Journey Complete!
Finisher #446 to complete the list
1089
Albums Rated
3.03
Average Rating
100%
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1950s
Favorite Decade
Jazz
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other
Top Origin
Balanced
Rater Style
57
5-Star Albums
67
1-Star Albums
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You Love More Than Most
Albums you rated higher than global average
| Album | You | Global | Diff |
|---|---|---|---|
| Ingenue | 5 | 2.94 | +2.06 |
| Introducing The Hardline According To Terence Trent D'Arby | 5 | 2.98 | +2.02 |
| Ray Of Light | 5 | 2.99 | +2.01 |
| White Ladder | 5 | 3.08 | +1.92 |
| Little Earthquakes | 5 | 3.23 | +1.77 |
| Sweet Baby James | 5 | 3.24 | +1.76 |
| I Do Not Want What I Haven't Got | 5 | 3.25 | +1.75 |
| Faith | 5 | 3.27 | +1.73 |
| Shake Your Money Maker | 5 | 3.29 | +1.71 |
| Achtung Baby | 5 | 3.3 | +1.7 |
You Love Less Than Most
Albums you rated lower than global average
| Album | You | Global | Diff |
|---|---|---|---|
| Doolittle | 1 | 3.75 | -2.75 |
| Master Of Puppets | 1 | 3.73 | -2.73 |
| To Pimp A Butterfly | 1 | 3.61 | -2.61 |
| good kid, m.A.A.d city | 1 | 3.61 | -2.61 |
| The Marshall Mathers LP | 1 | 3.49 | -2.49 |
| ...And Justice For All | 1 | 3.43 | -2.43 |
| My Beautiful Dark Twisted Fantasy | 1 | 3.42 | -2.42 |
| The Chronic | 1 | 3.33 | -2.33 |
| The College Dropout | 1 | 3.32 | -2.32 |
| Homework | 1 | 3.29 | -2.29 |
Artist Analysis
Favorite Artists
Artists with 2+ albums
| Artist | Albums | Average |
|---|---|---|
| Beatles | 7 | 4.86 |
| Led Zeppelin | 5 | 4.4 |
| Bob Dylan | 7 | 4.14 |
| Pink Floyd | 4 | 4.25 |
| Joni Mitchell | 4 | 4.25 |
| U2 | 4 | 4.25 |
| Johnny Cash | 3 | 4.33 |
| Prince | 3 | 4.33 |
| Simon & Garfunkel | 3 | 4.33 |
| Van Morrison | 3 | 4.33 |
| Paul Simon | 3 | 4.33 |
Least Favorite Artists
Artists with 2+ albums
| Artist | Albums | Average |
|---|---|---|
| Metallica | 4 | 1.25 |
| Kanye West | 3 | 1 |
| The Fall | 3 | 1.33 |
| Kendrick Lamar | 2 | 1 |
| Sepultura | 2 | 1 |
| Slipknot | 2 | 1 |
| Pixies | 3 | 1.67 |
| Eminem | 2 | 1.5 |
| Megadeth | 2 | 1.5 |
| Captain Beefheart & His Magic Band | 2 | 1.5 |
| Public Image Ltd. | 2 | 1.5 |
| The White Stripes | 3 | 2 |
| The Smiths | 3 | 2 |
| Roxy Music | 3 | 2 |
| PJ Harvey | 4 | 2.25 |
Controversial Artists
Artists you rate inconsistently
| Artist | Albums | Variance |
|---|---|---|
| Pink Floyd | 4 | 1.3 |
5-Star Albums (57)
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Popular Reviews
Anita Baker
2/5
While Anita Baker has a nice voice and these songs are perfectly fine, I don't find anything revelatory about this album. I can't say I've ever thought "I'd like to hear an Anita Baker song now" or ever heard one of the hits from it and thought "Wow! What a great song!" The chime-y keyboard sounds, along with some of the other production, place it squarely in the 80s soft-pop genre, and it's unfortunately mostly forgetable.
28 likes
Anthrax
2/5
I'd been holding off listening to this album for a while because I was sure I wouldn't like it. And while it's surely not my style of music, we've listened to so many worse albums in the interim that I don't think I can just damn it with one star. Were this a 10 star system, I'd probably give it a 2 - MAYBE a 3. But in this 5 star system, I've got to go with a 2, because it's not nearly as bad a some of the albums that have been virtually unlistenable.
So cheers to Anthrax. You've earned this 2 by not sucking as much as others!!
28 likes
Sinead O'Connor
5/5
Haunting, melodic, political, spare, heart-rending & heartfelt. Sinead brings it all and more with this album. Both the vocals and the production are stunning in their simplicity. The anger, desperation and plaintiveness of the lyricism bring an emotional wallop to every track, especially when paired with her yearning vocals. This album is sublime.
17 likes
The Byrds
2/5
Some interesting sonic experimentation going on here, but unfortunately, it all sounds so dated. No stand out tracks that, to my mind, stand the test of time. While this album may have (strongly?) influenced music to follow, I don't feel that I've missed out by not hearing it before.
16 likes
The Police
5/5
Any one of The Police's albums could rate as a favorite. This one hits all of the sweet spots for me. It keeps just enough of the punk/reggae vibe of their earlier works, but expands into a slightly more mainstream rock milieu. It spawned quite a few hits (all of them deserving, IMO) and even the lesser tracks still have a lot going for them.
As a whole, the album is rather dark with its investigations into murder, stalking, oppression, devilry and just the weight of day-to-day existence amongst the uncertainty of the world.
The album kicks off with the almost discordant Synchronicity I, full of ambiguous lyrics, soaring vocals, and jamming piano & guitar. Sting gets a little preachy, but cheekily so, in Walking in Your Footsteps, with great tribal percussion lending weight to the musical message. O My God might be the weakest link for me, but still has a pretty good jazzy hook and a sound that Sting will move toward more in his solo work. Ditto the story aspect of Tea in the Sahara, which could easily come off of his Ten Sumner's Tales album. Many people react against Mother (Andy Summer's sole writing/singing credit) and feel it's too far afield from the rest of the album. Personally, I dig it's weirdness and primal angst, and musically, the Middle Eastern sounds of the oboe and the funky time signature. Miss Gradenko (Stewart Copeland's sole writing credit) hints at a corporate/government scenario rife with danger & intrigue. Murder By Numbers is a Dirty Deeds-esque lyric paired with a bouncy, fun melody for an ironic look at hired violence.
Then there are the biggies, tracks 6-9: Synchronicity II is probably my fave track with its cynical look at a day in the life of the working man. I can never be in a traffic jam without feeling like a lemming packed in a shiny metal box. Every Breath You Take, King of Pain, and Wrapped Around Your Finger all earned their place on the airwaves & the charts, each distinct, and yet also of a piece - much like side two of a Beatles' albums.
This album is a masterwork from a band at the top of their game. That they called it quits right after is in some ways disappointing, but may have been the best call they could make, as they clearly went out on top.
13 likes
1-Star Albums (67)
All Ratings
Eminem
2/5
Eurythmics
3/5
Nitty Gritty Dirt Band
4/5
Johnny Cash
4/5
Taylor Swift
2/5
No denying she’s a decent songwriter that knows how to write a catchy hook. She is not a good singer, though, and I find her lyrics to be insipid and catering to the LCD. Not for me.
The Jesus And Mary Chain
2/5
I find nothing remarkable about this album or this band. Although I knew their name, I'm actually surprised I'd never heard their music before. The music doesn't hit my 80's sweet spot. (Possible exception is the final track - the acoustic approach is much more interesting to me for their sound than the rest of the album.) It actually sounds more like some of the forgettable 90s bands, so maybe they were ahead of their time. But I haven't missed having them in my life and don't think I will.
Coldplay
4/5
I think it's easy to forget today how impactful this album was when it came out. It was the first piano-driven contemporary adult rock album to hit the mainstream in a long time. I think it's also easy today to mock Chris Martin for his past ties to kooky Gwyneth and his aging hipster brand. But truth is, he was helping to invent that brand at the time. His soulful, poetic lyrics are worlds ahead of what many other 25 year old pop stars write (yes, I'm looking at you, Tay Tay, but not just you!). The trance-synth sound of the band is just the chill groove a lot of people were looking for after having "survived" the turn of the millenium. Sure, there are a couple of clunkers on this album, but Clocks was an awakening anthem for it's time, and The Scientist and In My Place are prime examples of the genre this album helped to create/cement.
Rush
5/5
A masterpiece. Prog rock finally delivers an album that pure rock fans can "get on board" with. Their musicianship is undeniable - probably the tightest three piece unit outside of jazz. The lyrics are evocative and deep. Tom Sawyer is the perfect lead-off, gently drawing in a more traditional listener with the rock side of things before the album fully reveals its "prog- ness". Limelight perfectly captures the conundrum of what it means to be a rock star, capping it with the vow to never give up their passion for their craft to placate the masses. YYZ is one of the best rock instrumentals ever, showcasing each of the band members individually, but also exemplifying the aforementioned synchronicity. A couple of the songs might be hard listens for someone not as on board with the prog sound - The Camera Eye and Witch Hunt is a tough back-to-back - but I was surprised that the 10 min of Camera Eye was over before it felt long to me. This album definitely has a spot in my rotation, though some of the individual songs might throw off a shuffle of more general music.
Brian Eno
3/5
Ambient is tough. I like it for relaxation purposes, or background while working, but don't feel like I really "listen" to the music. This album was pleasant enough - nothing jarring or difficult to get through, but also nothing that stands out as particularly moving or sonically amazing.
Paul McCartney and Wings
4/5
A strong solo effort by Macca that shows the growth of his style as a solo artist, but still retains plenty of the influence of that earlier group he was with. The hits are undeniable - both the title track and Jet are complex, yet accessible, of their time, yet timeless. A few of the songs could have been deep cuts from Beatles' albums and would therefore have been much better known (Let Me Roll It, Mamunia). The clunkers, for me, are Last Words..., which feels like a White Album reject akin to You Know the Name, Look Up the Number, and those tracks whose sound is too firmly entrenched in the 70s' FM "rock" genre to have much lasting value. I wouldn't mind most of these songs coming up in a random rotation, but there are definitely some I wouldn't ever choose to play. In a 10-pt. system, I have gone with a 7; here, it could be a three or four, but since it's Sir Paul, I rounded up.
Venom
1/5
I guess this music must have a place for somebody. Not for me.
Tina Turner
3/5
A few great tunes here - I particularly love her voice on Let's Stay Together. A few really dated-sounding tracks (1984, esp!) that bring the whole effort down a bit. She's an icon, no doubt, but I'd prefer a greatest hits collection to this full album.
Duran Duran
4/5
Duran Duran is one of my favorite 80s bands. Two undeniable hits (Rio, ...Wolf), a super strong near-hit (Save a Prayer - a personal fave) and the sleeper New Religion make this album a must-have for me. The rest of the album is unremarkable, but only one or two completely miss the mark. Put on your parachute pants and an off-the-shoulder sweatshirt with your favorite day-glo message and dance your butt off to this album!
The White Stripes
2/5
Meh. Nothing offensive here, with a couple of fun tracks. The overall production is surprisingly good for garage rock. I particularly like "In the Cold, Cold Night". The intro to "Little Acorns" is hilarious - I had to look to see if I had accidentally opened a video that was playing in a different browser window. I mostly don't like Jack's voice and the thrashing guitars and hyper-aggressive drums get old after a few tracks. I wouldn't necessarily skip any tracks that popped up and might even like them better in isolation, but whole album of one after another was too much and I wouldn't buy this album for my collection.
Drive-By Truckers
1/5
I tried. I just can't.
Aretha Franklin
5/5
She's the Queen for a reason. If you ever needed to explain soul for someone, just play them this album.
Cocteau Twins
1/5
Bruce Springsteen
3/5
I've never been a big Bruce fan, but can appreciate his masterful songwriting and storytelling here. Dark & moody, but soulful, this album hits hard.
The Saints
2/5
Not as bad as I thought it might be. Still, a little goes a long way. While I can appreciate it as a groundbreaker, it’s not something I’d listen to again.
