I was 17 years old when this album came out. A friend introduced me to Metallica, via this album and also Master of Puppets. At the time, I described the experience of listening to Metallica as a kick to the gut, and I meant it in a positive way. I cannot stress this enough, how huge this album was. Among metal fans, Metallica was probably a known quantity at this point. But for the rest of us, they were new, startling and so refreshing in a sea of hair bands. It was like someone turned on the lights and everything was different after that. A freaking revelation. The intensity and the speed is obvious, the dark imagery, the social commentary, but with real musicality as well. I compare this to my experience listening to Napalm Death recently, and the contrast is worth noting. ND's music is designed to repel all but a very small audience. But Metallica had an awareness of where the boundaries were in metal at the time and they just pressed against the line constantly until they moved it. Some have pointed out that Metallica had a more progressive approach to their music, which I had never thought about but I think is correct. The complexity of the arrangements, the eschewing of traditional song structures... the band just existed in a different space from most of their peers. There are moments that are genuinely lovely, like the intros to "One" and "To Live is to Die," which makes the contrast against the heavier parts even more striking. What a great album. An hour+ of Metallica can be a little exhausting, even if you like them. But it's been a long while since I've listened to them, so today was a gift. Fave songs: One, Blackened, Eye of the Beholder, To Live is to Die

This is a fun old school ‘70s punk album by a criminally underheard band. As punk albums go, this is solid and it totally rocks. But the Saints are also a bit slicker than some of their peers, with somewhat better musical chops and a willingness to go for more complex arrangements. The horns are an interesting addition on a couple of the tracks. I could see putting this on to power me through a dull project at work. Fave tracks: (I’m) Misunderstood, A Minor Aversion, The Perfect Day.

Oh my joy at having this album come up today! One of my faves of that era. They had all the energy and attitude of other proto punk bands, but with real humor and heart. "Road Runner," full volume, heading down the road. It doesn't get any better.

This is one of my favorite Bowie albums, and one of the few that doesn’t have a skipable track as far as I’m concerned. I think "Word on a Wing" and "Wild is the Wind" are among some of Bowie's best vocal performances of his career. “TVC15” is a fun outlier, with some crackerjack piano playing by E Street’s own Roy Bittan. "Golden Years" is a true classic, best track of them all. Even with the 10+ minute opener, I think this is one of Bowie's more accessible albums musically. The lyrics are another matter and can be rather opaque, especially on the title track. But I honestly think a lot of what Bowie does lyrically is for effect and we're better off going along for the ride than putting too much effort into deciphering them. Much has been made of Bowie's drug use at the time, to which I say look at the product. If this is the work of an artist whose sensibilities were at all blunted by drug use, it's hard to see. Fave songs: Word on a Wing, Golden Years, Wild is the Wind

I've been doing this project for about three weeks now, and this is the first album I didn't particularly like. On paper it seems like something I would enjoy, but I just didn't feel it. The spare compositions on this album are sometimes lovely, with nice, simple foregrounded guitar. But the beats are dated and the vocals really kill it for me. Croft and Sims sound just as bored to be singing these songs as I felt listening to them. Favorite song: Don't really have one. Night Time is probably the most tolerable.

There are a few hints of greatness here and there, but I mostly couldn't get into it. Treat it like the concept album it is, and you'll get more out the experience. I probably wouldn't revisit most of these tracks individually. I liked "Men of Good Fortune" and "Caroline Says II" the best.

Oh my joy at having this album come up today! One of my faves of that era. They had all the energy and attitude of other proto punk bands, but with real humor and heart. "Road Runner," full volume, heading down the road. It doesn't get any better.

Musically, a really beautiful album, and D'Angelo's vocals are heavenly. Soulful, sexy, great mood music. Some of the lyrics are a bit much for my old lady ears, but that's me. Fave track: "Alright."

I'm remembering when this album first came out, on the heels of the Smiths' breaking up. All good Smiths fans took this album in with great anticipation, and maybe with a hint of disappointment. It's an early lesson that people move on and grow up, and do things we don't entirely appreciate or understand. I agree with others here that Morrissey's work in general is a notch below what he did in the Smiths. That said, this album is lyrically more mature and has some beautiful arrangements that you probably would never find on a Smiths album. I'm still moved by "Suedehead" and "Everyday is Like Sunday," as much as I was at 17. Nobody does sweet pathos and longing like Morrissey.

These feel like songs that would have been in the background of my life during my college years then later, in the background of grocery stores as I got older. This album is a lovely listen, with thoughtful and mature songwriting and a nice pop sensibility. It is tightly and slickly produced, with not a flaw to speak of. And Mann’s vocals are pretty perfect. But I listened to the whole thing twice, and I’m surprised to say that I kind of checked out about halfway in. Like six songs were enough and I sort of mentally got the point. Mann would have really benefited from an edit here. She could have dropped three songs and ended up with a much better album.

