, it promotes education (It’s Like That) and I didn’t hear disrespect for anyone. This is a big plus. I’m in between ratings, and happily rounding up this time.

I could write a similar review as I did for Joni Mitchell’s Blue. Voice is angelic, phenomenal, 10/5. The songwriting is not a problem like I had for Blue, but there is a lack of connection for too many of the tracks. The singles are familiar and fun. Most of the drama (the good kind) is tied up in the choruses while the verses are so so. The note at 2:45 in One And Only is Awe inspiring though. I get full body chills. That whole song is great. This is in the 3.5 range, but there’s not enough to round up. Very solid album, but I’m just not going to seek it out for another listen.

I was expecting something completely different from Jamiroquai, which speaks to my severe lack of understanding of their genre. I thought they were more 90s alt-pop oriented and I tried a couple of their later songs and none of them were what I had in my head either. I sure wasn’t expecting funk infused acid jazz. I like both elements and I like the fusion. Of the two, I am excited by the funk aspects more. They make me want to get up and dance. I fully understand no one wants to see that, but the music does inspire it. The acid jazz aspects are interesting too, but ultimately they let me down. Jamiroquai just can’t help improvising and grooving as evidenced by 8+ minute Blow Your Mind and 10+ minute Revolution 1993. Had they stuck to tighter arrangements, I would gladly bump this another star. As constructed, it’s an album I’m perfectly happy to listen to, I’d want to dance to it, and get funky.

High energy for sure. I appreciate the 68 second average song length. For such short songs, I’d expect then to sound more organized. I mean it’s punk so expecting organization is a bit to much. It sounds like a couple high school kids that had 14 song ideas and couldn’t fully develop any of them. Rock on, but I’ll pass.

Nick Cave is a bad seed. Dude cannot sing for shite. I dig the music for this album, but my lord I cannot listen to him sing. Hire a lead singer!

This album has some classics and sounds dated at the same time. I remember Casey Casem telling the story on American Top 40 behind MJ’s dedication of Man In The Mirror to a 5 year old Japanese boy, Yoshiaki Hagiwara, who was kidnapped and eventually murdered. See, MJ cared for children. Wait…you say the next liner note is “I will always love you. Michael Jackson.” Well yes…that is a bit forward of MJ for having never met young Yoshiaki. I feel like that is a bit creepy, but maybe MJ was just super empathetic…🤷🏽‍♀️ Ummm…I told myself I was going to avoid the MJ/children angle and focus on the music. But then I remembered Casey Casem telling the Yoshiaki story. How in the hell do I remember that?!? Back to the music… Man In The Mirror is a great song. Other highlights include The Way You Make Me Feel, Dirty Diana, and Smooth Criminal. However, along with the highs are flat numbers like Just Good Friends and Liberian Girl. I still can’t figure LG out. It’s strange.

What are The Cure a cure for? Hmmm…minimal digging on Wikipedia did not turn up an answer. The melancholy was clear even without reading this album is goth rock. Digging through my history, it seems they are a cure for goth rock bands fronted by terrible vocalists (Joy Division + Siouxsie and the Banshees). I’m not enamored by The Cure, but I respect the craft.

I listened to this album a lot a ways back and it is just as good now as it was then. There is not a single weak song included. The sounds are layer upon layer of understated grandiosity. I complained about Win’s voice on the other Arcade Fire album we had previously. I have no such complaints here. I never paid much attention (obviously) but I had no idea he was saying, “a tunnel from my window to yours” in Neighborhood #1 (Tunnels). I thought “window to yours” was some French thrown in there. So I guess Win could have any coated better. It’s inconsequential as this album is solid from start to finish.

This is a really good album. The songs are high quality on an individual level. However, something is lacking for me and I feel light I’m splitting hairs. It could be that I measure them by their other albums that are stupendous. But I am not excited consistently by this album. I’m giving it a 4, and I feel kind of bad about it.

This is a tough one to rate. It starts out strong with Tom Violence and Shadow Of A Doubt, where I really like the guitar sound. It gets experimental. The spoken word In The Kingdom #19 is a welcome departure. Green Light gets weird, not in a good way, not necessarily a horrible way either, but in a disorganized noise-for-the-sake-of-noise way. And it continues through the beginning of Secret Girl, which has a cool, low key, horror film vibe during the second half. Marilyn Moore brings more experimentation that I enjoy because they are playing around with various sounds a guitar can make by altering the way they play it. They are expressing the instruments capabilities. The cover of Bubblegum brings a fun conclusion to the album. The bass is a highlight. The experimental aspects of this album are mixed, some good some bad. That’s what experimentation is all about. In the end, this is an album worth listening to.

McGuinn’s, Clark’s, and Crosby’s voices blend together most excellently. That’s all I can say positively. This album lacks both soul and authenticity. I’m not sure if it’s due to the way the music machine wanted the sound, singing other people’s songs, or something else, but a group couldn’t sing with less passion. There’s maybe 10 seconds of lead guitar on the whole album that has a modicum of grit. I could be making a similar comment about today’s influencer culture or airbrushed hunks/starlets on magazine covers. The product is vapid. I listened to all three Bob Dylan covers to compare. You may hate Bob’s voice, but you cannot deny that you feel passion emanating from the speakers. This album is like the happy meal toy that you get an excited for when you open the box and then you throw it away with your empty chocolate milk bottle on your way out.

The opening of the album is funky bass lovin’ fun. You got the horns, drums, synthesizers, and the list goes on. It feels like they threw the kitchen sink at this album instrumentally. Then we get to All About Love (First Impression) where I get completely lost. The ending is a bizarre departure. It doesn’t go too far off the rails because Yearnin’ Learnin’ and Reasons bring it back. But there is too much improv-esque exploration in the last two tracks. Verdine White’s bass deserves recognition though.

I can’t take any album in which the line, “… and she supplied the breast…” appears (Tango Ballad). The guy singing that song is terrible as well. I like when Ute sings some of the time because she sounds like a Bond villainess. But she also says, “If sex were an Olympic sport, we'd've won the gold.” I just can’t take this seriously.

For the first half of the album I thought Steve McQueen (“The actor!” I can hear Doc exclaim to Marty) was singing. Then I read the Wikipedia page and realized it was Steve McQueen the album and not the actor. Ah ha! This album sounds nice with a hint of the 80s. Hallelujah is a drag though. Overall this is an album worth listening to.

Mediocre rock fronted by subpar vocals.

This album starts off great with Cry To Me. Even though it’s a slower pace, like the rest of the album, it’s got energy. I feel the soul. Nothing else on the album meets the level of Cry To Me, which is disappointing. It’s difficult to understand how seven top 100 hits are on this album.

I’m impressed at how many of these songs I’ve heard of but didn’t know they are by The Cars. I think this is a sound ahead of it’s time because I would have bet heavily they were all 80s songs. There are some commendable sonic pieces: the higher pitched guitar note at the end of the measures/phrases in Good Times Roll, the hand muted riff for My Best Friend’s Girl…so crisp, same for Just What I Needed, and the keyboard part on Moving In Stereo. Ric Ocasek knew how to write a tight pop song. Upon multiple listens I get tired of the repetitive nature for some of them though. And there is not not so great filler in the middle of the album.

I looooove the sound of Whip You With A Strap’s main hook. Getting whipped does not sound great. I imagine that people with that sort of fetish (not that there’s anything wrong with that…you do you) feel something as sumptuous as this lady singing, “Take me across her lap, she used whip me with a strap,” when the impact happens. Most of the music and samples are fine enough, but I’m at the point in my life where overt misogyny is a turnoff.

There is scant web info on this album and just a bit about MJ himself. He bested Dr. Dre to win 2001 Best Producer for this album at the MOGO (Music of Black Origin) Awards. That’s impressive although I had to read the date several times because I said 1991 in my head more than once. Thats the sound I hear. One that was 10 years behind its time. I skipped next before the end of almost every track.

That was nice, penguins are cute. This album is a joke. and play time is over now.

A pleasant affair. I had heard of Rubén Blades before but I forget where. Maybe high school Spanish class.

Pure. Fucking. Brilliance. Hendrix is one of one as a guitar player. At one point in my life I would have vehemently argued Mitch Mitchell as the greatest drummer of all time. I’m not there today, but his effort on Fire is one of my favorite percussion performances of all time. He is still one of my favorite drummers. If the track list were reduced to: Purple Haze, Manic Depression, Hey Joe, The Wind Cries Mary, Fire, Foxy Lady, Stone Free, and Red House (the greatest hits tunes I was intimately familiar with previously), this album would be an 50 out of 5. Note I was going to go 10 out of 5 as an extreme, but jkav and p-ass already went to 12 and 11 respectively. I won’t be out extremed!!! It took me 4 listens to appreciate the lesser known tracks, but I’m down. If I could throw one track away, it would be the title track. Regardless, this is still easily a 5 out of 5.

Oh my 1989 sounds like a century ago. The beats are ancient. The rapping is basic. The album is like one of those prehistoric lizards captured in a glob of amber. Cute. Nostalgic. But ultimately ancient.

I see some mention that Perry Farrell’s vocals not being appreciated. I don’t know why anyone would think such thoughts. Perry Ferrall’s voice fits quite well this Juana’s Addición album, particularly with the higher energy songs. The album starts off well, although I could do without the Raggae-ish opening to Ain’t No Right. Obvious is a let down. I was thinking similarly of Three Days at the beginning, but then it picks up steam and ends up being a positive. Been Caught Stealing and Stop are the highlights for me. This album was headed to fourstardom until the last two tracks where I feel a drop off. I’m not sold on the sitar sounding violin in Of Course and Perry’s voice struggles on the slower Classic Girl. I would definitely enjoy listening to this album again, but it’s likely to happen when an admirador(a) de Juana’s Addición puts it on.