The Cramps
1/5
So The Saints (from yesterday) put out a Halloween album…
3/5
Hard to believe this album, with its female empowerment overtones, was recorded in 1967! About half the songs turn the songs of heartache on their ear, as she takes the reigns of her own story.
I might rather listen to Patsy if I’m in a twangy mood (and there might be a little more twang here than I’d normally like) and the overall sound gets a little repetitive. Still, there’s no denying the musicianship of her band - I particularly loved the slide guitar work on the otherwise forgettable “Shoe Goes on the Other Foot”.
Elvis Presley
3/5
If you don't *really* know Elvis' music - this is NOT the rock 'n roll that made him the King. This album was a comeback of sorts, but also largely a departure from the hits that established him as an icon. He returned to his country/gospel/soul roots, with an added symphonic element for this sometimes over-produced, arguably overly-sentimental collection that was a huge hit at the time it was released. I find it rather syrupy and much prefer his early stuff, but it has a decided nostalgia for me, too, remembering family trips in the station wagon, listening to him on 8-track.
While Suspicious Minds is a personal fave, most of the tracks smack of the Vegas Elvis that has become somewhat of a joke in later years. Still, his voice is powerful, with a style all it's own, and he pours emotion (sometimes too much?) into each and every song. His band, The Memphis Boys, are as solid as can be - tight when they need to be, loose & flowy when it serves the song. They accompany the King expertly, never stealing his thunder but never letting him down.
Cee Lo Green
1/5
Wow, is this man full of himself. The opening & closing tracks tell me pretty much all I needed to know about him and set me up to dislike the album.
But first, I was loathe to listen to this at all, given the sexual harassment/rape charges that removed him from the public eye a decade ago. And it was super hard to stomach the misogyny & violence contained in this album while thinking about the woman who brought those charges against him.
It's a little bit (but only a little bit) too bad, because a couple of the songs could have been enjoyable. He employs catchy beats and seems to have a real talent with both his voice and his rhymes. But there was just too much other stuff for me to get beyond to be willing to give the rest a chance.
The Blue Nile
3/5
I rather like this. Its definitely got some Bowie & Peter Gabriel influence, which could never be a bad thing to me. And I get hits of David Grey’s self-produced White Ladder, which I had on repeat for a while in the 90s.
Some of the synth & sequencer sounds are a bit dated. But the sound is complex, the mood is contemplative, and the overall feel is sophisticated w/o being full of itself. I likely would have liked it more had I discovered in in the 80s, but I look forward to giving it some more time to grow on me and analyze it further.
TLC
2/5
There are maybe 2 1/2 good songs on this album. Waterfalls is a no-brainer - great hook, tight harmonies, cool metaphoric lyrics - it definitely deserved to be a hit. I don't think I'd ever listen to any other song on this album on purpose again.
The Byrds
2/5
Some interesting sonic experimentation going on here, but unfortunately, it all sounds so dated. No stand out tracks that, to my mind, stand the test of time. While this album may have (strongly?) influenced music to follow, I don't feel that I've missed out by not hearing it before.
Suede
1/5
Oof. Hard for me to get beyond his voice. That nasally screech, which is too common in British punk-pop, brings all of the music around it down for me.
Some of the music is strong and the overall concept of the albums is interesting, but...that voice...
The Verve
3/5
I rather like this and think it could be something I'd listen to again. The songs are somewhat diverse in their overall sound, yet cohesive enough have a "Verve" sound and make for a strong album.
The lyrics are heady w/o being pretentious. I particularly like A Northern Soul.
Jane's Addiction
3/5
With a full listen, I liked this album more than I thought it would, though there are still things about it that grate on me. The overall musicianship is solid, the sound is tight, and the production is first rate, but much of it has a sound that just doesn't trip my receptors.
Let's start with the obvious track: I think someone played Jane Says on the juke box every single time I was in Atomic Billiards in the 90s (and that was a LOT), and with such repetition, the song lost some of it's impact for me. Hearing it afresh, in context of the album, it is the absolute stand out on the album, the one place where Ferrell's voice absolutely fits with the sonic landscape around him. Unfortunately, none of other tracks quite rise to Jane's level, with the possible exception of Summertime Rolls. Otherwise, I'm not crazy about Perry's wailing - it's ok when it's providing texture, almost like another instrument, but it's tough for me as the lead vocal line. I imagine it's like Geddy Lee's voice for some listeners of Rush.
I loved the opening instrumental and the intro to track 2, but then the grunge guitars kicked in - that aggressive, fuzzy sound was so overused in the 90s and wears on me pretty quickly. Ditto the machine gun drum sounds like are used on Mountain Song. But I love the heavy bass lines used throughout the album, and the playfulness of the brass hits in Mountain Song and the steel drums in Jane Says, genre-bending musicality that says they're more than just grunge rockers. I only wished they pushed against that even more.
Nick Drake
4/5
Listening to the first couple of tracks, I was quickly drawn in by the hauntingly spare sound, honest lyrics and atypical tunings. Surprised that I hadn't heard of Nick Drake before, I looked him up. What a tragic story of a great talent underappreciated in his time and taken far too soon.
I can hear influences of Cat Stevens and Van Morrison in his work, and can hear how his sound may have influenced a whole host of singer/songwriters that followed him.
Some of the songs are a little bleak (understandably), but others feel hopeful and celebratory of our (pained) existence. The musicianship is mostly very strong, with his reedy voice well-suited for introspection.
I will definitely listen to him more and will seek out his other work. How sad that there is so little of it.
Sleater-Kinney
2/5
I like strong women rockers, but this just isn't my jam. Her voice doesn't do it for me, and reminds me of Belinda Carlisle (whose voice I also don't care for). The aggressive, repetitive guitar is also not a fave of mine. I *almost* like Little Babies, but even that one got tiring for me by the end.
So while I appreciate what these strong women are doing/have done, and wish them all the best at it, it's a pass for me.
Prince
4/5
With Sign O' The Times, Prince capitalized on the success of Purple Rain, bringing us another strong album of creative sounds, catchy hooks and stirring soul/funk. The title track, while of it's time on the surface, is sadly still relevant today. The rhythms in Housequake are divine. I Could Never Take The Place... is a fun pop confection, but also a great jam session. A couple of tracks might be on the racy side (If I Was Your Girlfriend, e.g.) for average listeners and therefore a little off-putting, but there's still no denying his musicality. The Cross brings in so many kitchen-sink elements - pop ballad, raspy rock guitar, the slow-build, Eastern/raga instrumentation, gospel choir - that it shouldn't work, but somehow still does.
This is a solid 4 for me, with moments that a clearly higher than that.
Kendrick Lamar
1/5
PJ Harvey
2/5
The Smashing Pumpkins
3/5
While this album is nearly the definition of a seminal 90s album, the contents are decidedly a mixed bag. Some of the songs are tunes that will live forever in the ears of those who first heard them then. Others are forgettable. Perhaps a double album wasn't the best way for the Pumpkins to cement their legacy. Billy Corgan's voice is certainly quirky and I'm sure there are many that don't like it at all. For me, when it works, it works incredibly well; but when it doesn't, it grates. The lush orchestrations are out of this world and fill some of the songs to the max. The more spare entries are perhaps the more powerful for it.
As for the lyrics, it is quintessential 90s angst. What could be a more stereotypical pronouncement of the disaffected youth of the day than "emptiness is loneliness, and loneliness is cleanliness, and cleanliness is godliness, and god is empty just like me"?
A full re-listen really brought back to me how solid parts of this album were. And yet it also showed me how much of its time it was. It's not really a surprise that the Pumpkins couldn't make a go of it in the new century. But still, we'll always have "tonight, tonight".
Creedence Clearwater Revival
4/5
k.d. lang
5/5
I love this album. It was among the first batch of cds I ever bought (thank you Columbia House!) and have probably played it over 1000 times and I look forward to hearing it at least 1000 more.
k.d. lang has an incredible vocal instrument. First arriving on the scene as a "new" Patsy Cline, she rose to prominence in country circles (despite hailing from Canada). With this album, she (mostly) left her torch and twang behind to prove herself a force in the adult contemporary market. And with the hit "Constant Craving", she did just that and found, in this listener, a lifelong fan.
Vocally, her tone is so pure. She bends notes to her will, coaxing emotion out of words and phrases with seeming ease. When she sings of pain, it is palpable. When she sings of joy, it is infectious. When she sings of longing, it is intense.
This particular collection of songs shows a range that some of her other albums don't. (I own them all, but this is the one I come back to most.) From the bouncy, coquettish Ms. Chatelaine (a cheeky flip-side to her normally butch persona) to the spare, haunting Tears of Love's Recall, she runs the gamut of a true chanteuse's repertoire.
k.d. lang is a true musical artist. 5 stars for me; no hesitation.
Stevie Wonder
4/5
This album, along with his later Songs In The Key of Life, stands as a testament to the talent and vision of Stevie Wonder. After years under the watchful eye of Motown head Berry Gordy, Stevie began navigating his own way in Motown. And his way was a satisfying mix of classic R&B sounds updated with outstanding keyboard/synth playing, a dash of funk, and a couple of chill ballads. His subject matter dabbles in the political, while still appealing to the mainstream (and crossover) listeners of the day.
The two hits, You Are the Sunshine of My Life, and Superstition, deserve all of their accolades, though they come from near-opposite ends of the Stevie spectrum. The dreamy keyboard intro and softly crooned opening lines of ...Sunshine might trick one into thinking it is no more than a sappy love song, but when the horns kick in, the drums snap, and Stevie lets loose with his voice, you know his message is deeply felt. Who wouldn't want this song sung to/about them?
Superstition, on the other hand, hits hard, both musically and lyrically, but with the same signature passion. His clavinet playing pretty much defines the instrument, and again, the horns add a brassiness (yes, I KNOW!) that elevates the arrangement. Stevie's howling vocals project the pessimism that was growing among the civil rights issues of the day.
The musicians are super-tight, with shining additions by guest David Sanborn on Tuesday Heartbreak, Jeff Beck on Lookin' for Another Pure Love, and Ray Parker, Jr. (of Ghostbusters fame!) ripping a great solo on Maybe Your Baby - a song that provides a rather direct-line influence to Stevie's R&B-flavored pop successor in the next decade, Prince.
All in all, an enjoyable listen, with some VERY high points.
Big Brother & The Holding Company
4/5
Fugees
2/5
Nitin Sawhney
4/5
I think there is great genius in this album. What a labor of love and caring that this prolific artist, operating mostly in the shadows, would use his clout to speak out, beautifully, loudly and passionately, about a cause that concerns him.
The production is absolutely stunning, the mixes so complex and yet focused and affecting. The vocals are compelling throughout. The various styles could strike some as too all over the place, but I saw the eclecticism as a way of bringing together many eras and many peoples in a salute to our varied humanity.
The concept can be a little heavy-handed at times, but the subject matter is so important that I can let that slide a little. Working backwards in time feels right to me, as it gets us back, at the end of the album, to a time of more innocence and helps us wonder how we might get there again, or where might we be without this threat.
This is not an album to put on for easy listening and I wouldn't necessarily dial up songs from it on a whim. But it is an Important album in other ways. I'm glad I've heard it and can see great value in revisiting it in the future.
Gary Numan
2/5
Largely seen in the U.S. as a one-hit wonder for "Cars", Numan was actually at the leading edge of the synth-pop/new wave movement worldwide. This synth/Moog heavy collection is not an easy listen today, as the sounds are definitely of their time and outside of the 80s mainstream. Likewise, the subject matter isn't particularly relatable, dealing with machines, robots and other things sci-fi. Perhaps that's why "Cars" hit the biggest - it reflects on something most of us can relate to.
I dig the bass lines and drum tracks in many places (esp. the instrumental opener), can take or leave his voice (which works best on "Cars"), and admire the strings mixed in on certain tracks ("Complex", )
What can't be ignored, though, is the albums influence on other bands. New wave took off big and much of the sound can be traced to Numan, to the point that some of those sounds & rhythms are common in general pop and even hip-hop these days. And if you want a direct connection, look to NIN's cover of "Metal" (which clearly rocks a lot more than the version here).