I’ve got say, I really love this album. It’s fast becoming one of my favorite works by Young and one that I can see myself coming back to frequently. It’s really quite an eye opening view into Young’s own sense of alienation and his discomfort with fame. Musically, it’s prime Neil Young, but he’s also obviously struggling with being boxed into our idea of “Neil Young” and considering how he can break free from it. It’s no coincidence that he slips in “Revolution Blues,” a song about Charles Manson, after the Harvest-era “See the Sky About to Rain.” There’s real anger lurking on the edges of Young’s ennui and he’s still deciding what to do about it. Favorite songs: "Motion Pictures" and "On the Beach."

When I was 15, my uncle gave me a cassette of this album for Christmas. As a proper Smiths-listening weirdo of the mid ‘80s, I really didn’t get it, nor did I have an interest in getting it. I obviously wasn’t mature enough for this kind of music at the time, but I can say that I appreciate it now. This is classic R&B mood music of the old school. Baker’s vocals are immaculate and the production is flawless. This is a great album to relax with. Favorite tracks: “Sweet Love,” and “Caught Up in the Rapture.”

This is a fun old school ‘70s punk album by a criminally underheard band. As punk albums go, this is solid and it totally rocks. But the Saints are also a bit slicker than some of their peers, with somewhat better musical chops and a willingness to go for more complex arrangements. The horns are an interesting addition on a couple of the tracks. I could see putting this on to power me through a dull project at work. Fave tracks: (I’m) Misunderstood, A Minor Aversion, The Perfect Day.

There are some interesting songs here, but it didn't feel like a cohesive work to me. There is some lovely guitar work and the little baroque touches were fun. I didn't find Lee's vocals particularly compelling, which seemed flat against some of those more flowery arrangements. He does best on "Seven and Seven Is" and “Revelation,” which interestingly are less sing-y than they are talky/shouty. I thought I would hate “Revelation,” but it’s not bad. They lose me a little when the squonky sax comes in, but it’s a pretty solid jam if you’re into that sort of thing. Fave Songs: The Castle, 7 and 7 Is

I have not a bad thing to say about this album. It’s a beautiful collection of ambient music, punctuated with the perfect amount of noise. I have been reading a little about the critical response to this album, which is fairly hilarious. Radiohead got slammed for straying too far from their established sound *and* for not straying far enough and being derivative. It’s not the bravest, most revolutionary piece of music ever made, but it represents a real inflection point in their sound and it has aged really well over the past 20 years. I appreciate that they chose to openly challenge themselves musically and take their audience along for the ride. Not many artists are willing to do that at the height of their popularity. Fave songs: Idioteque, Kid A, The National Anthem

This is one of my favorite Bowie albums, and one of the few that doesn’t have a skipable track as far as I’m concerned. I think "Word on a Wing" and "Wild is the Wind" are among some of Bowie's best vocal performances of his career. “TVC15” is a fun outlier, with some crackerjack piano playing by E Street’s own Roy Bittan. "Golden Years" is a true classic, best track of them all. Even with the 10+ minute opener, I think this is one of Bowie's more accessible albums musically. The lyrics are another matter and can be rather opaque, especially on the title track. But I honestly think a lot of what Bowie does lyrically is for effect and we're better off going along for the ride than putting too much effort into deciphering them. Much has been made of Bowie's drug use at the time, to which I say look at the product. If this is the work of an artist whose sensibilities were at all blunted by drug use, it's hard to see. Fave songs: Word on a Wing, Golden Years, Wild is the Wind

This is a style of music I’m not particularly conversant in, so I don’t know how to contextualize it. Is it groundbreaking? Derivative? I have no idea. The album is pretty listenable. Repetitive, yes, but that’s clearly the point. Lots of moods to get into here, which I’m kind of liking. “Some Kind of Kink” and “Alaska Street” are miles apart, but I enjoyed them both. I had to turn off “I Stole Your Car” because I was in the middle of an online chat with colleagues and it was too damn distracting. Also, I appreciate genre fluidity in music, but the whole ska/hip hop element of that particular song was a bit annoying. I guess what I’m saying is, that’s my least favorite track on here. Oh geez, Bella Donna is pretty. Okay, I’ve decided the final three tracks are pretty fantastic, best of the bunch. Fave songs: Alaska Street, Bussing, Bella Donna

This is a really stunning debut album, long a favorite of mine. Some of these songs have been classics for years both for mainstream and alternative audiences, it's hard to imagine what the impact must have been when the songs were new. What an amazing contrast between the deeply cool badassery of songs like "Precious" and "Tattooed Love Boys" and the unexpected softness and vulnerability of "Kid" and "Lovers of Today." Wow. The arrangements are crisp and tight and the guitar work is top notch. It feels so fresh, even today. Hynde is mesmerizing as the lead, with flawless vocals and lyrics that run the gambit from dreamy to empowering to occasionally disturbing. You could write a whole dissertation on the sexual politics of these songs. Nothing but love for this album, front to back. Favorite songs: Kid, Brass in Pocket, Tattooed Love Boys, Mystery Achievement

I love the idea of an album full of short vignettes like this. Messy-pretty vibe. Some clever bits here and there musically, with echoes of Big Star. You have to stick with it, because it takes about half a dozen songs or so to get into it. Favorite songs: Motor Away, My Valuable Hunting Knife, Closer You Are