Keep The Car Running and My Body Is A Cage are the two songs I like the most. There are a couple others I like too, but the rest I could take or leave. (Antichrist Television Blues) sounds like an attempt to sound like Bruce Springsteen. This is a big drop off from Funeral and I’m fine with it being removed in later editions of the 1001 book.

I don’t get the Beck hype. Is this sound unique? Yes. Is it catchy? At times, yes, but also repetitive. Are there incongruous sounds stitched together in some sort of I’m-on-a-different-level-than-everyone-else vibe? Yes Does that aspect remind me somewhat of improvisational jazz? Unfortunately, yes. Is Derelict a derelict song? Yes. Is this album something special? Eh, not to me.

This album was 4-4.5 stars good through Sultans Of Swing. Those last three tracks were a big let down for me. Setting Me Up, Southbound Again, and Sultans are my favorite tracks. The lead guitar is noteworthy throughout the album. Even I won’t be adding this album to my library, I should be adding a couple of these songs to a playlist that doesn’t exist yet.

The first side + Here Comes The Sun is an immaculate opening to the album. I love the sound of Come Together, but paying more attention this time, the verse lyrics appear non-sensical. Something is something of a masterpiece by George Harrison. Then there is a five song run, Because through Polythene Pam, on the second half that I could do without. Thankfully it picks back up with She Came In Through The Bathroom Window. Cutting those 5 mediocre tracks out would boost this album to the top.

This album is sneaky bad. I can listen to any 5 minute section and it’s OK…a three star experience. But then you string them all together and realize this album stands for nothing. At least screamo or improvisational jazz (I hate both) have a point of view. There is no point of view on this album. Maybe a nihilistic one? One positive for this album is that it taught me that antagonism is the opposite of synergism. The sum of the parts is most definitely worse than their individual contributions. If this is what our future days sound like, I’m out.

Irish folk punk you say. Reminds me of nights at the pub drinking a wee Guinness or three. I once tried to order a half dozen Irish Car Bombs and got lambasted by the bartender. As I came to realize later, lambasted for good reason. I’m glad to see there is a push to rename it as the Irish Slammer. I hope Irish Slammer sticks because it is a tasty concoction. Seven Drunken Nights was always a favorite tune to hear at the Irish bar along with one where the audience screams, “Alice. Alice. Who the fuck is Alice?” I can never hear the name Alice without internally screaming this chorus. This album reminds me of those fun nights.

This album couldn’t start nor end any better than Gimme Shelter and You Can’t Always Get What You Want. The instrumentation on Gimme Shelter is brilliant. In between, I’m digging the blues stuff and even the country of Country Honk. I realized that I like the honky tonk style in limited, one song per album, amounts. I like the more familiar style of Honky Tonk Women, but hey, this works too. The lyrics for Let It Bleed are gross set to a nice blues track. Keith Richards’ guitar deserves to be commended. He was flying mostly solo with Brian Jones being unreliable during the recording sessions.

After three albums of complaining, rightfully I might add, that Leonard Cohen’s voice is bad, boring, not terrible, and the most uninteresting in music, my opinion hasn’t changed after the fourth. Thank goodness we only have one more Cohen album left! The one slight distinction this time is his voice isn’t grating on me as much. It fits better with these songs. Cohen has finally broken the Jeff Buckley barrier.

Great find. Thanks 1001 albums list. I enjoyed Alright and Time the most.

A 2 if I’m paying attention. A 3 as background noise. I listened to this on a road trip, so 3 it is.

I think the Sledge Sisters should seriously consider renaming themselves the Angelic Vocal Sisters. These ladies have the most pleasant voices to hear. This music is definitely made for the disco club, at least the upbeat tracks. The bass is grooving, inducing hip swaying dance moves. It works best for me as a background accompaniment to something else: a party, Wordling, or maybe cleaning the house.

In Heaven: I am truly uncertain if Fatboy Slim is enjoying extensive coitus sessions in the afterlife or if he is in a heightened state of euphoria. Yes, I had to look up how to spell coitus correctly. Yes, I guessed correctly the first time. Yes, I’m proud of myself.

The music is fun. I don’t speak the language so that limits my enjoyment. Koffi also sounds like not a great dude (multiple assaults and a conviction for statutory rape). Be a better human, Koffi.

After Love Song, which was not great nor good, I was fully prepared to rip Madonna for ripping off Prince’s sound. Turns out it was Prince. Even with Prince it’s still a bad song. Act of Contrition is also a very bad song. The hits are nostalgic, but as jkav pointed out, quite repetitive. Like A Prayer, Express Yourself, and Cherish aren’t enough to overcome the mediocre and bad offerings on this album. The, what I consider, cheesy 80s pop music doesn’t do this any favors 30+ years later.

This is a solid album I wouldn’t mind hearing again. The song styles are a bit all over the place, which is understandable being that this is B&S’s debut. More songs like Electronic Renaissance, no surprise my favorite track by far, would push this album to a higher rating.

Soft. Supple. Intimate. A joy to hear. George has a pleasant voice, e.g., listen to the last note of Waiting (Reprise). He showed the world that his writing and voice could capture an audience’s attention. Waiting For That Day caught me by surprise, as in it’s a commendable song.

This album, or really Portishead, is one of a kind. I have never heard anything else like them. The bands that are listed as being similar and/or adjacent don’t come close to them. And this album started it all. I don’t know what I like better, the music or Beth Gibbons’s vocals. Mysterons is of particular musical note between the militaristic drumming and the scratching. Her voice is ethereal. This album reminds me of Twin Peaks: The Return. TPTR had scenes throughout at The Roadhouse, a bar on the southern side of town where bands often play. As is the case with everything in Twin Falls, Washington, mystery and oddity are the backdrop to the goings on at The Roadhouse. The album would fit right in as a performance at The Roadhouse…in a great way. Side bar alert!!! I discovered Chromatics through their performance of Shadow at the end of Part 2. Great song, check out the video https://youtu.be/IGUboLZx3Tk. Check out Chromatics too (Kill For Love is a great place to start). You know who else performed in TPTR? Of course not, but I’ll tell you anyway. I didn’t realize they were on the show until today. I found them separately after watching the show. The answer? Au Revoir Simone, also a great listen (Move In Spectrums is a great place to start).

I like English Rose the best. Of the rest, I enjoy the punkish offerings better than the new wave.

Side A -> 🤘 Side B -> 🫤 Side A > Side B Solid album

I imagine a lot of people around the world going, “Holy shit! What is this?!?” when this album came out. Let’s all bow down to Eddie Van Halen and his guitar mastery. Mad respect. Listening to this album, specifically Eruption, a light bulb went off. This is the sound I associate with 80s metal guitar that turns me off. It’s technically phenomal, but at the same time…gratuitous. This is the source. To be clear, Eddie’s sound here is great. He’s carrying this whole album. It’s the lesser imitators that came later and tried to make their own version of this, for a solid 10-15 years, that I don’t like. The let down on this album are the lyrics. They aren’t particularly stimulating and they are too repetitive.

Upbeat. Spunky. A fun listen.

This album gets better every time I listen to it. I personally liked it better once I knew that Carole wrote, or co-wrote, all the songs. The most impressive accomplishment is that Tapestry held the record for most consecutive weeks at #1 by a solo, female artist in the US Billboard 200. 15 weeks at #1! That’s 3.5 months!!! The record stood for 40 years until Adele showed up with 21. A couple of these songs were famously covered by others. I really love James Taylor’s version of You’ve Got A Friend, better than Carole’s. But now I appreciate that Carole wrote it.

This sounds like a soundtrack from a space invaders movie for the 1950s if the space invaders were actually friendly and took someone from earth to a club on their planet where other aliens were shown having a good time. It sounds cool and futuristic…70 years ago.

My favorite part of the album, by far, is the guitar part on World On A String, specifically the defending low notes at the end of each phrase. The guitar part isn’t overly complicated, but it’s engaging as hell. Although it’s more subtle, I also dig the guitar riff on New Mama. And the pedal steel guitar is a nice touch throughout. My only complaint for this album was about the vocals on Mellow My Mind where Neil occasionally strains his voice. I just thought it was terrible at first, but it happens on the lyric, “Ain’t got nothing on those feelings that I had,” which comes after lines about being on the road and loneliness. So I now think the strained voice is on purpose to convey his feelings of stress and despair. The biggest take away, other than finding another album to enjoy, is that how I listen to an album makes a big difference. Some might say duh. I initially listened to this on my drive to/from work. I was left with the World On A String guitar take and not much else because I couldn’t really hear what’s going on. When listening again through headphones, the experience was vastly improved. There are many subtleties to hear, which is difficult to do at 60 mph. This realization makes me think that Neil might have had a point with his high definition, studio quality audio service idea, Pono. It didn’t pan out because not people can’t hear, or don’t care about, the difference. I’m no audiophile, but being able to hear the involution on this album helped me appreciate it much more.

I love these guys! They took a sound I like with a structure I despise (jazz) and fused it with a soft rock sound that ends up being incredible. Walter Becker and Donald Fagen were truly masters. They stopped touring in the mid 70s to focus on studio work and this masterpiece came out. Bravo!!! The arrangements are tight and meticulously executed to perfectly achieve the soundtrack in their heads. I hadn’t realized until now how many different session musicians a band could use on one album. I’ve always assumed that an album is recorded by one set of musicians with a guest appearance here and there. Steely Dan nearly had a different musician on each instrument for each song. So Steely Dan was more a duo with a rotating backing band for Aja. I would think changing musicians constantly would be difficult. It seems like it was refreshing for these seasoned pros because rotating musicians helped Aja become a masterpiece.