Still, I wouldn't listen to this album in it's entirety again. But "Cars" has a solid place in my 80s playlist, for nostalgia's sake, if nothing else.
Fela Kuti
3/5
The xx
4/5
Wow, what a great find!
This is a group/album that I didn't know I needed in my life but am glad to add. It's lyrical without being predictive, deep without being pretentious, playful without being cutesy, chill without being boring. I like the voices, unconventional on their own, yet well suited to each other. I like the sparseness of the arrangements, which makes each instrument and the vocals all that much more important.
Intro had me very interested from the start, but I warily awaited how their vocals might skew things. When the female voice dropped in on VCR (after that catchy toy piano riff & thumping drum/bass combo kicked in), my wariness waned. The male vocal, somewhat sloppy & slurred) was interesting in itself, but when she joined him, the mixture was just perfect. This feeling continued for me throughout, with particular highlights for me being Heart Skipped A Beat (great, fun percussion tricks), and Infinity (again, great percussion, with reverb-dreamy guitar). Stars is a great lead-out, leaving me wanting more.
It's clear to me by this point (almost 50 albums in) that this list skews British, esp. in alt-rock/pop genres. While that's bothered me a bit with the more "name" groups, I love that it's brought my attention to things like Nick Drake and this.
The Slits
3/5
2/5
This one is a tough sell for me. I appreciate their musical talents and there are some really great rock songs here. But the content is SO political, and so British, that it becomes inaccessible fairly quickly. I'm all for politics in music, but it's been done much more powerfully and subtly in the decades since by other groups. While I appreciate their bravery and forthrightness, I much prefer their later hit music. I would likely not listen to this album again.
Stan Getz
3/5
This is a good example for me of how this list can be useful. I've heard the name Stan Getz before, but had no idea what his style of jazz was. After this listen, I know that when I'm looking for some cool, tight sounds to put on for relaxation or background, I can ask Alexa for a Stan Getz album.
Pixies
1/5
It's telling that Here's Comes Your Man is the most popular song from this album. It's catchy, melodic and has a great hook. It's the only song on this album I care for. There are a few others that showed promise in the first few bars, but then the strident guitars, angry vocals and discordant noise kicked in and they lost me. It's just not my kind of music.
Billy Bragg
3/5
An interesting listen. The album sounds a bit like if The Clash did 60s protest folk. And I kinda like it! His voice is interesting and I can see how it might turn some off, but it works for me in much the way that Dylan's does. It's not about the the sound of his singing, but about the message he brings in the lyrics. Those lyrics are pretty political, but in more of a poetic, Woody Guthrie/Dylan way than, say, the hit-em-over-the-head messaging of The Kinks' ARTHUR album.
Still, I'm not sure I'd put this album in my rotation. Rather, if I heard him playing at a festival or rally, I'd appreciate him being there and sharing his viewpoint with us.
Anita Baker
2/5
While Anita Baker has a nice voice and these songs are perfectly fine, I don't find anything revelatory about this album. I can't say I've ever thought "I'd like to hear an Anita Baker song now" or ever heard one of the hits from it and thought "Wow! What a great song!" The chime-y keyboard sounds, along with some of the other production, place it squarely in the 80s soft-pop genre, and it's unfortunately mostly forgetable.
The Coral
3/5
The Police
5/5
Any one of The Police's albums could rate as a favorite. This one hits all of the sweet spots for me. It keeps just enough of the punk/reggae vibe of their earlier works, but expands into a slightly more mainstream rock milieu. It spawned quite a few hits (all of them deserving, IMO) and even the lesser tracks still have a lot going for them.
As a whole, the album is rather dark with its investigations into murder, stalking, oppression, devilry and just the weight of day-to-day existence amongst the uncertainty of the world.
The album kicks off with the almost discordant Synchronicity I, full of ambiguous lyrics, soaring vocals, and jamming piano & guitar. Sting gets a little preachy, but cheekily so, in Walking in Your Footsteps, with great tribal percussion lending weight to the musical message. O My God might be the weakest link for me, but still has a pretty good jazzy hook and a sound that Sting will move toward more in his solo work. Ditto the story aspect of Tea in the Sahara, which could easily come off of his Ten Sumner's Tales album. Many people react against Mother (Andy Summer's sole writing/singing credit) and feel it's too far afield from the rest of the album. Personally, I dig it's weirdness and primal angst, and musically, the Middle Eastern sounds of the oboe and the funky time signature. Miss Gradenko (Stewart Copeland's sole writing credit) hints at a corporate/government scenario rife with danger & intrigue. Murder By Numbers is a Dirty Deeds-esque lyric paired with a bouncy, fun melody for an ironic look at hired violence.
Then there are the biggies, tracks 6-9: Synchronicity II is probably my fave track with its cynical look at a day in the life of the working man. I can never be in a traffic jam without feeling like a lemming packed in a shiny metal box. Every Breath You Take, King of Pain, and Wrapped Around Your Finger all earned their place on the airwaves & the charts, each distinct, and yet also of a piece - much like side two of a Beatles' albums.
This album is a masterwork from a band at the top of their game. That they called it quits right after is in some ways disappointing, but may have been the best call they could make, as they clearly went out on top.
Fugazi
2/5
The Rolling Stones
4/5
Soft Cell
2/5
2/5
Anthrax
2/5
I'd been holding off listening to this album for a while because I was sure I wouldn't like it. And while it's surely not my style of music, we've listened to so many worse albums in the interim that I don't think I can just damn it with one star. Were this a 10 star system, I'd probably give it a 2 - MAYBE a 3. But in this 5 star system, I've got to go with a 2, because it's not nearly as bad a some of the albums that have been virtually unlistenable.
So cheers to Anthrax. You've earned this 2 by not sucking as much as others!!
Röyksopp
3/5
Fleetwood Mac
5/5
Every song is worthy. A classic, a masterpiece.
Nick Cave & The Bad Seeds
3/5
Some nice, blues-based rock here. I’ve admired Nick Cave when I’ve come across him before, but never really dug deep. Now that I have with this effort, I find nothing that jumps out of the speakers, but still appreciate the solid effort.
Stylistically, it’s really two different albums, with a personal preference for the softer Lyre of Orpheus second disc, though I really dig Messiah Ward from the Abattoir Blues disc.
The Young Gods
2/5
Not great, but not offensive. Some great theatrical moments in the early going. Not something I'd return to.
Billy Bragg
4/5
The Chemical Brothers
3/5
The Specials
3/5
Pink Floyd
5/5
Well, here we are at The Wall. Probably the most successful, both commercially & artistically, rock concept album ever made. Some may argue for The Who’s Tommy, but for my money, Pink Floyd's artistry is just better, deeper, more satisfying.
It’s hard to separate the original album from all of the other incarnations: the movie, the various concert “stagings”. Those versions surely have a lot going for them, on some instances allowing the story to get more fleshed out & giving some fantastic actors & musicians the chance to interpret PF’s work. Live in Berlin, a personal fave of mine, brings together an amazing cast or actors & musicians (Albert Finney & Tim Curry for The Trial! I mean, come ON!), while constructing their wall right alongside an equally menacing wall in the real world. Talk about meta!
But when it comes down to it, a pair of headphones and this original recording just can’t be beat. Get lost in the stupor of Comfortably Numb, shout with rage at the teachers to leave them kids alone, or celebrate in the wall finally coming down, but go on this journey with Floyd, and, musically at the the very least, your soul will be better for it.
Happy Mondays
3/5
I don't have a problem with this music, but I don't find much new, amazing or inspiring about it. There's some good musicianship and some fun hooks. I'd be fine if one of the songs came on, but I probably wouldn't seek it out.
Jane Weaver
4/5
Another example of the Brit lean of this list. I'm surprised I've not heard of Jane Weaver on this side of the pond, esp. as it appears that she's made quite a splash over there.
This album is quite listenable, with a chill vibes and an interesting pop/trance crossover feel. I get hits of Dido and Feist, but with Weaver's own unique voice. The sounds are sometimes retro, but don't feel particularly dated (at this time!).
I would give this album future listenings, and will likely seek out some of her other works.
Buena Vista Social Club
4/5
Elvis Costello & The Attractions
2/5
Joni Mitchell
5/5
This was the first Joni I ever heard, introduced to me by an aging hippie whose musical tastes have shaped my own over the years. It has lived at the top of my list ever since.
Joni’s singing voice is unique and not necessarily for everyone, but there is no denying the power and influence of her songwriting voice. I don’t think you will find a female recording artist who doesn’t list Joni as an inspiration in some way. One of the original singer/songwriters, her unique folk tunings and feminine perspectives make this album a cornerstone of folk/pop history.
I’d be hard pressed to pick a favorite song from Blue, though some resonate more for me than others: All I Want, A Case of You & Carey hit the hardest for me. The bittersweet, almost anti-holiday River evokes a deep & melancholy longing that haunts me. And the title track is a perfect expression of the sadness of a painful loss.
Orbital
2/5
Ray Price
3/5
Coldplay
3/5
An accomplished debut and a strong precursor to Rush of Blood... Two great songs in Yellow and Trouble, two pretty good songs in Sparks and Everything’s Not Lost, with some okay filler between.
Nick Cave & The Bad Seeds
3/5
This album is a hoot! Super theatrical, great storytelling, decent musicianship. I'd keep it around for kitsch value, but probably wouldn't do much "pleasure" listening. The Kylie Minogue duet is clearly an outlier as the most accessible song on the album, but I also dug some of the earthier, more raw tracks too.
Arctic Monkeys
2/5
Maybe I'm showing/feeling my age, but I just don't have a lot of room for aggressive, loud rock. It generally doesn't give me cathartic release and make me feel better, but tends to come off as noise and make me more tense.
I liked couple of tracks on this album that are not so aggressive: Riot Van, Mardy Bum, A Certain Romance. I liked the singer's voice better on these, too, because I could better understand him and follow the story of the songs, stories whose characters fit well with his Scouse voice.
Musically, I really liked some of the bass lines (too bad this was the bassists only album with them), and some of the less-aggressive drumming.
I don't think I'd listen to this again.
Don McLean
3/5
The good songs on this album are SO good that it's sad that the other songs aren't nearly as good. A few even come off as weak re-treads of the same musical territory.
American Pie is a classic, probably a bit worn-out by now, it's impact weakened as a result of overplay. But on careful listening, the craft of it is still stunning, esp. the veiled lyrics that are a paean to the loss of innocence in post-war America.
Vincent, a song in a quite different vein, is similarly well-crafted, reflecting in it's musicality and it's story/commentary nearly the kind of genius McLean has found in Van Gogh.
But among the others songs, The Grave feels too blatantly political, Sister Fatima is limited by it's religious overtones and Everybody Loves Me, Baby feels silly next to the genius of the best tracks. The rest are warmed over versions of either American Pie or Vincent. Babylon does make for an interesting coda, however.
I've always been intrigued by the story that McLean was the subject of Killing Me Softly, but aside from the two standouts, I don't see much here that would inspire that kind of emotion. Hearing this album makes me think it best to just stick to his hits.
Patti Smith
4/5
The Flaming Lips
4/5
I dig the sound, the vibe, and the message, particularly after the ‘Yoshimi’ tracks. I especially liked Do You Realize. I’d listen to this again.
Incredible Bongo Band
3/5
Hey, I recognize that riff! And that one!
There’s a lot of fun to be had with this album. The rhythms are infectious, the music is brassy & fun. I’d probably rather hear this version of In a Gadda da Vida than the original, and I loved the take on Sing Sing Sing. Some of the other covers (Satisfaction & Wipeout, particularly) were somewhat anemic. I expected the solos in Wipeout to blow me away, but instead they were somewhat pedestrian compared to the more energized tracks.
As a whole, the album is a bit of a lark, but I ain’t mad at it one bit.
Turbonegro
2/5
While there is some decent music here, the vocals are way sub-par. A couple of the tracks work all right for me - Prince of the Rodeo is a highlight - and the camp factor is high. But all in all, it's a pass.
Sepultura
1/5
The Teardrop Explodes
2/5
Largely unremarkable. I enjoyed the title track.
Blue Cheer
3/5
Who knew the origins of heavy metal would be so accessible? I mostly liked the sound on this album and could totally see it as the stepping stone to the harder rock to come. Some of the wankery (esp. on the last track) went a bit far for me, but I generally appreciated their musicianship, their lyrics and the power of their songs.
The Smiths
2/5
I believe the Smiths are severely overrated. The music is boring to me, the vocals uninspired. Aside from how I feel about Morrisey personally*, I find his voice to be limited in range and full of whiny over-emoting. The music is largely simplistic and the lyrics are a sophomoric retread of teenage angsty introspection.
I can't give it 1 star, because there is certainly much worse stuff on this list. But it barely makes a 2 for me.
*I think his picture is next to the word "douche" in the dictionary.
The Smashing Pumpkins
3/5
As far as 90s alt rock bands go, I like the sound of Smashing Pumpkins better than many others (ie., Nirvana, STP). Still, I can't help wishing that their albums showed more range. Aside from the couple of hits on this album, much of the rest of the songs sound largely the same, and much the same as the weaker songs on MC&TIS.
That said, Billy Corgan is in great voice on these tracks and the band is tight behind him. Taking the best of these songs and playing them with the best of MC&TIS makes for a damn fine "album" of 90s angst rock, and I'd more likely take that approach than to listen to either album in their entirety.
Erykah Badu
3/5
Mama's Gun starts off on an aggressive note, and with the first track, I was afraid I wouldn't like this album. But Erykah won me over with the string of tracks 2-5. Her voice is a bit odd at times, some whininess I could do without, but the power in her voice and her lyrics holds firm throughout.
In all, I was pleasantly surprised by this album. While I could do without Penitentiary Philosophy, Booty and Kiss Me on My Neck, I dug a lot of the other tunes here.
Frank Sinatra
4/5
While Frank is not my go-to crooner (I'm a Mel Torme fan), there's no denying the power of ol' Blue Eyes. This collection of songs of the great American songbook is a master class in performance by one of the best ever. Sometimes Frank's phrasing bugs me, but other times the story he tells in his timbre and range can't be beat. His backing orchestra under the masterful baton of Nelson Riddle does seriously swing, bringing the whole package to the highest level.
The Byrds
3/5
With standouts like So You Wanna Be a Rock n Roll Star, Renaissance Fair, Everybody's Been Burned and, especially, My Back Pages, YOUNGER THAN YESTERDAY gives us a great window into the folk rock stylings of the 60s. The album is somewhat uneven, perhaps due to the amount of sonic experimentation, much of which doesn't quite land. But the insightful lyrics and the interplay of the band, gifted musicians riffing off of each other, give listeners plenty to like.
The sound is definitely 60s, with some backward sections, raga inspired sonic beds and unmistakable drum rhythms/sounds of the period. Many may find it dated, but instead I look at it as a stepping stone that brought music to it's next level, to be built upon by other groups that would put their own decade's stamp on the genre.
I give it a solid 3.
Motörhead
2/5
I must be getting a little soft with all of this album listening, because I didn't dislike this as much as I feared I would. The band really does rock and the guitar work is quite sharp. The vocals are a bit "scream-y" for me, but seems to work well with the style. I wouldn't really go for it again, but better than some we've heard here.
Dr. Dre
1/5
Green Day
4/5
While I personally prefer Dookie overall (what a sentence!), American Idiot is a very strong album, with Green Day maturing into a band that matters. Billie Joe has a very unique voice, one that entirely fits the sound of the band and the POV of the song lyrics.
In listening to the whole piece, it's clear that the band intended as a concept album and is no surprise that it has done well as a rock opera/musical. The stories & characters in the songs are compelling, and the music (unfortunately) tips over sometimes into musical theatre tropes. There are a few tracks that make me think the band was aiming a little too high, but it's hard to fault their ambition. I'm very interested in listening to this again, closer, to glean more from it.
Goldie
4/5
Yeah, I dig this. Great beats, inventive sounds, clever mixture of instruments. A nice add to my collection.
Primal Scream
3/5
Interesting sounds that go out there at times, but never way out there. It's very theatrical at times (which I like), meditative at others (which I also like), aggressive occasionally (but never too much so).
The White Stripes
2/5
Crosby, Stills, Nash & Young
5/5
If ever there were a case for letting your freak flag fly, this album might be it. CSNY are in peak form here, with their signature tight harmonies, lyrics of protest & empowerment, virtuosic guitar playing, and all around 60s love.
Each member has a chance to shine, but it's when they all come together as a cohesive whole that this album transcends. "Carry On", the opener, is a prime example - the harmonies rarely more impressive, the organ & Young's guitar riffing off of each other, the message one of eternal love & peace. Jerry Garcia's pedal steel adds some nice twang to the soulful "Teach Your Children", and Young's "Helpless" aches with raw emotion.
"Our House" might be the weakest entry here, for my money, but it does boast a unique vocal from Nash, perhaps the most underrated of the "supergroup".
But for me, it's "Woodstock" that puts this album over the edge - an amalgam of music and vocal that encapsulates the 60s. This rockin' reinvention of a rather turgid Joni Mitchell tune puts us on an astral plane with CSNY, where we're all stardust. Perfection.
Radiohead
4/5
Yeah, this is a really good album. With the exception of My Iron Lung and Bones, I liked pretty much every thing else on it. I'll listen to this again, and again.
Megadeth
2/5
Wow, those guitars and drums are...unrelenting.
Al Green
3/5
The Allman Brothers Band
4/5
Great blues jams here. They strike just the right balance between song & jam, for my tastes. Love the organ on Hot 'Lanta, the gritty passion and inventive noodling on Whipping Post, and the thrumming groove on the album as a whole. While it might not be quite the same as being there, you can feel the energy coming off of them and the interplay amongst themselves and the crowd. I'll listen to this one again.
Caetano Veloso
3/5
Gene Clark
3/5
Nick Drake
5/5
The best find from this list for me, hands down. I really love his sound, his gentleness, his lyrics. This album gives me hits of Cat Stevens and Jim Croce in places, both songsmiths that I deeply admire. The guitar playing is really fantastic on Three Hours and Day Is Done (don't know why this song wasn't a HUGE hit!). Some of the orchestration might be a bit much in places (lots of strings), but I don't mind when it deepens the track. My only less enthusiastic take is for Thoughts on Mary Jane, whose flute part greatly dates the song for me. But all in all, another album that will stick with me by an artist I'm very glad to have discovered.
Aerosmith
2/5
I like Aerosmith fine, in a "Greatest Hits" kind of way. None of those on this album (yes, I know "Back in the Saddle" was big for them, but it's certainly not one of their greatest.) I was pleasantly surprised by the amount of funk on Last Child and wish more of the album would have gone there. I don't think that if I didn't know this was Aerosmith, I would have taken any notice or thought the band would have amounted to much.
Screaming Trees
3/5
I rather like this album. While uneven, the best of the tracks are better than a lot of the watered-down, over-hyped songs and bands with more output in the nineties. I'm not sure why they never crossed my radar back then. If they had, I think I would have listened to this album. Now, it's maybe a bit too rooted in it's time to make a regular rotation for me, but I would like to re-experience it occassionally.
Television
3/5
Suzanne Vega
2/5
George Michael
5/5
80s pop nostalgia - ain’t it grand?
Tom Waits
4/5
A voice to crush rocks, but a poetic soul to reflect our humanity.
Aphex Twin
3/5
The Cardigans
3/5
Sinead O'Connor
5/5
Haunting, melodic, political, spare, heart-rending & heartfelt. Sinead brings it all and more with this album. Both the vocals and the production are stunning in their simplicity. The anger, desperation and plaintiveness of the lyricism bring an emotional wallop to every track, especially when paired with her yearning vocals. This album is sublime.
JAY Z
1/5
Jurassic 5
2/5
Santana
4/5
Teenage Fanclub
2/5
Elliott Smith
4/5
The Pogues
3/5
Haircut 100
3/5
Q-Tip
2/5
Elton John
4/5
The Rolling Stones
4/5
Bee Gees
3/5
Gotan Project
3/5
The Smiths
2/5
Herbie Hancock
3/5
Miriam Makeba
4/5
From playful to contemplative, Miriam Makeba shows on this album why she is one of the most important artists to come out of South Africa. That she was recording these songs and selling these albums during the oppressive years of apartheid in her home country proves what a force her voice and her music is. I had the good fortune to hear her sing live during Paul Simon's Graceland tour - what a treat, what an inspiriation.
Missy Elliott
2/5
Finley Quaye
3/5
Blur
2/5
Simon & Garfunkel
4/5
Public Enemy
3/5
Waylon Jennings
3/5
Johnny Cash
4/5
Bon Jovi
4/5
Rod Stewart
4/5
Roxy Music
2/5
The Only Ones
2/5
Pavement
2/5
Frank Sinatra
3/5
Thin Lizzy
3/5
Charles Mingus
4/5
The Everly Brothers
3/5
Iron Butterfly
3/5
Pulp
3/5
Jimi Hendrix
4/5
Jazmine Sullivan
3/5
The Stooges
2/5
808 State
2/5
The Cure
3/5
The Dave Brubeck Quartet
4/5
John Martyn
4/5
William Orbit
3/5
Cornershop
3/5
The Kinks
4/5
Pretenders
4/5
SAULT
3/5
Van Morrison
4/5
Prince
5/5
This album is prime Prince for me. He may have gone deeper lyrically on later albums, and certainly broke as much (or more) new ground sonically elsewhere, but PURPLE RAIN is nothing if not pure Pop/R&B genius.
There were a lot of great movie soundtracks in the 80s (Footloose, Top Gun, The Big Chill, to name a few) but PURPLE RAIN was more than just movie music - it was THE soundtrack of my high school years. Every night building our homecoming float in Myers' barn, we blasted that album (hoping the chaperones weren't listening too closely when Darling Nicky came on!). Our pompon teams' signature routine was to I Would Die 4 U/Baby I'm A Star. At least a couple of weekend nights were spent catching the film at Bella Vista Cinemas. And I remember wishing the title track would never end as I sweatily clung to the cute girl I had a crush on, sharing the last song of a school dance.
Prince of course had many other great albums & songs, but when I think of him, I always think first of this album. Listening to it brings up a huge wave of nostalgia, this time manifesting in a big purple rain cloud.
Wilco
3/5
2/5
The Icarus Line
1/5
A Tribe Called Quest
2/5
ZZ Top
3/5
Jerry Lee Lewis
3/5
10cc
2/5
Prince
4/5
The The
3/5
Aimee Mann
3/5
Nirvana
3/5
OutKast
2/5
Skunk Anansie
4/5
Killing Joke
3/5
Bob Marley & The Wailers
4/5
Fiona Apple
5/5
I first heard this album live when she played the Capital Ballroom in Washington, DC. The album had barely been released and Shadowboxer was just starting to get some airplay on the alt-station here. I instantly fell in love with her sound - the growling, alto voice that can soften achingly on a dime, the almost classically-based piano creating the bedrock of the songs, the bass-heavy riffs and lush instrumentations that fill in the gaps. A 19-year-old writing so clearly, so confidently, so movingly about her experiences - some so horrific that might rather forever silence a young woman - elevates the music to another level. Many laud the musical experimentation with which Apple pushed the envelope in her later albums, but this one is stronger to me for being more traditional. There is a counter-point between the sound, reminiscent of adult contemporary artists, and the poeticized angst of her painful youth - and that brings her message and music home with more feeling, more resonance. This album only gets better with repeated listenings, deeper as more time passes. A masterpiece of a debut.