After three albums of CCR, I’m a fan. More than the greatest hits fan that I used to be. Their run of four albums in such a short time (1.5 years) from Bayou Country to Cosmo’s Factory is very good. Their 7 album career would be a 20+ year career for some bands these days. They put out 7 album in less than 4 years. I like the gritty, country, blues guitars with the vocals to match. It’s too bad they couldn’t squash their personal differences.

Lots of fun. High energy. If I knew what was being said, this would be a 5.

I’ve listened to this album 3 times and I still don’t know what happened. I got lost in atmosphere of it all. This dream pop offering feels like a dream. I can describe it in general, but I can’t sort out the details. I know I had a good time and the imagination of it all was something to revisit.

This man is smoooooooooooooth. Not a bad song on here. For how well Isaac Hayes is in the soul genre, I wish he sounded like this. Mr. Kiwanuka deserves to be heralded as a soul royalty. Of all the actual soul albums we’ve had, this is the best one.

This album sounds like it’s from the time period captured in the album cover. These guys have a far out, groovy sound from 1962. Congratulations on picking out perfectly matched album art. The sound is fine, but I heard it 20 years ago when it was already 40 years old.

I’m glad the 1001 experience brought me to this album. I never would have listened to it, nor learned about Amy otherwise. Her voice is quite excellent. It has a depth. I also like her song genres: soul, jazz, R&B. Intro / Stronger Than Me and Amy Amy Amy are the highlights for me. The rest of the songs are solid, and have moments that reach these heights, but not enough of them. I would like to listen to her later albums to hear if her writing matured to a more consistently elevated level.

The message that resonates the most is delivered by Interlude: Tina Taught Me. The speaker is spot on. The morons crying about white history month should be ecstatic about not needing one (nor a white pride month either). Too often, the music is too low key to hold my interest more.

“A Minor Threat to good music.” This is what one of my college roommates said every time Minor Threat came up. His best friend, another roommate, loved(s?) Minor Threat. They used to go back and forth about musical tastes constantly. At the time, I only heard noise when Minor Threat was on. Relistening many years later, I’m impressed with how musical these guys are. The drummer is fantastic as is the bassist. The lead singer’s voice is pretty good with a gritty edge that fits hard core punk well. And the song structures are not just thrash some power chords and pound the drums as fast as possible, which is what I remembered, see Little Friend.

There are quite a few aspects that are enjoyable on this album. The opening track, Roundabout, was a solid start. The crunchier guitar sounds of South Side Of The Sky work for me. The vocals on Long Distance Runaround hit the spot. Surrounding all these moments are superfluous forays to newt explored sounds. I’m not a fan of the repeated chanting in We Have Heaven nor The Fish (Schindleria Praematurus). Cans And Brahms and Five Percent For Nothing are all fine and good, but not what I’m looking for on a rock album. And this is where I come to the realization that prog rock has some experimental parallels to improvisational jazz, which I’ve established that I despise. Prog rock is a genre I can generally listen to, while some I love, but I’m turned off by the more varied experimental versions of it.

Im a bit blown away, surprised, contented. Coming in, I was expecting to have to bare this album begrudgingly to the end. Never in a 1001 years would I have listened to this album, and I’m glad I did. This is labeled jazz, but I don’t hear it as such. I guess I don’t know enough about jazz to recognize it. Keith displays piano mastery, in both technicality and expressiveness. He knows how to rip off crescendoed runs and dial it back into the intimacy of pin drop anticipation. Truly an emotional experience.

This album is mostly OK, but has its ups and downs. I like the tension between the lonesome bass and rhythm/lead guitars during the verses of Maybe After He’s Gone. The chorus of Brief Candles quite a bit while the verses are bleh. Beechwood Park and Changes can go. I like Friends Of Mine until they literally just name a bunch of people at the end of the song. It’s a good thing the producers were willing to use their own money to mix a stereo version after having spent the budget on the mono mix. They did a good job of creating enticement with different sounds in each ear and moving sounds from one ear to the other. They almost lost me before Time Of The Season, which is a classic hit. It barely pulls this album up to average.

I’m a sucker for blues rock, and this is a good example. The three tracks that I already knew; Lover Her Madly, L. A. Woman, and Riders On The Storm; carry the album well. In between, there some decent tracks too, like their own arrangement of Crawling King Snake. Morrison’s voice growls with a pungent grittiness. It conveys a guttural emotion with his poetic lyrics. I had not known that Morrison was a Navy brat, whose father was an admiral. The constant instability in his surroundings must have been tough and likely led to some of his instability as an adult. Gone too soon, but what an album to be his last with The Doors.

I’ve heard of Jeff Beck and he’s supposedly some guitar hero. Admittedly, I have not listened to any of his music, including the Yardbirds, until today. Maybe he is a guitar hero, but I find this album severely underwhelming. Beck’s guitar is certainly the highlight though. It’s hard to figure out why, but I have no desire to hear any of this again, except Over Under Sideways Down on rare occasion.

This is some uninspired shit. Very boring. The best I can say is that it is not offensively bad.

Compared to the abysmal Blood And Chocolate that we already heard, This Year’s Model pleasantly reveals that Elvis Costello did have stimulating music worth listening to at one point. I guess he ran out of good ideas in the 8 years, and 9 albums, in between. The aspect that sticks out to me the most is how prominent the bass guitar is throughout the album. I notice it the most, then the keyboard, with the guitar playing a mostly lick filling role. I’m glad for the US version they removed (I Don’t Want To Go To) Chelsea and added Radio, Radio. This does raise the issue of what is an album to me. Clearly there is no one version of this, and many other, albums, which breaks a construct I previously held prior to the 1001 album journey. Multiple versions aren’t bad necessarily, but they do render the album experience less universal. This also makes me think of how albums are typically more Frankenstein productions rather than a band playing songs together from start to finish, another construct I used to hold. I like that Elvis Costello and The Attractions recorded most of these songs “live” with minimal overdubs. That approach is more authentic. The Frankenstein albums result in a more refined, enhanced version of the artist’s and producer’s vision; however, they don’t represent the music a band can produce “live”. It’s kind of like airbrushing photos for a magazine. It’s an artificially produced version of reality made to induce a certain experience in the consumer. The authenticity of the imperfections is better to me. Back to this album, I like it and I’m glad I now know that Elvis Costello doesn’t totally suck.

What a voice! I’d definitely be happy to hear Ms. Vaughan sing again.

At times the music is cohesively poor. It’s as if the recording engineer captured warm up randomness and somehow spliced it into the album. It’s a real turn off. We’re Coming Out is an example, and I don’t care for Gary’s Boner. Somehow, I’m not surprised that Ted Nugent co-wrote Gary’s Boner. Upon a second listen, I realized there were fewer of these moments than I took away from the first listen. Black Diamond is my favorite song on the album. Sixteen Blue is a close second.

Another 1001 find! I’m not much of a country fan and this album helped me unravel that mystery a bit. The aspect of this album that surprised me the most is how much I like Willie Nelson’s voice. The music was very low key at times with his voice being the primary instrument and it shines. I also liked the guitar and piano too. A minor annoyance to note: the music and vocals were so soft on a couple occasions that I couldn’t hear. What I really don’t care for are the down home country lyrics. I lose interest when Willie is talking about stallions and such. I somewhat buy into the stereotype that country music lyrics are about god, trucks, and puppy dogs. And it’s those types of subjects in country music that turn me off. Thankfully, there aren’t too many overly folksy orations to drown out the positives on this album though.

oooOOOOoooooOOOOOoooooOOOOooooo AHHHhHHhhhHhHHHhHhHHHhHhHhHHHH Whooooooooooooooooooooooooooooooosh This album sounds like the soundtrack to a great rollercoaster. It hits hard and fast. It would have to be one of those electromagnetically launched from the start house rides. I went down the rabbit hole of Iron Maiden theme park fantasies, and MrKnickerbocker proposed (https://forum.maidenfans.com/threads/iron-maiden-theme-park.27627/): “Aces High - A roller coaster with two opposing cars, painted for Britain and Germany. The tracks weave around each other like an airfight and each rider gets a water gun they can fire at their opponent. The best seat is for the Tailgunner, who gets a double-barreled gun and rides backwards!” Sounds like a blast! I understand why the band considers Hallowed Be Thy Name to be their best song. It’s a good one. Too bad rollercoasters give me headaches. 🎢 🎢🎢

Amongst a sea of big screen tvs, blunts, 40s, and b*tches dominating the scene, Lauryn Hill produced this smooth hip hop original. She wrote of love, relationships, and faith. Leaving The Fugees behind her, Ms Hill shines on this solo project. I, like many others, heard that Lauryn Hill would rather have her children starve than have white people buy her album. I had to look up if she said it since it’s been so long (she did not). It just goes to show that misinformation predates social media. The main difference is that it spreads much faster now, and back then the internet was not so prolific that one could look up if something really happened. There is a lot of really good material to take in. Doo Wop (That Thing) and Can’t Take My Eyes Off Of You are the peaks. However, 77+ minutes is a very long run time, and the task of sustaining a high level for that long is tough. There were a few songs for which I lost interest, but then the album picked back up. Ms Hill’s approach is refreshing and deserves the extensive kudos it received when it came out. This is the good kind of hip hop and still sounds just as refreshing now.

When I hear this album, I think of white trash…mullet, Bret the Hitman Heart tank top, and a trucker hat…standing on the chairs at a bar screaming, “POUR SOME SUGAR ON MEEEEE, IN THE NAME OF LO-OVE!!!” I can’t get this picture out of my head.

I’m into some lofi and trip hop music, but this offering felt too sparse to me too often. Clint Eastwood is great and I liked the last couple songs better than the rest.

I can see how this album was pioneering at its time, but in this time it sounds almost comical. I liken it to the late 70s/early 80s adopters of electronic synthesizers. It was other worldly at the time and nearly a parody now that the approach has been fully fleshed out. Kudos to The Monks, but the sound belongs in a museum.

They kept it interesting for the first two movements of Bo Didley’s Who Do You Love. Then as all jam bands do, they shift into some random noise exploration that just kills the momentum on Where You Love. It’s several minutes of minimalism with picks scraping across guitar strings and claps and whoops from all over. What a disappointment.

End Of A Century ends with the lyric, “…it’s nothing special.” An apt description for this album. Parklife (song) is good though.

Full on JBZ with this b!

Debbie Harry has a great voice. I knew One Way Or Another and Heart Of Glass and I was so pleasantly surprised to really enjoy a couple other songs that I didn’t know. I don’t recall a song I disliked n the album. I pick up a little bit of The Go-Go’s from this album. Rather I sense that The Go-Go’s had a little bit of this album Blondie album in their debut, Beauty And The Beat. Sure enough, the Inspired by Blondie playlist has a The Go-Go’s song in it. I also noticed that Blondie was a regular presence at CBGB in the mid 1970s. They are a nice edition to my where-and-when-in-music-history-would-you-like-to-visit, 1975 CBGB with Patti Smith and Television. Blondie’s bassist even joined to Television when they needed one. Small world.

There’s a lot of snappy pizzazz to Rush. They are so technically gifted and tight. Rush is like someone who can juggle a soccer ball 1000 times in a row. It’s impressive as hell, but they missed the point that the point of soccer is to score goals and stop the opponent from scoring.

“Metallica sold out man. What a bunch of assholes.” - Some asshole, somewhere There are a lot of good songs on this album…and some of them are slow. Nothing Else Matters is great…and shows a completely different side of Metallica from say Master Of Puppets or Ride The Lightning. By album #5, a band should be producing a sound that has evolved from album #1. “Metallica matured man. What a bunch of assholes.” - Some asshole, somewhere

There is some 4 star instrumental stuff on here. And through the first four songs, I was formulating how I was going to rationalize a 3 star rating. But the vocals man. Ugh! The low register growling is just so unbearable. I barely noticed it on the first four tracks. But the. Some of the instrumentals fall off (All In The Family is bad) and all I notice after that is RWAAAARRRRRRRRR…and I gotta turn this shit off.

This seems like something I would have liked better with the echoy sound and folksy ambiance. Thanks like it, don’t get me wrong. Like a 3.25. Something is missing. The instrumentals are fairly simple and don’t excite me much. They aren’t bad, but no “oohs” or “wows” here. Other than, I liked Blue Ridge Mountains a lot.

This seems like a softer version of their later, full developed punk sound. Parts of this I like a lot. Others are just so so. This is a solid 3.5. We Will Fall is a great concept, but 10+ minutes is too long. At that length it’s a slight detriment. If it had been 4 min, what a bonus! Liking anything Iggy Pop was involved in is still one of the biggest surprises of the 1001 experience. This one is pretty good, but after three listens it didn’t quite make it to a 4.

From what I read, I’m underselling this album, but most of it sounds like pretty generic rock to me. La-La-La-Lies bugs me the most in this sense. My Generation (song) is an exception of course. It is loud, distorted, and obnoxious, and fabulously genre breaking. The same goes for The Ox, which even as an instrumental piece sounds like a Hendrix precursor.

These guys are all over the place. One aspect that remains consistent is that the vocals are subpar. Thankfully…strangely thankfully…there are a lot of instrumental parts to the album. I definitely recognized Lake Of Fire. Digging more, I had no idea that Nirvana’s Unplugged album covers three of these songs (even though Kurt Cobain straight up says it). After making that connection, I can hear the influence on Nirvana. I turned the album off just past the end of the original track list. I made it through. There’s barely enough interesting material to pull this above the JBZ.

Very interesting stuff here. I Might Be Wrong is my favorite. A 3.5. It’s a bit too concept-y to round up (Life In A Glass House).

Finally a Bowie album where I can HEAR why he is revered. The music has bones that can stand on its own, without glitz and glam. Ironic because the over-the-top dramatic Ziggy character is what people remember about this album the most. And he didn’t even need it. Sure, Ziggy helped raise the profile for the concept. But the music would be good no matter what. I’m glad I finally got to this album and realization because I was starting to think Bowie’s flare only served to cover up music lacking the same stature.

This is a great base layer for something more…hmmm…animated. There’s almost nothing here exciting though. Roygbiv has a little spark. And the song after it, Rue The World, is boring as fuck. Most of the album resembles Rue The World rather than Roygbiv.

One could argue this is the best album of the 90s. Culturally, there are good arguments for Nirvana’s Nevermind, Pearl Jam’s Ten (even though Vs is better), and Radiohead’s OK Computer. But you know what, I like this album better than all of those. It holds up just as well as the first time I heard it. Listening again, I realize that there are a lot of lyrics on this album that I don’t know. I used to think it was cheating to read the lyrics to an album if they were in the liner notes. Like it was more authentic if you learn the words by listening over and over. My opinion now…who really cares. Regardless, this album kicks ass and is a 90s defining work.

2:17 of La Grange plus a bunch of ho-hum boring shit.

I use the word interesting far too often in my reviews. As I was typing it out again about this album, I searched for similar feeling. Synonyms to describe this album that don’t quite describe my feelings: absorbing, engrossing, fascinating, riveting, gripping, compulsive, spellbinding, captivating, enthralling, entrancing, beguiling, appealing, attractive, amusing, diverting, exciting, and action-packed. Synonyms that describe how I feel about this album fairly well: compelling, intriguing, entertaining, stimulating, thought-provoking, compelling, and engaging. While it does not describe my feelings, my favorite interesting synonym is unputdownable. What a mouthful! This album is the stuff of Mercury Rev’s unencumbered dreams. And it would be a great sound track for some deep REM sleep dreamscape. I had never heard of this album until today. Another fine discovery.

Not much to say other than I wouldn’t mind listening to this again. Mr. Mayfield crafts music pleasant to the ear.

Great find. Never heard of Death In Vegas. This journey is going to take 3 years itself. Then I’m going to have another 3 years of going through the catalogues of my 4 and 5 star artists. I totally agree with Ivey that this is reminiscent of the Air - Virgin Suicides album.

I haven’t started listening to the album yet, and I have to say these dudes’ hair is amazingly horrible. It was apropos to the time and genre, which makes me fearful for what is coming. Let’s hear what happens… Shout consists of the chorus repeated repeatedly and not much else. The Working Hour is laden with extra cheesy 80s saxophone shit. Not a good start. Everybody Wants To Rule The World is really good. Let’s go!!! OOF, oof, and Oof! Head Over Heels pulls us out of the nose dive. Conclusion: the hair is apropos to the album, which is bad but not amazingly so.

What a whirlwind of accomplishment. Usually such an array of musical styles would garner a snarky comment akin to pick a lane. However, somehow, Queen make the style gyrations seem seem less. Bohemian Rhapsody and You’re My Best Friend are great and deserve all the accolades they get. But I’d like to focus on ‘39. I’d never heard it before. It sounds contemporary for today, nearly 50 years later. There is a relatively popular song that sounds like it used ‘39 as an inspiration, and I can’t put my finger on it. I’d give this album a 5, but the end of Sweet Lady goes off the rails and I don’t care that much for The Prophet’s Song.

JBZ alert! This album isn’t horrible, only sometimes. As background music that comes on with me unaware: I could make it through. There aren’t any songs that I’m excited to hear again. And if I am aware it’s in, I’m definitely turning this off. Buckley has company in the JBZ, although Grace is better.

This is a five star album through 9 or 10 tracks. I love the distorted, bluesy sound for both guitars and vocals. The album is at its peak when, as I listened the second time, the volume was unexpectedly way too high and smashed me in face. It get good in my bones. The last 4 or 5 tracks are fine, but feel like a significant drop off.

This album really annoys me. The genesis of the concept had to be, “let’s make a bad, but not terrible, annoying album.” The guitar solo on the back half of Firth Of Fifth is Gilmore-esque. The album also annoys me because I want to give it a 1 star for annoying me, but it’s not bad enough. I have standards (feel free to disagree)!

The 50s were a trip man. 12 songs. 26 minutes. Not Fade Away and That’ll Be The Day are highlights. The music sounds so square. Life was different.

Another good find to add to my growing punk adjacent collection.

The veiling for this album is tolerable. I have major problems with the vocals.

High quality, innovative stuff right there. It’s not surprising to read that they spent 220+ hours recording these songs. It’s too bad Paperback Writer, which was recorded during these sessions, was not included. It would have strengthened the album. Lennon said he considered Revolver a continuation of Rubber Soul. Volume 1 and volume 2 in his mind. I agree.

I love, love, LOVE Ella Fitzgerald’s voice. I could listen to her recite, in a singing voice, all the junk emails I get, announce play-by-play of waiting in queues at the airport on a holiday during a winter storm delay, or even take lead on Wilco’s Being There. So soothing. I don’t want to go over the top, but her voice may very well be my favorite in music. The other contenders from the first 493 albums would be would be Aretha Franklin, Mariam Makeba, Adele, and Joni Mitchell. My favorite multi-vocals are Crosby, Stills, Nash, and Young though. Those harmonies do me in. But favorite solo voice? Ella and Adele lead the way. I could do without the instrumental pieces on this album. I’m confused as to why they are on an Ella Fitzgerald album. Regardless, this album is a home run, all 3 hours of it.

The grungiest of the grunge. Not really my style of grunge, but Rooster is cool.

Not sober. Not drunk. Just a little buzzed.

This is some snazzy jazzy. It sounds like background music at some high falutin’ dinner. Extra credit for the foreign language adding to the pretentious feel. I enjoyed this a lot.

¡Este álbum es fantástico! Me encanta la musica y la voz. Suena como la banda sonata de Narcos México. Las tres primeras canciones son mis favoritas. Me gusta como Bongo Bong se convierte sin problemas en Je Ne T’aime Plus. Bien hecho. Estaré escuchando este álbum muchas veces en el futuro.