Queen
3/5
The Go-Betweens
3/5
Iggy Pop
3/5
Frank Ocean
3/5
Various Artists
3/5
System Of A Down
1/5
The Band
3/5
3 1/2
Faust
3/5
Jefferson Airplane
4/5
Isaac Hayes
4/5
ABBA
3/5
Thundercat
3/5
Stevie Wonder
4/5
Common
2/5
Radiohead
4/5
Sly & The Family Stone
3/5
Cocteau Twins
3/5
Gang Of Four
1/5
Travis
4/5
Grateful Dead
3/5
2Pac
1/5
X-Ray Spex
3/5
Fred Neil
2/5
The Lemonheads
2/5
Is this the group that sings the Friends song? The only halfway decent song here is the “bonus” track remake of the Simon & Garfunkel classic which, aside from its janky, driving beat, has none of the charm or musicality of the original.
Cypress Hill
1/5
Paul Weller
3/5
Aerosmith
3/5
Simon & Garfunkel
5/5
Even the non-hits on this album are rich in both their lyrics and their musical stylings. And the hits are monstrous. Both The Boxer and Bridge... are quintessential folk-pop anthems that never get old for me. Only Living Boy... is an emotion-packed lament for one's individuality. If I Could and Cecilia bring the janky rhythms and off-beat instrumentation of world music to the fore, scoring on both points. There's no denying the influence and staying power of this album.
Bill Evans Trio
4/5
Muddy Waters
4/5
Tracy Chapman
4/5
Drive Like Jehu
1/5
Steely Dan
4/5
Sly & The Family Stone
4/5
The Black Crowes
5/5
Good, solid, slammin' rock and roll! Kind of a surprise 5 stars for me. I knew I liked their songs that I'd heard before, but didn't realize they all came from the same album! Hard to Handle has been one of my favorite rock songs since their version hit. Jealous Again & Twice as Hard are nearly as good, with great edge, wonderful hooks and tight playing. She Talks to Angels show a bit of a softer side, but still packs a punch. Even the lesser songs on this album show off the strength of the ensemble, with the fantastic organ sounds bringing a feel of the best of The Band or Procol Harum. This album, simply, rocks and will be in my collection in regular rotation, esp. for road trips with the windows down!
Chicago
3/5
3/5
Frank Black
2/5
Machito
3/5
Gang Starr
2/5
The Velvet Underground
3/5
Orange Juice
3/5
Fishbone
2/5
Kelela
3/5
Supertramp
4/5
The Band
3/5
Isaac Hayes
2/5
Leonard Cohen
3/5
Kanye West
1/5
So torn here. I really like some of the MUSIC on this album. Did Kanye write it? He had some amazing musicians & producers working on it with him, so how much if the music is due to them and not him? On the other hand, I pretty much hate every word that comes out his mouth, and I’m gonna put that squarely on his egotistic, misogynistic, wacko shoulders. What a shame. What a waste.
Songhoy Blues
2/5
Gene Clark
3/5
Jeff Buckley
4/5
Marianne Faithfull
3/5
Common
2/5
Daft Punk
1/5
“Mom! Listen to what my Casio keyboard can do!!”
Billie Holiday
4/5
The National
4/5
Public Enemy
3/5
Björk
4/5
Massive Attack
3/5
Nas
2/5
Sade
3/5
Tricky
4/5
Jah Wobble's Invaders Of The Heart
3/5
New Order
3/5
Garbage
4/5
Leonard Cohen
3/5
Brian Eno
4/5
The Mothers Of Invention
3/5
Bob Marley & The Wailers
3/5
Pink Floyd
5/5
Funkadelic
3/5
The Mamas & The Papas
4/5
M.I.A.
3/5
Kraftwerk
3/5
Miles Davis
3/5
Ryan Adams
3/5
Led Zeppelin
5/5
This is the definition of a great rock n' roll album. From the growling guitar riff that opens Whole Lotta Love (one of the best rock album openings ever) through the driving beat of What Is and What Should Never Be, the tender, almost-holy poetry of Thank You, the double-blast of Heartbreaker/Livin' Lovin' Maid, and Ramblin' On through a Tolkien landscape that tops any song the Hobbits could ever come up with - this album has it all. Some may find the drum-solo piece (Moby Dick) a bit unnecessary (Bonham is so amazing on the rest of the album, he maybe didn't need this showcase?), or quibble over the couple of less popular tracks here. But really, there are no misses and Zep proved with this release that they were the sound of rock n' roll.
Iggy Pop
3/5
The Rolling Stones
3/5
Jeff Beck
3/5
Suicide
4/5
Milton Nascimento
4/5
Cheap Trick
3/5
ABBA
3/5
U2
5/5
Roxy Music
2/5
Adam & The Ants
3/5
Ray Charles
4/5
The Mars Volta
4/5
Kendrick Lamar
1/5
Van Halen
4/5
Violent Femmes
4/5
David Bowie
4/5
Leonard Cohen
3/5
The Roots
2/5
Underworld
3/5
Kate Bush
3/5
The Who
4/5
The Temptations
3/5
Deep Purple
3/5
Siouxsie And The Banshees
3/5
Peter Tosh
2/5
Goldfrapp
4/5
David Bowie
3/5
Red Hot Chili Peppers
3/5
David Bowie
4/5
Roni Size
3/5
Very conflicted here. I like this - some of it very much - but it just goes on and on and on and on and on and on and on and on and on and on and on and on and on...
Fairport Convention
3/5
Deerhunter
3/5
The Chemical Brothers
3/5
AC/DC
4/5
Dead Kennedys
2/5
Kacey Musgraves
3/5
Dire Straits
3/5
Paul Simon
5/5
A meticulously crafted, deeply felt masterwork.
Germs
1/5
Shuggie Otis
3/5
Dizzee Rascal
1/5
The Hives
3/5
The War On Drugs
4/5
The Young Rascals
4/5
Orbital
3/5
Ray Charles
4/5
Save me the Ray Conniff singers and give me more of Ray’s bangin’ piano solos and this could be a five star effort. Still, it’s a textbook example of jumping, swinging, heartfelt blues.
David Bowie
4/5
Hugh Masekela
4/5
Traffic
3/5
Jungle Brothers
2/5
<yawn>
The Rolling Stones
3/5
A mixed bag. The hits (Paint It Black and Under My Thumb) are clear standouts. And there are some other strong, interesting entries - Lady Gray appeals to me, and Think gives some great classic RS guitar licks. But the weak songs in this album feel sophomoric & are easily dismissed.
Elvis Presley
3/5
This is pleasant enough, but it’s not Elvis at his best and far from what he’s known for. His take on Fever here is pretty phenomenal and there are some other strong cuts, but none of the raw rock energy that he made his mark with.
Bob Dylan
5/5
On repeated listens, I may give this a five. (EDIT: I put it into my rotation and gave it the well-deserved bump.)
The songs I knew (only a couple) are some of the best Dylan. The songs I didn’t know were poetic, emotion-filled and lovely in many different ways.
New Order
3/5
Nirvana
3/5
Fiona Apple
4/5
Not Fiona Apple at her best (see: Tidal) but still better than 3/5 of the albums on here. Inventive, playful, deeply felt and always sonically interesting.
The Kinks
3/5
The Velvet Underground
3/5
Beatles
5/5
Peter Frampton
4/5
Ground-breaking. Electrifying. A great party.
Love
3/5
Roxy Music
2/5
John Coltrane
4/5
N.W.A.
3/5
The Prodigy
3/5
XTC
3/5
Yes
4/5
The Cure
3/5
Robert Wyatt
2/5
Yeah Yeah Yeahs
2/5
Elvis Presley
4/5
Badly Drawn Boy
4/5
Linkin Park
3/5
The 13th Floor Elevators
3/5
Buffalo Springfield
3/5
Derek & The Dominos
3/5
-1 star for Clapton aging into an insufferable douche bag.
Steely Dan
4/5
Joy Division
3/5
Judas Priest
3/5
My Bloody Valentine
3/5
Destiny's Child
3/5
Rage Against The Machine
4/5
Elliott Smith
4/5
Depeche Mode
4/5
Dexys Midnight Runners
3/5
The Sonics
3/5
Nick Drake
3/5
Cream
3/5
Morrissey
3/5
R.E.M.
4/5
Pulp
4/5
Foo Fighters
4/5
Def Leppard
4/5
Arcade Fire
3/5
Beyoncé
3/5
Led Zeppelin
4/5
Neil Young
3/5
Talking Heads
3/5
Sebadoh
2/5
The Jesus And Mary Chain
3/5
Creedence Clearwater Revival
4/5
The Go-Go's
3/5
LCD Soundsystem
3/5
Captain Beefheart & His Magic Band
2/5
Bob Dylan
4/5
Richard Thompson
4/5
Bruce Springsteen
5/5
I’ve never been a huge Springsteen fan, though I have appreciated some of his songs that got air play. I’ve admired his evolution as an urban folk storyteller over the years. But having never really listened to this album all the way through before, I now see that those talents were there from the start. I can see how rough-edged disappointed but dreaming young adults of the 70s would have heard his lyrics and felt his passion and identified with his art. It all fits together so well, I don’t think I’d want to hear the songs separately again, but would rather hear them as this fiercely empassioned whole.
5/5
Everything But The Girl
4/5
The The
3/5
Minutemen
1/5
Are they pretentiously obnoxious or obnoxiously pretentious? Don’t suppose it really matters - isn’t that punk of me? It’s too bad, really, because some of the playing on this album, esp. the jazz-inspired riffs, could make for a great instrumental album. But then they open their atonal douchey mouths and let the bull-sh*t roar. “I can make a minute last an hour.” Yes, you can, my dude. And that’s nothing to be proud of.
Miles Davis
4/5
Gil Scott-Heron
4/5
Bad Brains
2/5
Merle Haggard
3/5
The Damned
2/5
Janelle Monáe
4/5
Tom Waits
4/5
New York Dolls
2/5
Little Richard
3/5
Incubus
3/5
The Jam
3/5
Alice Cooper
3/5
Van Morrison
5/5
Air
3/5
Taylor Swift
2/5
Nine Inch Nails
3/5
Lynyrd Skynyrd
4/5
CHIC
3/5
Gillian Welch
4/5
Muddy Waters
3/5
Massive Attack
4/5
The Smiths
2/5
Belle & Sebastian
3/5
The Magnetic Fields
3/5
Run-D.M.C.
2/5
Adele
5/5
Jamiroquai
3/5
Circle Jerks
1/5
In between each of the tracks, there was 2-3 seconds of silence. This respite from the noise that preceded or followed it was by far the best part of the album.
Nick Cave & The Bad Seeds
3/5
Michael Jackson
4/5
The Cure
2/5
Lana Del Rey
3/5
Arcade Fire
2/5
Is this the group that has the cute videos with Rube Goldberg machines & such? Makes sense that they developed a new those gimmicks, because nothing about their music is memorable.
EDIT: Apparently, I was thinking of OK Go. Still don't like this album
Led Zeppelin
4/5
Sonic Youth
2/5
The Byrds
3/5
Earth, Wind & Fire
3/5
Ute Lemper
2/5
Prefab Sprout
2/5
Ride
2/5
Solomon Burke
4/5
The Cars
4/5
Ghostface Killah
2/5
At least the samples he uses are from good songs.
Mj Cole
4/5
Penguin Cafe Orchestra
3/5
Willie Colón & Rubén Blades
2/5
Jimi Hendrix
5/5
Queen Latifah
2/5
Jane's Addiction
3/5
Arcade Fire
3/5
In my review of the previous album we had by Arcade Fire, I mistook them for Ok Go. While AF’s videos may be less gimmicky, that album was as forgettable as anything the other group has put out.
Thankfully this album has a bit more going for it. There’s much more musicality, deeper lyrics and driving rhythms (although by track 7 or 8 they become detrimentally unrelenting).
Oceans of Noise is my fave of the group - head and shoulders above the rest, and may even convince me to look again at the Fire.
Beck
4/5
One of the most sonically interesting albums of the 90s.
Dire Straits
3/5
Grant Lee Buffalo
3/5
Beatles
5/5
This could nearly be a 5 star album on the strength of the two George Harrison songs alone. Adding Come Together, Oh Darling!, and Golden Slumbers and Carry That Weight seals the deal. The rest is the most delicious gravy possible. The genius that is the bulk of side 2 is as audacious as it is tuneful. It just doesn’t get better than this.