I liked Alice Cooper . . . I liked Alice Cooper? What??? That was unexpected. 3.5

I wish there were some otha songs like Otha Fish.

I can’t deny that the music is innovative and fun to listen to. I also can’t deny the shitty, misogynistic lyrics.

The concept of writing an album as a soundtrack to an imaginary film is kind of wild. I can totally hear it. Maybe the film plot goes something like this: A woman dies and the whole movie takes place in the time between when her body is no longer living and when she crosses over into the after life. The whole thing feels like one nights worth of an intense dream sequence, interacting with her past lovers. She starts out remembering how hot Jarvis was in Set The Controls For The Heart Of The Pelvis. How she, and many other women, lusted after him. How she get lucky to be one of the ones that experienced Jarvis. But now in retrospect, she sees that he is a conceited asshole. She recalls the torrid one night stand instigated in Dunkin Donuts. It was a love/hate connection, one of the most intense and transient of her life. They enjoyed and maneuvered against each other. It gets weird in Business As Usual, but so was Dirk. He thought he possessed her. He couldn’t handle being rejected. He obsessed. Dirk was intense too, but in the creepiest way possible. Is he why our protagonist has died? Strong possibility. Miles kicks in as the transition leaves her awfulness behind and the afterlife reminds her that she doesn’t have to deal with that shit anymore. (Great song.) Dirty Barry is her being made aware of the hallway to hell. It’s dark, confusing, and sprinkled with improve jazz bits. She witnesses treachery. In Vermillion Kisses it is revealed to the audience that our protagonist is not innocent herself as she takes the role of manipulative maiden. She has used and destroyed. The Sweetest Embrace is all these men from her past letting her go. Acknowledging her sudden and complete vanishing from the world. (Bonus: Nick Cave didn’t tank this track!) “It’s over babe. And it really is a shame.” This is a shit plot, but one thing I do know is that David Lynch should make this movie. Or a creative film student should give it a go. I’m not going to listen to this album very much in the future, but kudos for the creativity.

Who thought it was a good idea to make an entire album of ballads? Please fire that person.

RCA buried this album for 22 years! Outrage! The fact that they were reluctant to release this recording to not upset Sam’s pop image demonstrates how repressed American popular society was in the early 60s. This is a wonderful album. It’s energetic and fun. Wish I were there to twist the night away.

I enjoyed this album quite a bit. Even more once I saw the track listing that the album is 37 min and not the 77 min I thought going in. I’m happy I didn’t listened to all those bonus cuts. The guitar is singing high. If it were a Transformers character, it would be GuitarScream. Despite this, I’m ready to conclude that my ceiling for funk is about a 3.5, where this album lies. Funk just isn’t my thang.

Zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz… …I apologise for the copious zeds, but holy moly 1001 list this is some boring shite. British 1001 bias albumified right here. There is no planet, no time, no universe in which this is interesting.

I could repast all the zs from yesterdays Everything But The Girl review. In contrast, this album is more interesting and also more offensive to my ears.

This album explores a variety of sounds, much like the prof rock Genesis from which Peter Gabriel came. I wish he would have explored in private and only put the found gems, like Solsbury Hill and Down The Dolce Vita, on the album. Tracks likes Moribund the Burgermeister are off putting to say the least.

Prog rock, man. Not my jam. After listening to the album, it makes sense that the band recorded sections of songs at a time, sometimes as few as 16 bars, before moving on to the next. The album sounds like the result of uber-tinkering with arrangements, takes, and mixes. I enjoyed hearing this, but I’m not coming back for seconds.

The first album ever comprised entirely of samples of existing works. Is this art? It’s a good question. Is it meta art? Is meta art just art? Also good questions. There are infinite ways to create original music, which can result in whole body, euphoric as well as wretched experiences. There are also infinite ways to create fully sampled music, and it’s a smaller set of infinity. Can it be just as enjoyable as original art? Yes, this is art. Yes, this is meta art, which is also art. Yes, this is just as enjoyable as “original” music because it is original. The process of choosing the samples, splicing them, layering them, looping them, and joining them together is original. Side note that surprised me: Lyrics Born is the guy on the cover wearing a wig. He was part of the Solesides Collective with DJ Shadow. Lyrics Born is great. Give his album, Later That Day . . ., a try. It’ll be worth your time.

I went to visit some future family in the late summer of 2005 or 2006. I was chatting with a wee fella who was in a band, musically inclined. I asked him for an album recommendation and he suggested this album. This being before the streaming era, I waited until I had a chance to listen to it many weeks later at a music shop. I remember being so excited based on the description of what lie ahead. But when I sampled it, I was not impressed. I’ve had a disappointed view of this album ever since. Using my 1001 rating scale, I probably would have given it 2 stars based off my memory. Well my disappointment has been transposed from this album onto myself. What was I thinking?!? I have missed almost two decades of appreciating Illinois. Maybe I just wasn’t ready for it yet. I’m down with the indie, chamber folk sound. I especially appreciate the variety of instruments, like the trumpet, Wurlitzer, and banjo. Sufjan’s vocals fit the music so well too. While the recording equipment were low-fidelity, a sound I appreciate for this album, the song titles are not. Across 22 songs, there are an average of 14+ words per title (309 total). Track 2 (shortened to The Black Hawk War here) comes in at a whopping 53 words. Jacksonville, the lone 1 word title, is a slacker. It’s as if Sufjan’s ability to intelligently delete layers is offset by an inability to succinctly encompass a song through its title. The album is long, an almost certain complaint from me. But not here, I enjoyed every minute.

This was a big career revival album for John Lee Hooker, but I don’t understand the hype. I like the blues a lot, but this is mediocre, which means it’s still listenable. The keyboard in the opening song was a big turnoff…80s yuck, but the rest was OK.

A really good way to start the week. I was expecting a hands down, no shit 5. But this isn’t the album I remembered. It is carried by My My, Hey Hey (Out Of The Blue) and Hey Hey, My My (Into The Black). They are phenomenal. One of things I really admire about Neil Young’s guitar style is the way he intertwines lead and rhythm parts together as one part. It almost sounds like two guitarists instead of one. It’s really fun to play his stuff. Hey Hey, My My (Into The Black) is a great, crunchy reprise of the opening track. Powderfinger and and Sedan Delivery are noteworthy too. The rest of the tracks were a bit blasé. I remembered there being less filler. However, there is still enough here to listen again and again.

Quick, important side not about yesterday’s Rust Never Sleeps by Neil Young and Crazy Horse. I remembered the album Live Rust, which is amazing and definitely a hands down, no shit 5 star. Now you may rest easy. Whew! Culture Club is a textbook definition of 80s new wave/pop. Not my genre. Karma Chameleon is fun and the rest of the album is a mix of corny, some fun, and not too cheesy 80s sound such that I’d be OK having it on in the background.

Kim Gordon’s vocals are sweet. Her spoken word style on Tunic (Song for Laren) are reminiscent of Ruth Radelet of Chromatics. Awesome band sidebar alert: Chromatics are in my top 10. Check them out. I already conveyed how they kick major ass in my Cocteau Twins Treasure review and how Kill For Love is a great album to start with in my Portishead Dummy side bar. Well, I’ll amplify that by telling you Night Drive and Cherry are great albums too. Thurston Moore’s vocals work for me too. Disappearer is a good example. I was surprised to hear that Mildred Pierce is such a turnoff for others. I think music has a great groove for the first 1:40. The last 30 seconds do take a bit of a weird turn. I find the last 2 minutes of Mote to be more annoying than that because it’s just noise for an extended time that could easily be cut. I like Mote too, and I’m pointing out that there are less appealing parts of the album to me. So I don’t understand the fingernails dragging across the chalk board that others hear. This album is great. Never thought I would love it this much. My nit pick are the pockets of feedback, distorted screams, and superfluous noise sprinkled throughout. I could do without them, but they are kind of part of the package. The noise for the sake of noise bits remind me of The Melvins. Ah…King Buzzo’s hair is immaculate. Anyway one time I saw The Melvins they opened their second set with at least 15 minutes of noise seemingly intended to tell the audience fuck you. It’s like, I could do without it, but then again it’s part of their identity. A 4.5 that gets rounded up.

A good energy. Not enough substance to need to revisit.

Amos’s voice is pleasant enough, but I get hung up on the meter of her delivery. It’s uneven, not quite jerky jerky, but enough to keep me off balance. I don’t find the music overly interesting either. This is not to say why I dislike the album. It is fine overall. It would be fine to have on in the background at a party. I liked Leather the most.

What a … masterful … album! eh, anyone??? That’s a good one. I’m sort of glad I didn’t discover old school Metallica in my younger years. I probably would have burst a neck disk from head banging so much. This music pairs well with a smash room, one of those places you pay to break stuff. Everything about the title track is amazing except the guitar solo at 5:47-5:49, which drives me crazy. I fucking hate the whammy bar, at least I think it’s the whammy bar making that god awful, cheesy “woooo woOOOoo woOOoo” sound. It is a stain on the song, the album, and Metallica’s legacy. Alright maybe not a stain on their legacy, but I can’t not hear “woooo woOOOoo woOOoo” any time I think about this song. I prefer Ride The Lightning to all their albums, which isn’t on the list, but only slightly over Master Of Puppets. This album thrashes in every good way possible.

I need more than loosely organized congas and bongos to keep me engaged. It sounds like they invited tres hombres to out conga each other and added highly repetitive vocals. No bueno.

Did this guy invent mumble pop?

An album based on the 1919 Paris Peace Conference is an interesting idea. It finally got a wee bit exciting for tracks 5 and 6, Macbeth and Paris 1919. The rest was fine.

It’s amazing in hindsight how wrong people in power can be, to the detriment of their own interests. I’m referring to the struggles Marvin Gaye went through to get this album made, one rated as the greatest album of all time by Rolling Stone and highly regarded by many. Motown executive Berry Gordy didn’t even want to support What’s Going On, one of, if not, the most famous soul songs ever. Gordy reacted somewhere between “that’s the worst thing I‘ve ever heard” to “the sound is out of date.” Motown’s quality control board also turned the song down too. Another Motown exec believed in the song and released it without Gordy’s knowledge. As we now know, it sold absurdly quickly, which finally led Gordy to approve Gaye to write and record his proposed protest album. The obstructions to getting this album concept off the ground is eye opening. The album itself is a good time. The famous songs are famous for good reason. I could do without Save The Children.

Elvis Costello voice is very annoying.

The original 6 song album is much better than the deluxe version 1001 sent me to. I like the distortion. Good stuff.

Half of this feels like a pathetic attempt to appear street life authentic. A review of Ice-T’s personal life makes it seem like much of it is authentic.

This album is an amazing fit for Tom Wait’s voice. After the first two albums we had of his, I had minuscule hope. Boy oy boy was I surprised. Tom’s growling, low voice is fantastic with the underground, seedy jazz club feel. The jazz players are great. And Tom is fucking hilarious with his joking banter. Home run!

This is the finger picking guitar style I’ve always admired and wished I could emulate. JT’s delivery is smoothly soothing. I must have thought, “oh, this is my favorite track,” at least 5 or 6 times. Sweet Baby Jane, Sunny Skies, Country Road, and Fire And Rain stand out the most although most of the other songs are a mere tick below these. Oh, Susannah and Anywhere Like Heaven are my least favorite tracks, and I still enjoy them thoroughly. This album is as consistently good as most any album I can remember from the first 528 albums so far. There’s no dud, no song I’d rather not be on the album, which is rare I’ve come to learn. The only folk rock album I’d take over this one is Bob Dylan’s Freewheelin’.

Nico’s collaboration with the Velvet Underground is fantastic. So I had high hopes for a Nico solo offering. This is the hippy, dippy version of improvisational jazz with Nico’s naked, underwhelming vocals on full display. If I had to think of the worst way to surround Nico in a musical setting, this is it. Her voice is bad when it’s isolated here. It is awesome with the Velvet Underground’s grittiness. The flute is horrible. Credit to Nico for not being on board with it. But still, the album is what it is…unlistenable.

“Not this asshole’s voice again…” - Me 2 Leonard Cohen albums ago predicting this review. Not far off. To his credit almost entirely gave up trying to sing and somewhat melodically talked the lyrics. It’s the best use of his voice that I still dislike. I very much enjoyed the music on Traveling Light. Thank goodness this is the last Cohen album we have! See, I found two nice things to say, which is a record for me and Leonard Cohen.

I liked this album more than I thought I would. At times it ventures briefly into the cheesy 80s hair metal style, but never overly so. I liked many parts of this…Strange World stood out. I can hear it as an influence on Metallica’s Nothing Else Matters…the tempo, the ascending and descending rhythm line, and the harmonics of course. I like good portions of the speedy metal too.

The funk influenced tracks get me in the groove. The primitive synth driven songs sound like a Time Machine and are comical. Overall, they tend to have repetitive lyrics which leads to waning interest.

Neil Hannon’s voice did not annoy me as much as last time.

I’m glad I finally listened to a Ramones album. I need to explore more. Some of the tracks (I’m looking at you 53rd & 3rd) feel flat, which holds the album back for me. I want to feel more of the energy.

These guys don’t want John Quays to have Xmas. I was expecting him to be some famous British a-hole, but I couldn’t find anything. Maybe he was some local a-hole they knew, or they made him up. The atmosphere brought by the keyboards and bass are the most enjoyable musically. The drum fills are basic and disjointed. The singer likes to add “uh” to the end of words at the end of a phrase. This reminds me of James Hetfield, “mmmYEAH!” I imagine a lot of singers have these signature word enhancements. It is especially noticeable for Mark Smith here. “…chestUH” “…sweatUH” “…homeUH” (all from Frightened). You get the idea.

There is some quite amazing guitar work on this album, like the last 90 seconds of ‘Cross The Breeze. Every time the album feels like it’s lost direction due some noise or another, the guitar brings it back to ear pleasureland. Teen Age Riot is a great song. Candle too. I’m going to keep coming back for the guitars.

When I snapped out of my boredom trance, all I can remember is a bad cover of I Heard It Through The Grapevine and a bunch of songs boasting about how the singing dude is better than some woman’s boy toy.

I’ve always been an Eagles greatest hits 1 or 2 kind of fan. I never explored their album catalogue. I wasn’t familiar with most of this album. Nightingale and Tryin’ grabbed my attention. Nightingale feels upbeat. I like that little bit of overdriven distortion in the guitar for Tryin’ as well as the solos. From two listens, I’m not a fan of Most Of Us Are Sad. It is a depressing sounding song. Maybe it will get better as I listen more. I went from disliking Earlybird the first time to appreciating it the second time. I definitely hear the bird calls. It’s the banjo that threw me off. I was not expecting bluegrass rock from the Eagles. The song is OK on its own, but it doesn’t fit the rest of the album well. I tend to forget how much I love Peaceful Easy Feeling. Part of it is that it fits well with my limited vocal range. The laid back vibe always puts me in a good mood. With the greatest hits classics and a couple new songs to me that I like a lot, I’ll be venturing into Eagles album territory.

I dislike reggae that isn’t Bob Marley. For making me suffer through a long album, I divide the score by the number of albums suffered (double album).

A beautifully crafted album. Country normally isn’t my genre, but I like this. The country instruments (mandolin, banjo, pedal steel) seem more like accents than the main sound, which I appreciate. I would like there to be fewer slow songs and more with the infectious energy on the rest of the album.

The album rips. The first half dominates and it feels like the album loses a bit of steam in the second half. But overall, this album can’t be denied from my library.

The sad part about this album is that I love the music. The guitars shred. The drums pound energy into my soul. Unfortunately, I can’t think of a more mismatched album from the music to the vocals. I swear the vocals have to be a parody of glam, not a serious attempt. The falsetto riffing is atrocious. The primo example is the repeated title Love On The Rocks With No Ice (luh-UVVV). Just terrible. This album is unfortunately tragic. 4 for the music. 1 for vocals.

The Beach Boys have a one of a kind sound for sure. It’s mostly a depressing sound, but that’s Brian Wilson for you. When he was able to, or felt like, writing upbeat songs, he was at the top of his game. Unfortunately, there are only 2-3 tracks that fall into that category.

I was hoping to like this album more. Progressive rock is not my genre I suppose. It works when the albums are tight, well thought out concepts. My observation is that too many progressive rock bands/albums/songs meander for the sake of meandering like Aqualung. Prof rock mashes key changes, time changes, and complete ambiance changes together because well…that’s what higher level thinking progressive rock bands are supposed to do. I liken it to a less erratic improvisational jazz, which I’ve clearly established I hate. I like Hymn 43, which was my favorite song.

I’m a sucker for the blues, especially blues rock. I find it strange that this album is referred to as “Rock,” “Garage Rock,” or “Rock and Roll,” but not blues rock, which it clearly is. My only complaint is that the vocals are muffled or use too much reverb at times. Other than that, I’m happy to have found the Flamin’ Groovies’s Teenage Head. I’m also thankful that they, being from San Francisco, avoided the hippie sound to create this.

After all the years of trying to squeeze his songs onto a Beatles album, George Harrison announced his songwriting prowess authoritatively with this album. What a lost opportunity for the group. What an opportunity for George. The second half of Abbey Road was a bunch of half finished tracks mashed together as a medley that I could have done without. Harrison already had 2 of the 3 best tracks on the album (Something and Here Comes The Sun). Why not use some more of his good stuff? Songs like My Sweet Lord, What Is Life, and/or Awaiting On You All would have elevated Abbey Road. Maybe George already having two great songs and getting more would have been a problem for the group. Lucky for George. The third LP was always intended as a bonus disc and I can hear why. I don’t find much interesting in Out Of The Blue, which is 11+ min unfortunately. I do appreciate the other 4 bonus tracks. Overall, I learned that Harrison was more of a song writing talent than I knew. Good for him.

There are too many boring folk songs on this album…zzzzzz. And some of the more interesting songs have the faster picked, muddled, psychedelic guitar sound which is more annoying than anything else. The instrumental Captain Soul and What’s Happening? are the tracks I like the best.

Decent background music.

Two listens lead me to very much appreciating the distorted guitars with electronic elements.

I can’t believe this album is from 1977. The version I listened to says 2015, which I didn’t think twice about while listening the first time. 2015 is a re-release that sounded like a Daft Punk imitator. I hear the Tron: Legacy soundtrack in Oxygène. Reading the Wikipedia page made me realize that Tron: Legacy sounds like Oxygène not the other way round. Frankly I’m blown away how modern this sounds. It’s a timeless foundation of electronica. I completely hear the space ambiance for which Jean-Michel Jarre was going. I did not appreciate the intricacies the first time listening while driving. This is a masterpiece intended for focused, hi fidelity listening.

Probably deserves to be on the list, but it’s not my thing. It was inoffensive until the end of Operation Tango and most of La Muerta del Angel.

Embarrassing all around. Music is boring. The vocal phrasings are odd. Madonna should be embarrassed that this exists with her name on it. Robert Dimery should be embarrassed that he put it in the top 100,001 let alone the top 1,001.

I get the spacey atmosphere.

I find this to be generic sounding 90s rock. It sounds like an AI generated. I feel no soul, no energy.

This was a 4 all the way up until Starship, which went off the rails. They were high energy, gritty, and rocking up until that point. But Starship is 1/5 of the album so it negatively affects the album.