Can
3/5
The Pogues
3/5
The Rolling Stones
4/5
A couple of monster bookends here - Gimme Shelter and You Can’t Always Get What You Want - elevate this album to a four. But even with the help of the somewhat reimagined Country Honky, there’s still too much here that’s just mediocre. And way too much twang for my money.
Leonard Cohen
3/5
Supergrass
2/5
Stereo MC's
3/5
Connected was a huge hit in its day, but I couldn’t have told you the artist’s name. It’s a very strong start to this album, but none of the other tracks deliver the same punch. Still, the rhythms, though somewhat dated now, strike a chord in me. I wouldn’t turn this off if it were playing, but doubt I would seek it out.
Sister Sledge
3/5
Fatboy Slim
2/5
I’d almost completely written this album off, then Praise You came on and that twang of nostalgia bumped this album up to a 2.
Koffi Olomide
2/5
Madonna
4/5
Belle & Sebastian
2/5
George Michael
4/5
Portishead
4/5
The Jam
2/5
Super Furry Animals
3/5
The Adverts
2/5
Van Halen
4/5
Femi Kuti
3/5
Carole King
5/5
Afrika Bambaataa
2/5
Neil Young
3/5
Steely Dan
5/5
Creedence Clearwater Revival
4/5
Jorge Ben Jor
4/5
Beach House
4/5
I’d not heard this album; didn’t know this group. I really like their sound, their lyrics, their mood. Will listen to this again and seek out more by them.
Michael Kiwanuka
4/5
The Last Shadow Puppets
3/5
Amy Winehouse
5/5
Solange
3/5
Minor Threat
1/5
Yes
4/5
Keith Jarrett
4/5
The Zombies
4/5
The Doors
4/5
The Yardbirds
4/5
Saint Etienne
3/5
Elvis Costello & The Attractions
3/5
Sarah Vaughan
5/5
The Replacements
2/5
Willie Nelson
4/5
Iron Maiden
2/5
Lauryn Hill
3/5
Def Leppard
4/5
Gorillaz
3/5
The Monks
2/5
Quicksilver Messenger Service
3/5
Grizzly Bear
4/5
Blur
3/5
Madness
3/5
Blondie
4/5
Rush
4/5
Metallica
2/5
The Kinks
3/5
Korn
2/5
Fleet Foxes
5/5
The Stooges
2/5
The Who
3/5
Meat Puppets
2/5
Radiohead
4/5
4/5
Boards of Canada
3/5
Green Day
4/5
ZZ Top
4/5
Mercury Rev
3/5
Curtis Mayfield
2/5
Death In Vegas
4/5
Tears For Fears
5/5
With this album, and especially it's monster hits "Shout" and "Everybody Wants to Rule the World", Tears for Fears announced their presence as the accessible voices of the disaffected youth of the 80s. Less emo and sonically dissonant than their cousins-in-pop like The Cure, The Smiths, etc., Roland Orzabal and Curt Smith mixed catchy riffs, powerful arrangements and deeply felt lyrics to capture the airwaves, as well as the ears and hearts of listeners worldwide.
Somewhat less angst-y than their primal scream therapy influenced debut album The Hurting, Songs from the Big Chair retains much of their anger and pain, but ups the ante musically, marrying their new-wave synth roots and sonic experimentation with pop hooks and lush orchestrations that get ever deeper with repeated listenings.
There's a definite Beatles' influence (which the boys exploited maybe a bit too much on their next release, Sowing the Seeds of Love), especially in the Abbey Road inspired flow of the second half of the album, from "I Believe" on. The songs move naturally from one to the next, shifting mood, tempo, rhythm and sentiment, but always feeling somehow cohesive. The brilliance of this approach is highlighted by bookending the MTV-friendly love song "Head Over Heels" with the driving, bass heavy "Broken". Following this up with contemplative and sonically fascinating "Listen" (truly *listen* to this track - preferably through good headphones!) wraps the album up nicely, leaving me wanting more, and yet, strangely, also sated.
This album is one of my favorites - possibly my most favorite - of the 80s and my youth. Listening to it takes me back to the days when music first revealed itself to be a transformative experience that could help me to analyze my thoughts and moods, and help me find solace amidst the chaos of teen life.
Queen
4/5
David Holmes
3/5
The Black Keys
3/5
Genesis
3/5
Buddy Holly & The Crickets
3/5
The Stranglers
3/5
Paul Revere & The Raiders
3/5
The Divine Comedy
3/5
Beatles
5/5
Ella Fitzgerald
5/5
I would listen to Ella sing the phone book.
While I wish there were more upbeat, jazzy tunes here, it's still such lush listening.
Alice In Chains
3/5
Buzzcocks
2/5
Stan Getz
4/5
Manu Chao
2/5
Alice Cooper
3/5
The Pharcyde
1/5
Kanye West
1/5
This man is a mentally ill, hate filled, ego driven monster. His music should not be celebrated.
Barry Adamson
3/5
Bee Gees
3/5
Sam Cooke
3/5
The Isley Brothers
3/5
Loved the “Don’t Let Me Be Lonely” cover!
Everything But The Girl
4/5
Mekons
2/5
Guy’s voice sucks.
Peter Gabriel
3/5
4/5
DJ Shadow
4/5
The Modern Lovers
2/5
Guy’s voice sucks.
Christine and the Queens
3/5
Sufjan Stevens
4/5
John Lee Hooker
3/5
Neil Young & Crazy Horse
4/5
Culture Club
4/5
Sonic Youth
1/5
The “Goo” of the title must be a result of the masturbatory wankery that these “artists” perpetrate all over this album.
The Avalanches
2/5
Tori Amos
5/5
Metallica
1/5
Sabu
2/5
John Martyn
4/5
John Cale
3/5
Marvin Gaye
4/5
Brilliant application of leit motif to a contemporary music album.
Elvis Costello & The Attractions
3/5
Mudhoney
2/5
Ice T
2/5
Tom Waits
3/5
James Taylor
5/5
Nico
2/5
Leonard Cohen
3/5
Marvin Gaye
3/5
Iron Maiden
2/5
Heaven 17
2/5
The Divine Comedy
2/5
Ramones
4/5
Mudhoney
2/5
The Fall
1/5
Sonic Youth
3/5
The Temptations
3/5
Eagles
4/5
UB40
1/5
Nanci Griffith
4/5
Boston
5/5
One of the greatest debut albums in all of rock. One of the greatest guitar albums in all of rock. If you can’t get into this, you might be broken inside.
The Darkness
2/5
The Beach Boys
3/5
Jethro Tull
3/5
Flamin' Groovies
4/5
Never heard them before, but really dig their style!
George Harrison
5/5
The older I get the more I appreciate the quiet Beatle - the profundity of his lyrics, the virtuosity of his guitar playing, the simplicity of his melodies.
The Byrds
3/5
Red Snapper
3/5
Spacemen 3
2/5
Jean-Michel Jarre
2/5
Astor Piazzolla
3/5
Madonna
5/5
Madge’s last great album. I love the cohesiveness of it. It’s clear that every song is a part of this album, yet each has its own unique perspective and sound. The Eastern & Middle Eastern influences work well for me, giving the music a spiritualized edge. Madonna’s voice is in fine form and the production is unmatched. Complicated and catchy rhythms meld with super-rich bass lines and ethereal atmosphere to provide an elevated club sound unlike any other. Frozen is a highlight, with its lush strings, jangly percussion, and almost medieval chord structure supporting her cutting words to a cold, emotionless subject. Little Star, an electronica lullaby to her then-newly-born daughter Lourdes, is unexpectedly touching, yet retains much of the sugary fun that made Madonna a pop goddess.
Spiritualized
3/5
The Charlatans
2/5
Oasis wannabes.
1/5
Method Man
1/5
Simply Red
3/5
Soundgarden
3/5
The Soft Boys
3/5
2.5
John Mayall & The Bluesbreakers
4/5
Jimmy Smith
4/5
Bert Jansch
3/5
The Jon Spencer Blues Explosion
2/5
Weather Report
3/5
Mariah Carey
3/5
Depeche Mode
3/5
Gram Parsons
3/5
Johnny Cash
5/5
A seasoned master finds new life at the end of his career with his collection of brilliant versions of timeless classics.
Fever Ray
4/5
Lupe Fiasco
3/5
Nusrat Fateh Ali Khan
3/5
Neneh Cherry
3/5
Raekwon
2/5
Public Enemy
3/5
Pink Floyd
5/5
Sonic nirvana.
Dusty Springfield
4/5
Never knew much other than her hit(s). Great voice, very expressive.
Genesis
3/5
If we weren’t hearing this a couple of days after Dark Side of the Moon, it might warrant another star. Still, a strong outing from G.’s prog rock years.
Slade
3/5
Elvis Costello
3/5
The La's
4/5
Pleasantly surprised!
Soul II Soul
3/5
Miles Davis
4/5
Too short!
Metallica
1/5
This album is so cheesy, it’s hilarious! But i don’t think the band realizes how ironically ridiculous it is that they traded their metal cred for some 70s Live-and-Let-Die symphonic arrangements. If they were in on the joke, I might give them an extra star or two for their cleverness. As it is, it’s just a mess of styles and self-importance.
The Verve
4/5
Bittersweet Symphony is a great song - one of the best of its era, IMO. That elevates this otherwise pleasant, but not great, album for me.
M.I.A.
2/5
Recommended for someone who wants to know what $10 get you. Also for people who need to hear a song that samples Sanford & Son before they die.
Wild Beasts
2/5
David Crosby
3/5
KISS
3/5
Some great songs and some super lame-o songs even this out to a 3.
Janis Joplin
4/5
Björk
4/5
I dig Bjørk. And listening to her while driving through the Icelandic countryside added a whole new dimension to her music. While I think Post and Debut are stronger albums, there’s nothing like hearing her sing Ancestors while in the shadows of the mountains that inspired her song.
Frank Zappa
3/5
Pixies
2/5
The Who
4/5
A bit uneven, but still solid, live album. Keith Moon is in particularly fine form - I love his work on Happy Jack, one of my faves of this album, along with the closer (of the Ext. Edition), Magic Bus.
King Crimson
3/5
Goldfrapp
4/5
Magazine
3/5
Lightning Bolt
1/5
King Crimson
3/5
The Incredible String Band
2/5
Rufus Wainwright
2/5
Ozomatli
3/5
Elton John
4/5
5/5
This may be THE seminal album of the late 1980's, vaulting U2 from a scrappy Irish act to a massive powerhouse of stadium tours and influential pop-rock. The Edge pretty much re-invented himself as a guitarist, discovering inspiration in classic blues, and his echo-laden delays in the opening riff of the album's first track, Where the Streets Have No Name, announced a new power-house sound for the band and gave him a signature sound. Larry Mullen and Adam Clayton, who could barely play their instruments just a few albums earlier, lay down their tightest rhythm grooves in such songs as I Still Haven't Found What I'm Looking For, Bullet the Blue Sky, and In God's Country. And then there's Bono, doing what a front-man singer-songwriter does best. He brings all of his attitude, bombast, nuance and creativity to lyrics that are important, yet catchy. The political shadings (Bullet The Blue Sky, Red Hill Mining Town, etc.) are subversively pointed, some of the best global perspectives painted in this era where great songs & albums made an effort to bring awareness and effect change in the world. (Artists today could take a few pages from that book...).
So many of the songs got such huge airplay that many probably feel they were played out. But really listening to the songs makes it clear why they struck such a chord and became so popular. And those tracks that didn't become hits are still better than 90% of the music on other albums then and now.
Some people have found it trendy to not like U2 since their stardom has waned, and can justify not giving it 5 stars. But anything less than a 4-star rating expresses an ignorance of musical history and creative expression. For me, it's a no-brainer.
Randy Newman
3/5
The Rolling Stones
3/5
Jack White
2/5
The Stooges
3/5
SZA
2/5
I actually like much of the music here. But the lyrics...don't speak to me.