A better actor than rapper based on this album. The music is underwhelming and uninspired. His character Cheese from The Wire deserved to be unceremoniously executed by Slim Charles, but that’s because Method Man played the a-hole so well.

There is some cheesy sounding 80s stuff in here, sure. But there are also quite a few higher energy tracks too. I heard some disco influence and a track or two that reminded me of Steely Dan. Overall I’m surprised I enjoyed it a little bit.

A bit disappointed. I was expecting to like this a lot. It’s good, but the music overall is lacking something. Black Hole Sun, Fell On Black Days, and Spoonman stand out prominently. The rest are just fine. The album is long too at 70 minutes. Cut it down to <40 min including these three songs and it would be much improved. Chris Cornell’s voice is amazing though. It’s a shame the music doesn’t consistently match his talent.

Oddly intriguing for a few tracks. I hear some Beach Boys and some Beatles influences. I also heard I Got The Hots and Insanely Jealous Of You, which take the album off the rails. No thanks.

This is known as the preeminent blues album for lead guitar work for very good reason. Clapton’s 1960 Les Paul screams throughout. This album is the Mecca towards which all electric blues guitarists are migrating towards when they practice. I learned that the 1960 Les Paul Standard used two PAF (patent applied for) humbucker pickups, which hold a revered place in many guitarists hearts. These pickups eliminated the humming sound of single coil pickups by wiring two opposite polarity single coils in serial (nerd shit). The manufacturing process was inconsistent during the early years leading to each guitar having a unique sound. Over the years, the manufacturing process became more standardized and design efficiencies were introduced. Eventually, the original humbucker design was so well sought after in the community that Les Paul, and other companies, spent significant resources trying to replicate the pickups from this guitar’s time period due to performances such as Clapton’s on Bluesbreakers.

I don’t hate it, but it’s improvisational jazz. So pretty good…considering.

Two worst tracks by far that I thought I was going to opine opine about…turns out they are bonus tracks. Score. I like the primitive feel of this album. It being recorded on a reel-to-reel tape recorder at someone’s house comes through. I hear hints of Nick Drake and José Gonzalez in this music. Big fan.

This is some pretty bad screamy shite.

Jazzers just can’t help themselves. The whole genre is built upon exercising your chops. Gotta show everyone how free your soul can be and crush some improv.

Very good voice. Very boring music.

A brooding synth driven extravaganza. An important influence on Chvrches, so I’m not surprised that I dig this a lot.

This album displays some of the down home, aww shucks-ness that I hate about traditional country. I Can’t Dance, Love Hurts, and Ooh Las Vegas are the only tracks worth a hoot.

I liked the stripped down aesthetic. I liked The Man Comes Around and Hurt a lot as well as some others. I like Johnny Cash. His career accomplishments are insane: over 1,000 songs written and 50+ albums. I didn’t like the covers of Bridge Over Troubled Water nor Desperado. Also his voice was a too deteriorated at this point for me. If this album were sung with Johnny’s voice from 30 years before, it would be a really good album for me.

A really good find. I dig the electronic sparseness.

This is a refreshing hip hop album. On first listen, I thought he was rapping about b*tches and h*es like many other “gangstas.” But of course when listening closer the second time, Lupe is rapping counter to that sector of hip hop. The drama is palpable when strings are present. My favorite song is Daydreamin’. It turns out Lupe was forced to put it on the album by a record company exec. He won a Grammy for it, but receives no royalties.

From looking at the album list for this guy, he had a prolific career, but it’s not for me.

This is a ripping 1980s parody without the ironic lyrics. Absolute trash.

The best part of listening to this album was finding out that Raekwon and Ghostface Killah started the hip hop world’s obsession with Cristal. A restaurant they were at didn’t have the best wine in the building. They asked for the next best thing, got Cristal, and liked it. The rest is history. The album is not for me.

Historical 5. The social and political oriented lyrics make me think. They also help me realize the roots of the hip hop art form as a way to protest conditions for black communities and that hip hop ≠ gangsta rap. For my personal enjoyment, the beats sound too primitive but I still very much appreciate this album.

This album lets me know that prog rock, when executed well, can be amazing. It’s hard to put into words what has been accomplished here. The only criticism I have is that Money has been massively over played. It’s a great song, but like peanut butter and jelly sandwiches, I’m not nearly as excited about it as it deserves due to over exposure. I don’t listen to Pink Floyd much anymore and I enjoyed Money this time round. I don’t think I can pick a favorite song off this album. Of them all, I feel Time encompasses its concept perfectly. Between the constant ticking of the toms and the lyrics I feel as though I’ve experienced the full breadth of a life, a retrospective time lapse sequence, in less than 7 minutes. “No one told you when to run, you missed the starting gun” is such a fucking brilliant line, invoking a sense of regret. And for it be followed immediately by Gilmour’s mind blowing guitar solo!!! Gilmour is the master of the bend and he puts it on such a display here, like treasures artifacts in glass cases at The British Museum. I could go on and on, but I’ll spare you. Top 10 album of all time for me no doubt.

Dusty has a really good voice. One of the best albums of all time (as several critics wrote)? Not even close. The all time great thin mg Dusty did was to convince Atlantic records to sign Led Zeppelin.

What did I just listen to? We were doing OK until I got the fart-like noises on Counting Out Time (2:30 mark). The Waiting Room sounds like it would be the lobby to the Black Lodge in Twin Peaks. After this song, I had a persistent feeling of hoping each song was the last and this bizzarro journey would be over. Alas, I have up after track 17. Conclusion: this has to be the best ⭐️ album I’ve heard yet.

Consider me slayed. The cover of Janis Joplin’s Move Over is inspiring. I Don’t Mind may be slow paced, but it is powerful. This is a really good find.

I just can’t with this guy’s voice. It’s awful. It is entirely unfathomable how Elvis Costello has 6 albums on this list. It’s a conspiracy by Big Talentless Vocals (strangest industry I’ve dreamt up) to convince the world that Elvis has talent. He reminds me of the the fake announcer voice Howard Stern does when impersonating shitty radio DJs. “Double U EnnNNNNNnnnnn B C!” Ugh.

The three song run of There She Goes, Doledrum, and Feelin’ is good. The rest is a mix of listenable, but ultimately forgettable, tracks.

Nice grooves for background music.

This is a style of jazz I can get behind. The arrangements are…well they exist for one thing. The different instruments play melodies in unison. A welcome change from much of the other jazz we’ve heard.

I was cautiously hopeful that I would like this album. And I’m happy to say that I liked it much more than I thought I would. I was skeptical seeing: i) a lot of Load and Reload songs and ii) it’s a 2+ hour long investment. I think the San Francisco Symphony Orchestra added copious drama to the Metallica sound. The set list was better than I feared. And there were only 2 or 3 songs that I get could have been left out entirely. This was close to getting a 5.

This fits squarely into 90s Britpop. Into the meaty part of the curve. I hear some Oasis, the quintessential 90s Britpop, in these tracks.

What a wild ride! This is a unique sound that everyone deserves to hear before they die. Hate it or love it, it’s worth hearing. I for one, am struck. The somewhat-industrial, electronic music is captivating. I find the artist’s story to be part of the appeal. A visual artist that happened to play around with a 505 drum machine. She tried to find others to supply the vocals with no luck so she did it herself. Inspiring stuff. And a sonically stimulating experience.

I like the music. No surprise. I dislike Hayden Thorpe’s vocals. Too much whiny sounding falsetto. Tom Fleming’s vocals are serviceable.

Like David Crosby himself, this album is beautiful, erratic, comforting, and a disorganized mess all at the same time. Throw in his grief from his soulmate, Christine Hinton, dying a year earlier and copious hard drugs he used to numb the pain and we get this. An album with great harmony (Orleans). An album where only five songs have lyrics, as if the grief held back his ability to convey his thoughts. It’s not a great album, but it has quite a few great moments.

I know 70s male rock musicians were all trying to get with women. Great Expectations has to be THE LAMEST attempt to entice women ever written into a lyric sheet. There is zero creativity in this writer’s abilities. Look at these terrible lyrics: “You're sittin' in your seat And then you stand and clutch your breasts Our music drives you wild along with the rest You watch me singing this song You see what my mouth can do And you wish you were the one I was doin' it to And you watch me playin' guitar And you feel what my fingers can do And you wish you were the one I was doin' it to“ The saddest part is that the song probably still worked on a regular basis. Some of the other songs are OK, but I can’t get over Great Expectations.

To contrast the music here with Big Brother and the Holding Company’s Cheap Thrills, the arrangements are tight. And frankly, the musicians are better. I still love Janis’s voice too. Perfectly imperfect is the right characterization. My favorite song on this album by a mile is Mercedes Benz. Being a cappella, it showcases her voice well. The “that’s it” plus the giggle at the end always get me. She sings about wanting a Mercedes because her friends all drive Porsches…yet Janis herself had a Porsche. Unfortunately, this was the last song she ever recorded (in one take no less). At least she saved her best for last. This album leaves me appreciating Janis more than before and also wishing she had the opportunity to make more great music with the Full Tilt Boogie Band backing her.

What a fantastic concept for an album, using all human produced music. This is definitely an album everyone needs to hear. The thing I enjoy the most is Björk’s total dismantling of traditional song meter. The music and lyrics are in odd time signatures, which are sometimes not even the same on a given song. While everyone should hear this album, it’s not quite what I’ve come to expect to need to hear it on a regular basis. Mad respect for this 3.5.

2 minutes of vocals on a 43 minute album. Why not just make an instrumental album. Frank Zappa…that’s why. This is the first time I’ve listened to a Zappa album. I wasn’t expecting as much jazz. Knowing how much jazz influence there is, I expect I would hate it more, but I didn’t. This album is like a runaway streetcar at times. On the tracks. Off the tracks. Back on the tracks. But it never crashed into a building. This is just weird enough to be interesting.

Noisy noise

I originally listened to the bonus tracks edition that left me indifferent. Upon realizing the original version only contained 6 songs, I relistened and was more engaged. Being a live album, I think they really screwed up not having a mic picking up the crowd reaction. I did t feel like I was there from the recording. The recording always loses something compared to being there and having the crowd noise and cheering bridges the gap. Otherwise it felt like a bloated, lower quality version of the studio recording with too much talking. And I have to say that whomever was talking had zero charisma. The songs are good, but the circumstances surrounding the recording left we wanting more.

To artsy and esoteric for me.

My introduction to Goldfrapp was through Head First, and pop forward synthy extravaganza. I like it better than Seventh Tree…at least from two listens through. It grew on me quite a bit. Now listening a third time using hifi headphones, I’m liking it even more. This down tempo, more subdued sound works for me as well.

I can hear how someone would really like this. Just not me. Burst drags on too long while The Great Beautician In The Sky sounds a bit like a Vaudeville show.

I hated this album through the first part of Assassins. Then at some point, I got lost in the repetitive, yet catchy, music. I found this to be the case for many songs. There are also several passages that are hard to take. Honestly, this also sounds like something that could be played at high volume intermittently to torture a prisoner. Torture only if you play 5 seconds at a time. Leave it on long enough and you start to feel the groove.

I like a lot of this album. I Talk To The Wind is my favorite song. I like the varied instruments. I like the vocals. I don’t like the jazz influences, the random noise generator shite. It shows up a bit on 21st Century Schizoid Man, but mostly on Moonchild. The first couple minutes of Moonchild is great. Then it’s followed by far too much noise that sounds like King Crimson dropped acid and blew their own minds. Unfortunately, my mind is wondering why they interrupted a really good album with crap. Even with these departures, I like the album. It’s a 3.5 that has to be rounded down.

Renaming them The String Band. There is nothing incredible about this album. There were less than 2 minutes of tolerable music from about 1:00 to almost 3:00 of The Very Cellular Song. The rest of the album is various antonyms for incredible: unspectacular, terrible, bad, and poor.

Rufus melds orchestral elements into his music so well. The drama is palpable. I need to listen to this album more and explore Rufus’s catalogue too.

This is quite the multi-stylistic album. I hear Middle Eastern, Latino, hip hop, and American rock music. I like most of the styles, but they feel jammed together rather than cohesive.

This album is like one of those out and back rollercoasters. It starts at the top of the hill with Tiny Dancer. It hits top speed then goes right into Levon when the thrills are still high. The rest of the album is like the mini hills that follow. Sure there are momentary thrills as you come out of your seat momentarily at the crests or think you may hit the overhead wooden beams if your arms are raised too high, but none of it compares to high thrills at the beginning.

Started off very strong with Where The Streets Have No Name, I Still Haven’t Found What I’m Looking For, and With Or Without You…strong 5 vibes. By the 9th track, I was lamenting the album not being over yet. Way to front load the album Mr. Producers.

I have railed against bad voices used poorly many times before. I feel obligated to point out that Randy Newman does not have a good voice. However, he uses it quite well.

This album clearly demonstrates The Stones’ blues roots. Comprised almost entirely of blues covers, there is little rock of their later, signature blues rock sound. The songs are fine. I don’t think the boys added much to the blues ambiance. They played/sang the songs with skill but I don’t feel the blues.

One thing I’ve learned over these 609 albums is that Jack White is a musical savant. I’d love to pick his brain about music in general and guitar playing. Once again I’m digging his distorted, bluesy rock sound.

A home run until the last track, L.A. Blues. Punters gonna punk. It does highlight the importance of ordering the tracks when constructing an album. If LAB had come in the middle, or even first, I would have lost interest in the tracks that follow. Instead I had put the first six tracks of enjoyment in the bank already, and LAB didn’t ruin the album for me (something about the primacy bias). It was a 4.5 before and LAB solidified my opinion.

Lots of songs about sex, sex parts, and splitting physical relationships. The subject matter feels like it could be from just another gangsta rap album. But it’s from a female perspective, smooth, and R&B. I enjoyed the album quite a lot. It feels like a very chill hang. No song particularly stands out as being extra good nor bad, which is unusual. It’s a consistently good time.

I do not like Lucinda’s vocals. This was almost a 2, but some of the music is pretty good.

I’m ready to conclude: David Bowie was not a musical genius. He pushed boundaries musically. He pushed boundaries theatrically. He was a big, unique personality. I’m somewhat confused by the multiple instrumental tracks in a row. I like his music, but not consistently enough.

Pretty…pretty…pretty…not good. What the hell is the English horn call on that one track? Delete the avant garde crap and you might have a low end 3.

This album was quite enjoyable, particularly the guitar. I haven’t listened to much Black Sabbath over the years. So I have missed on how good Tommy Iommi is. He is the only non-bass guitar and he carries the sound well, which is impressive to do. His sound is one I’d like to emulate, but I’m not going to slice the tips off two of my fretting fingers to do it. I might try his down tuning though. It’s crazy to think his industrial accident contributed to his unique sound. I also like that they recorded the album live in the studio for the most part all in 12 hours. That makes sense with some of the rough notes and little mistakes throughout.

Don’t…please don’t make me listen to this screaming over noise ever again. That is a zero star song. The album up until that point was OK. I don’t like J Mascis’s voice at all, which really held it back.

This is quite an enjoyable jazz album. Hard to find, but worth the listen. Nearly a 4.

Play this prehistoric rock offering on a Victrola.

For only having recorded one album, Mylo did a bang up job. He creates an atmosphere straight of the bat with Valley Of The Dolls and Sunworshipper that I want to breathe in. I’m obsessed with the beat on Paris Four Hundred. I enjoy the preacher’s sermon used on Destroy Rock & Roll. It’s actually frightening and hilarious that a religious leader felt it prudent to complain about, and want to destroy, the music culture. It’s a story as old as time, but what a fucking idiot. Maybe spend some time addressing real societal ills. I find his missteps with artists’ names funny: David BOO-wie, JACK Cougar Mellencamp, Weird Al Yanko-VICH, and Cyndi LOOP-er Really a A-, but I’m rounding up because I listened 4 times and I’m looking forward to the next time I revisit.

That first song was amazingly strange. I loved it. After that there wasn’t much I was excited about.

Rick Rubin worked his magic. This is a really good 80s hard rock album. Up until the last two tracks, I was ready to give it a 4. But those last two tracks made me reevaluate the album again…twice. And the more I listen, the more it sounds like AC/DC’s little brothers. It just sounds a bit derivative in the end.

I spent the better part of a week stuck on this album, trying to discover and organize my thoughts. There is a lot going on here. My initial impression was two stars. The songs are not cohesive, music changing suddenly, constantly. But then I read the Wikipedia page for both the album and Frank Zappa and my mind started to open a bit. FZ had a thought provoking stance on the world around him. This album lambasts hippies, war mongers, and 1960s culture alike. Listening more closely with this background, I appreciated the album more, a solid three. I listened quite a few more times over several days and oscillated between a 3 and a 4. I kept asking myself is FZ a genius or some drugged out, musical schizophrenic? The Chrome Plated Megaphone Of Destiny is frankly annoying. There is no way around it. It does the album a disservice by ending with a sour note. So I settled on a 3 a couple days ago and have just been waiting to find time to write this up. In fact I started writing my review and decided to listen one last time. Well, I payed closer attention. This time I listened to the album while reading the lyrics. My stance solidified just now. I can’t believe I’m writing the following: this is a 5 star album right up until the last track (which is a one star deduction). FZ believed people should have the right to do drugs, but didn’t partake himself because he thought they were a waste of time. FZ is a musical savant…maybe. One thing I do know is that I need to spend some time going through the FZ catalogue after this adventure is over.

The surf pop rock sound of The Beach Boys is long gone. This is an album I feel deep down. It’s like I’m looking through a window at Brian Wilson’s inner angst, but the window is open so I can feel the emotions blowing through the screen, surrounding me as they whisk by. Wouldn’t It Be Nice and Sloop John B are my favorite tracks here, mostly because they feel the most upbeat. There are plenty of other good tracks too. In this particular instance, I would like the album more if there were a couple more positive feeing tunes, but then it wouldn’t be as authentic. As an aside, it’s strange that Brian Wilson composed the album almost entirely without the rest of the band, but it is still under The Beach Boys name.

Never heard of the Scissor Sisters. I was briefly excited that it was The Secret Sisters (not on the list…it’s worth your time to check them out). This was a fun ride. It was glammy, but not too much. The Comfortably Numb cover was well done. I liked Laura, Take Your Momma, and Music Is The Victim amongst other tracks. Even though I like the song, Lovers In The Backseat didn’t seem to fit the album. It sounds like an 80s Bowie track.

Listening to this album, not on shrooms, is like watching a 3D movie without the 3D glasses. You can sort of tel what’s going on, with intermittent moments of clarity, but everything jumbled and confusing.

Steely Dan continued their cracking start to their catalogue on Pretzel Logic. Now that we have listened to all of their albums on the 1001 list, I’ve realized how much I appreciate Walter Beaker’s lead guitar. He is by no means near the most talented players. However, his lead lines always seem to accentuate and lift Steely Dan’s songs. Pretzel Logic (song) is on of my favorite Steely Dan songs, right up there with Dirty Work and Reelin’ In The Years. On this album I also like Rikki Don’t Lose That Number and East St. Louis Toodle-Oo, on which I still am amazed how Becker got his guitar to sound like that. There are quite a few other enjoyable songs here too. But also one too many misses with Barrytown and Through With Buzz. While I like this album a bunch, it’s not at the top of Steely Dan’s game.