Lucinda Williams
2/5
David Bowie
3/5
PJ Harvey
2/5
Black Sabbath
3/5
Dinosaur Jr.
2/5
Abdullah Ibrahim
4/5
Booker T. & The MG's
3/5
Mylo
4/5
Holger Czukay
1/5
The Cult
3/5
The Mothers Of Invention
2/5
The Beach Boys
4/5
Scissor Sisters
4/5
The United States Of America
3/5
Steely Dan
3/5
Baaba Maal
3/5
Joan Armatrading
3/5
Joanna Newsom
2/5
Maxwell
3/5
Ryan Adams
4/5
Public Image Ltd.
2/5
Throbbing Gristle
2/5
Tom Waits
3/5
Michael Jackson
4/5
Japan
3/5
The Doors
5/5
What a debut album, so iconic and of it’s time, yet lasting. Manzarek and Morrison are unstoppable here with raw energy and an entrancing vibe.
The Beta Band
3/5
Cowboy Junkies
4/5
Beastie Boys
3/5
Ramblin' Jack Elliott
3/5
Miles Davis
5/5
A master. Playing with other masters.
Louis Prima
5/5
When it comes to the crooners and songsmiths of the golden age, give me Mel Tormé and Louis Prima and I’ll never need to listen to Frank or Dean again. And with Prima, you get a triple shot - his trumpet, his lovely-voiced wife, Keely Smith, and the larger than life persona that was the King of Swing himself. Even if I didn’t first discover Prima in my childhood as the voice of the wailing orangutan King Louie in Disney’s The Jungle Book, I think I’d still have come to love Prima for the sheer joy he brought to his music. Listening to him is like being visited by your fun-loving uncle who storms into the family gathering, charms all of the ladies, has a rowdy drink with the men, goofs with the kids, and then leaves in a whirlwind of laughter and good will.
Paul Simon
4/5
Ali Farka Touré
3/5
Tim Buckley
4/5
The Shamen
2/5
Sisters Of Mercy
3/5
Eric Clapton
2/5
There's no denying Clapton's virtuosity as a guitarist. And while I can get behind some of his early rock outings, like Layla and White Room, his solo work feels derivative, inauthentic and passionless to me. Plus, he's turned out to be a real dick.
Electric Light Orchestra
3/5
The Beach Boys
3/5
The KLF
3/5
Justin Timberlake
2/5
The Clash
3/5
The Clash had a couple of great albums. This isn’t one of them.
fIREHOSE
2/5
Napalm Death
1/5
Dagmar Krause
2/5
The Zutons
3/5
3/5
Crosby, Stills & Nash
4/5
AC/DC
3/5
Wilco
2/5
Neu!
2/5
Grateful Dead
2/5
The Libertines
3/5
Hanoi Rocks
3/5
My Bloody Valentine
3/5
American Music Club
3/5
The Associates
1/5
50 Cent
2/5
Joy Division
2/5
Rahul Dev Burman
3/5
Kate Bush
2/5
Lambchop
3/5
The Notorious B.I.G.
2/5
Metallica
1/5
Run-D.M.C.
4/5
Marty Robbins
4/5
Talking Heads
4/5
The Vines
4/5
Deee-Lite
3/5
Dexys Midnight Runners
2/5
Emmylou Harris
2/5
Fleetwood Mac
3/5
Traffic
3/5
Big Star
3/5
Pixies
2/5
Einstürzende Neubauten
1/5
Doves
4/5
Norah Jones
5/5
Rod Stewart
3/5
The Disposable Heroes Of Hiphoprisy
3/5
The White Stripes
2/5
Simple Minds
3/5
Dennis Wilson
3/5
Janet Jackson
3/5
Beastie Boys
2/5
Bruce Springsteen
3/5
Sepultura
1/5
Marvin Gaye
4/5
Slipknot
1/5
Bonnie Raitt
3/5
The Beta Band
3/5
Brian Eno
3/5
Mike Oldfield
4/5
Cat Stevens
4/5
Elvis Costello & The Attractions
2/5
I’ve heard enough Elvis Costello. Maybe for good, but certainly for this 1001 Albums adventure.
Amy Winehouse
4/5
So sad that she wasted such a brilliant talent. Grateful for what we have of her work.
Bad Company
4/5
Nick Cave & The Bad Seeds
3/5
The Auteurs
3/5
Stephen Stills
3/5
The Waterboys
3/5
Laura Nyro
2/5
Klaxons
2/5
Fairport Convention
4/5
Tim Buckley
3/5
Elbow
4/5
Hints of Sting & Peter Gabriel in the vocals & lyrics, and Guster in the music - all pluses for me. I’ll listen to this again & check out more by them.
Doves
3/5
Laibach
1/5
Alanis Morissette
4/5
John Lennon
5/5
The title track alone might be enough to warrant a five. But the rest of the album is just as important of a musical statement from one of our greatest poets and songwriters. Sublime
Leftfield
4/5
Neil Young
4/5
Ministry
1/5
Radiohead
3/5
The Strokes
3/5
Lloyd Cole And The Commotions
2/5
Robbie Williams
3/5
Brian Wilson
3/5
CHIC
3/5
The Sensational Alex Harvey Band
2/5
The Human League
3/5
Throwing Muses
3/5
Wu-Tang Clan
2/5
Deep Purple
3/5
Missy Elliott
3/5
Rufus Wainwright
2/5
PJ Harvey
2/5
White Denim
3/5
Bob Dylan
4/5
No great fireworks here, just a solid set of songs by a master of lyrics and phrasing. If you don’t like his voice, you’ll probably give this a thumbs down, even though he’s more melodic here than on many of his earlier albums. I feel the depth of his experience, along with a keen insight into the human condition, with Not Dark Yet as a standout track. I also dig Daniel Lanois’ production, as I usually do on albums from this era, even if Dylan was not a particular fan.
Fela Kuti
4/5
Bruce Springsteen
4/5
MC Solaar
2/5
Merci, mais non.
Björk
4/5
Ms. Dynamite
3/5
The Who
2/5
Moby
4/5
Richard Hawley
4/5
The Sabres Of Paradise
3/5
Kanye West
1/5
Morrissey
2/5
Ananda Shankar
3/5
Björk
4/5
Beatles
5/5
Todd Rundgren
3/5
TV On The Radio
4/5
Having never heard of this group before, this was a great surprise. Very interesting sound and lyrics, reminiscent of some of my favorite artists. Will definitely listen to this again and check out more by them.
Dwight Yoakam
2/5
Billy Joel
5/5
A masterful songwriter, whether in story-telling mode (Italian Restaurant), generating memorable hooks (Movin’ Out), or as a soulful romantic (Just the Way, Always a Woman). The jazz/piano bar influence peeks through, giving him a certain cred and a wider appeal, though his range here is definitely rooted in mass market pop/rock. Fine by me! The last two cuts are less than the rest, but there’s no denying the strength of the string of seven songs that make up the bulk of the album.
Big Star
3/5
David Bowie
4/5
The Monkees
3/5
Willie Nelson
3/5
The Afghan Whigs
2/5
Van Morrison
4/5
Nick Cave & The Bad Seeds
3/5
The Fall
1/5
This sounds like a geeky college dork found the soundtrack for a bad 80s action-comedy with Jean-Claude Van Damme and Ralph Macchio and made up words for it and recorded his voice over it in his closet. He doesn’t have a shred of talent, and is super pissed at the world for not recognizing his genius.
B.B. King
4/5
David Ackles
3/5
Kings of Leon
3/5
Solid
Cyndi Lauper
4/5
David Bowie
3/5
FKA twigs
3/5
Sugar
2/5
Coldcut
3/5
Duke Ellington
5/5
Absolutely electrifying!!
The Police
4/5
Rocket From The Crypt
2/5
Bob Marley & The Wailers
2/5
Beatles
4/5
Django Django
3/5
Fun Lovin' Criminals
3/5
Franz Ferdinand
4/5
A very strong album. I’d only ever heard Take Me Out before, but found much to celebrate in the rest of the album.
R.E.M.
3/5
Shivkumar Sharma
3/5
Deep Purple
3/5
Beth Orton
3/5
Arrested Development
3/5
Adele
4/5
N.E.R.D
3/5
Soft Machine
2/5
The Clash
3/5
The Byrds
3/5
Hawkwind
1/5
Brian Eno
4/5
Led Zeppelin
4/5
Spiritualized
4/5
3/5
Elis Regina
3/5
Morrissey
3/5
Not as bad as I’d feared. Some interesting things going on musically. His lyrics and voice still leave me cold.
Tom Tom Club
2/5
Red Hot Chili Peppers
3/5
Orchestral Manoeuvres In The Dark
3/5
T. Rex
3/5
Aretha Franklin
4/5
Slint
2/5
Moby Grape
2/5
Public Image Ltd.
1/5
Queen
4/5
Neil Young & Crazy Horse
4/5
LL Cool J
3/5
Basement Jaxx
2/5
The Birthday Party
1/5
Guided By Voices
3/5
Scott Walker
2/5
Echo And The Bunnymen
2/5
Nirvana
3/5
The album that launched an entire genre of Unplugged music…for better or for worse. I remember watching it when it aired on MTV, my whole cohort thinking “wow, Nirvana where you can actually understand what they’re saying!” Too bad it hasn’t aged well. The songs mostly sound the same here - natural, I suppose, given the live studio setting. But that also robs most of the songs of the raw power and angst that defined Nirvana. The song that retains it the most is the closer, Where Did You Sleep Last Night?, which is a damn fine cover. This was Nirvana for the masses, and I give it a round of the same polite applause that the studio audience does.
Motörhead
2/5
Pet Shop Boys
3/5
Pentangle
3/5
CHVRCHES
4/5
Joni Mitchell
4/5
Echo And The Bunnymen
3/5
Tom Petty and the Heartbreakers
4/5
Queens of the Stone Age
3/5
Steve Winwood
3/5
Tortoise
2/5
The Good, The Bad & The Queen
3/5
Harry Nilsson
4/5
The Undertones
3/5
Bobby Womack
2/5
Butthole Surfers
1/5
Little Simz
2/5
Kraftwerk
3/5
Slayer
1/5
Sheryl Crow
3/5
1/5
Supergrass
3/5
De La Soul
3/5
Liz Phair
3/5
G. Love & Special Sauce
3/5
James Brown
2/5
Britney Spears
1/5
So many amazing artists that aren’t on this list, yet this dreck makes the cut?!? -1 for all the better artists that she edged out.
The Electric Prunes
3/5
Talking Heads
4/5
4/5
Beck
4/5
Tito Puente
3/5
Kings of Leon
3/5
The Flying Burrito Brothers
3/5
Emerson, Lake & Palmer
2/5
Talk Talk
2/5
a-ha
3/5
Country Joe & The Fish
2/5
Cast off songs from HAIR?
Sonic Youth
3/5
Eels
4/5
Dr. Octagon
1/5
Disgusting that someone could think gynecology would be sexy.
Stevie Wonder
3/5
Terence Trent D'Arby
5/5
Talvin Singh
3/5
Peter Gabriel
5/5
A great album, with no fat whatsoever. With So, Peter Gabriel delivered the perfect blend of his prog rock beginnings in Genesis and the heady alt-pop/new wave sounds that took the 80s by storm. The lyrics have soulful depth in places, and cheeky subversiveness in others. The music is complex and surprising, even today, with world music influences galore. Even the grossly overplayed In Your Eyes can still strike the heart, though Don’t Give Up has always been the chilling winner in my book. The videos for the monster hits Sledgehammer and Big Time were all the rage back in MTV days, but the songs still pack a punch even without the clever visuals. No hesitation for me - 5 stars.
Radiohead
3/5
3/5
Thelonious Monk
4/5
Ravi Shankar
2/5
The Gun Club
2/5
The Prodigy
3/5
Pet Shop Boys
3/5
Ice Cube
2/5
Black Sabbath
3/5
Pink Floyd
2/5
Maybe important in terms of showing where Pink Floyd came from and their development. But not great music and not a great album.
Hole
4/5
Mike Ladd
3/5
Jacques Brel
3/5
John Lennon
4/5
Primal Scream
3/5
LTJ Bukem
3/5
Digital Underground
1/5
Dinosaur Jr.
2/5
Madonna
3/5
Hüsker Dü
3/5
Christina Aguilera
3/5
Kate Bush
4/5
The Style Council
3/5
Julian Cope
3/5
Nightmares On Wax
4/5
Kings of Leon
3/5
Love
2/5
The Specials
2/5
Lorde
3/5
The Pretty Things
2/5
3/5
Bruce Springsteen
3/5
Beck
4/5
Dusty Springfield
4/5
Stevie Wonder
4/5
Pere Ubu
2/5
Les Rythmes Digitales
1/5
Barry Adamson
4/5
Funkadelic
4/5
Big Black
1/5
4/5
GZA
2/5
Elvis Costello
3/5
The Thrills
2/5
Girls Against Boys
1/5
Pantera
1/5
Slipknot
1/5
A Tribe Called Quest
3/5
Tangerine Dream
3/5
Silver Jews
2/5
Jeru The Damaja
2/5
R.E.M.
4/5
Ice Cube
2/5
The Sugarcubes
4/5
4/5
Emerson, Lake & Palmer
3/5
3/5
Dolly Parton
4/5
Pavement
2/5
Os Mutantes
3/5
The Residents
2/5
Dr. John
3/5
Antony and the Johnsons
2/5
Oh my god - that warble. How does a voice like this get a recording contract?
Robert Wyatt
3/5
Khaled
3/5
Scott Walker
2/5
David Bowie
4/5
1/5
Steve Earle
3/5
U2
4/5
Bauhaus
3/5
The Doors
3/5
Aerosmith
3/5
Carpenters
4/5
Yes, the sound is dated, the Ray Conniff-like background harmonies are hokey, the lyrics are cheesy, and nobody is pushing the envelope musically. But Karen Carpenter’s honeyed alto is one of the purest voices ever to be put on record. Her phrasing is nothing short of perfection and her range is impressive. Plus, she was a pretty amazing drummer! While brother Richard’s talents on keys and as composer/arranger don’t have the lasting impact of his sister’s gifts, they created a sound that defined a certain escapist, feel-good genre in a complicated, troubled era. While I prefer their more sophisticated later output (Superstar, Rainy Days & Mondays, to name a few) over this early optimism, it’s nice to see their work remembered here. Would that Karen could have matured into a grade dame diva of pop instead of being taken too soon. Still, her struggle with and death from anorexia shone a much-needed light on a condition suffered by many, while her angelic voice lives on for us to enjoy.
Manic Street Preachers
4/5
Baaba Maal
3/5
Morrissey
3/5
The Bees
4/5
What a wonderfully pleasant discovery. Will get repeated listenings from me.
Justice
3/5
Ash
3/5
Talking Heads
3/5
Hole
3/5
The Triffids
2/5
OutKast
3/5
Sparks
2/5
T. Rex
3/5
David Gray
5/5
When this album was released, it was exactly what my soul needed. I discovered it along with a very close group of friends that were connecting on many levels. It opened my mind, it opened my heart. The lyrics send a simple, but universal message that we are not alone in this world and that love is a powerful force in the universe. The music is catchy and singable - I was pleased on this listening that it didn't sound dated to my ear. I won't call it a guilty pleasure, because I don't feel any guilt in loving this music and the part it played in my awakening as an adult.
Scritti Politti
3/5
Syd Barrett
2/5
Faith No More
3/5
Malcolm McLaren
3/5
Portishead
3/5
Manic Street Preachers
4/5
Donovan
3/5
Frank Sinatra
3/5
The xx
3/5
TV On The Radio
3/5
Eminem
1/5
MGMT
3/5
Siouxsie And The Banshees
2/5
Simon & Garfunkel
4/5
Bob Dylan
4/5
Paul Simon
4/5
Hookworms
4/5
Serge Gainsbourg
3/5
The Fall
2/5
Ladysmith Black Mambazo
3/5
Buck Owens
2/5
Randy Newman
3/5
Parliament
4/5
Donald Fagen
3/5
LCD Soundsystem
4/5
Burning Spear
2/5
Suede
3/5
Le Tigre
3/5
Plenty of interesting stuff to listen to here, but an unfortunate amount of dreck, too. I expect I’d like it more with repeated listening (especially the stronger cuts) but not sure I’d feel compelled to spend that time. Mad respect for their energy and tenacity, but a tough 3 stars for me.
Shack
4/5
Beastie Boys
4/5
The nostalgia is strong with this one. While I wasn't a huge BB fan back in the day, it was surprising to me how quickly the songs came back to me on this listening. Very catchy beats & rhymes. Some (too many?) questionable lyrics. A 3 if I heard it for the first time today, but it's getting an extra star for yesteryear.
Radiohead
4/5
Fats Domino
3/5
D'Angelo
4/5
Snoop Dogg
3/5
I know way more about Snoop’s d*ck and b@lls than I’m comfortable with.
Michael Jackson
4/5
Three stinkers on this album. Michael got the short end of the shared duets with Paul, tho’ I suppose Say, Say, Say (the inifinitely better one) did more to elevate Macker’s album than The Girl is Mine did to hurt Thriller. Human Nature might be the sleeper here - beautiful melody, excellent synth rhythm and first rate performance by MJ. And of course all of the mega hits that made this one of the biggest albums ever, masterly produced by QJ. Mama say mama sah mama coo sah!
The Dictators
3/5
First three songs really set a negative tone. Got much better after that.
Pet Shop Boys
3/5
The Flaming Lips
3/5
John Prine
3/5
A honky-tonk Harry Chapin, or maybe Jim Croce, perhaps a more contemporary Woody Guthrie? - though not quite as fully-fledged as any of them. Prine has a way with a story, but I think he’s a better songwriter than performer. I appreciate the social commentary/protest elements, but don’t really dig the twang. Angel… is by far the most famous one here, but it’s been done better by other artists.
Joe Ely
2/5
I feel like there's a story here. Robert Demery, the creator of 1001 Albums..., was reluctantly dragged out to a country bar by a friend where Joe Ely happened to be playing. Not wanting to be there, he drank a bit more whiskey than intended, and caught the eye of a not unattractive Joe Ely fan. Maybe he learned to line dance from said fan. By the end of the night, they were clinging drunkenly, sweatily and sexily to each other and could barely make it back to the fan's one room apartment before they were tearing their clothes off of each other. With strains of Honky Tonkin' throbbing in his ears, Demery had a night of love making the likes of which he had never before experienced and hasn't since. From that day on, he's held out that Joe Ely is a genius musician and one of the only "true" country artists.
This story would be about the only reason I can discern why this album would be one of the few country albums on this list, as opposed to the literal thousands of others that would be more worthy.
Jimi Hendrix
3/5
The Who
2/5
I can see where the idea of a concept album or theatre show could seem like a cool playground for a rock band to mess around in. And any one of the social issues that Pete brought with his Tommy (murder, bullying, pedophilia, drug use, cult of celebrity, etc) could be the basis of an interesting inquiry. But Tommy throws way too much into the mix to make any of it seem important. And on top of that, the music just isn’t that good - in fact, it’s boring, with long stretches of nothing compelling in either the music or the lyrics. Daltry’s voice is not in good form and he’s not given much by the score to show off his strengths. When Pete takes the mic, it’s only too clear that he should stick to the guitar. Some of these songs fare better on the movie soundtrack, but the whole outing was really just a big miss on The Who’s part.
Sex Pistols
3/5
Peter Gabriel
4/5
Count Basie & His Orchestra
4/5
Joni Mitchell
4/5
Led Zeppelin
5/5
With two absolute bangers starting this album off, closing with the amazing When the Levee Breaks and with the iconic Stairway to Heaven sandwiched in between, how could this album be anything less than five stars. Zeppelin defines rock ‘n’ roll and this album defines Zeppelin.
Black Flag
1/5
3/5
Better than I expected and much better than the other PJ album on the list. I particularly like the collaboration with Thom Yorke.
Animal Collective
3/5
Tim Buckley
2/5
The Streets
1/5
Wow. Can’t fathom how something this bad got made.
Nina Simone
4/5
Paul McCartney
3/5
Kraftwerk
3/5
Bebel Gilberto
3/5
Otis Redding
4/5
Kid Rock
1/5
Ian Dury
2/5
My Bloody Valentine
3/5
Lou Reed
4/5
Living Colour
3/5
The Beau Brummels
3/5
Giant Sand
3/5
Neil Young & Crazy Horse
3/5
Bill Callahan
2/5
Super Furry Animals
3/5
The Stone Roses
3/5
John Grant
4/5
Meat Loaf
3/5
Frankie Goes To Hollywood
3/5
Skepta
2/5
Marilyn Manson
2/5
Stereolab
4/5
Stephen Stills
4/5
Guns N' Roses
4/5
The Dandy Warhols
3/5
Todd Rundgren
3/5
Happy Mondays
2/5
2/5
Brian Eno
3/5
Blood, Sweat & Tears
4/5
A wholly underrated folk-pop-rock-jazz group. Hmm, with all of those hyphens, that may be the problem. But they have a wonderfully original sound and some really great songs. They were a fave of mine on the radio in my youth and have always wished they got more play today.
Sonic Youth
3/5
Small Faces
3/5
The Velvet Underground
2/5
Youssou N'Dour
3/5
Neil Young
4/5
Crowded House
3/5
Wire
2/5
Eagles
4/5
Joni Mitchell
4/5
Mott The Hoople
3/5
Bonnie "Prince" Billy
3/5
Bob Dylan
4/5
Joan Baez
4/5
Elastica
4/5
The Undertones
3/5
Curtis Mayfield
3/5
Emmylou Harris
4/5
Pere Ubu
2/5
Grandmaster Flash & The Furious Five
3/5
Beatles
5/5
The thing about a Beatles album is that if you're a big fan, repeated listenings only serve to deepen your appreciation of their work. I know all of these songs, some very well, and without fail they prove to me what an iconoclastic and influential band they were. Even some of the "lesser" songs that some may deem filler play a part in their legacy. Tracks like Things We Said Today, Tell Me Why or I'll Be Back won't make any Beatles top 10 (or even top 50) list, but had they been recorded by another group, they would likely have been big hits in their own right. And there's no denying the staying power of the biggies on this disc - Can't Buy Me Love, If I Fell (those harmonies!), And I Love Her (a perfect love song for it's time) and the title track all cemented the Beatles as one of the all-time greats. As for this list, I can confidently say that I'd rather listen to this album than about 95% of the other entries, and that's why it gets a 5 from me.
Black Sabbath
4/5
Calexico
4/5
Dexys Midnight Runners
3/5
k.d. lang
4/5
The B-52's
4/5
Full of weird fun!!
Dolly Parton
4/5
The Louvin Brothers
2/5
Got way too preachy on the back half.
Pearl Jam
5/5
To me, this is the quintessential grunge album. I find Ten to be musically more complex and emotionally deeper than albums by Nirvana and Soundgarden. While not a concept album, per se, it always takes me on a cathartic journey and I feel better for having listened to it. Strange though that with such a prolific career and numerous albums, their debut should hold up as the best of their work.
Oasis
3/5
Captain Beefheart & His Magic Band
1/5
The Youngbloods
3/5
Yeah Yeah Yeahs
4/5
The Crusaders
2/5
Air
4/5
Alexander 'Skip' Spence
3/5
Christina Aguilera
3/5
Echo And The Bunnymen
3/5
Lou Reed
3/5
Fatboy Slim
2/5
Lenny Kravitz
4/5
Astrud Gilberto
3/5
The Boo Radleys
3/5
R.E.M.
4/5
Tom Waits
3/5
Devendra Banhart
4/5
Dion
2/5
The Psychedelic Furs
2/5
The Offspring
2/5
Megadeth
1/5
Hot Chip
2/5
Sigur Rós
4/5
Dirty Projectors
3/5
Bob Dylan
4/5
George Jones
2/5
Can
2/5
The Killers
4/5
Ali Farka Touré
3/5