I missed this one when it came out, although I do recall the Sinead O'Connor-voiced "Visions of You" getting some play on college radio. That is a great track, probably the best on the album. "Soledad" is also really beautiful, with Arabic-style vocals in Spanish by Natacha Atlas. The mixture of various "world" sounds is well done, but very much of that time. "Relight the Flame" and "Erzulie" have a cool mingling of Spanish-style guitar with a dub/Reggae rhythm and lovely Arabic-style vocals by Natacha Atlas. You wouldn't think some of these sounds would be necessary together, but the prevailing attitude is "why not?" and it mostly works. Some of the beats and keyboard sounds/ arrangements are a little dated. Wardle's own vocals stand out in contrast to the other vocalists, and not in a good way. His best vocal is on is "Rising Above Bedlam," which relies less on the world beat sounds and is a sold early-'90s alternative track. A mostly enjoyable/interesting listen. I'd have to be in a particular mood to revisit it though. Fave songs: Visions of You, Soledad, Everyman's an Island

I'm really not a fan of the twee vocals, although the music is fine, quirky 90s alt-pop fare. Hiding behind those vocals are some occasionally clever musical moments. I heard "Lovefool" so many times back in the day I was not inclined to like it now, but it has a heck of a hook to it I must admit. +1 for the unexpected cover of "Iron Man," which was the best song on the album. Favorite songs: Iron Man, Step on Me, Lovefool

Some clear musical talent in there, and occasionally fun to listen to. But he relies too much on being quirky. How does this album feel so dang loooong with all these 2 and 3 minute songs? It should feel like a breeze but it feels tedious instead. Fave songs: Uh Uh, Show You the Way, Jethro

Classic album, warm and soulful and a delight to listen to. The Band makes it seem very effortless and laid back, like the album just emerged out of some jam session. This is part of their brilliance. This is a group of highly skilled musicians performing at their peak, clearly having a ball crafting music they love. 100 years from now people will still be drawn to these songs. Fave songs: Tears of Rage, The Weight, I Shall Be Released

It took me a couple of listens to warm up to this album, but it's impossible not to feel its considerable charms if you stop and listen. The fact that this a debut album from a man who was 24 years old when he recorded it makes it even more remarkable. Singers can work for decades without reaching Prine's depth as a songwriter and natural talent for delivering a line. These are songs that have become standards in the 50 years since they came out, and you can hear Prine in practically every singer-songwriter who came after him. He exudes warmth, wry wit, and sensitivity with such ease in these songs. You know, I first caught "Your Flag Decal Won't Get You Into Heaven Anymore" before I had really heard of Prine and I assumed it was some sort of post 9/11 song. No, it's just a sad testament to the fact that this nation perennially fails to learn from its mistakes. It's also a pretty brutal takedown of false patriotism, all the more cutting for how he delivers it with humor. "Sam Stone" and "Paradise" also highlight how the problems of 50 years ago are still somehow the problems of today and remain fresh all these years later. Favorite songs: Quiet Man, Angel from Montgomery, Far from Me.

This album was a lot of fun to listen to. It's undeniably catchy, feeling like the prelude to a great night out. I must say, the front half of the album is thrilling to listen to. "Da Funk" and "Around the World" are the clear stars of this show. Once you hit "Teachers" though, it starts to feel long. I feel like this starts out like an evening at the club, it starts strong and pulls you in, but then the music gets looser and more repetitive as you move through it. By the time you hit "Rock'n Roll," you have been dancing deep into the early morning hours. It plays differently just sitting at your desk and gets a bit tiresome. That said "Indo Silver Club" is possibly my favorite track. Fave songs: Da Funk, Indo Silver Club, Around the World

Love this album so much. It was the first Bob Dylan album I ever bought, when I decided that I wanted to get to know more of his tunes beyond the hits. This is actually a pretty good entry into Dylan for a beginner, with the first half featuring Dylan's new electric style, followed by a series of fantastic acoustic numbers. The back end of the album includes some of his best writing in songs like "Gates of Eden" and "It's Alright Ma." Familiar, upbeat numbers like "Maggie's Farm" and "Subterranean Homesick Blues" are fun to listen to, and "Bob Dylan's 115th Dream" is an absolute delight. If you didn't already know it, this is where you find out just how funny Dylan can be. I'm just realizing that Dylan released this album and Highway 61 the same year. He was 24. My word. Favorite songs: It's All Over Now Baby Blue, Bob Dylan's 115th Dream, Outlaw Blues, Maggie's Farm

I've been doing this project for about three weeks now, and this is the first album I didn't particularly like. On paper it seems like something I would enjoy, but I just didn't feel it. The spare compositions on this album are sometimes lovely, with nice, simple foregrounded guitar. But the beats are dated and the vocals really kill it for me. Croft and Sims sound just as bored to be singing these songs as I felt listening to them. Favorite song: Don't really have one. Night Time is probably the most tolerable.

This is a curious album, kind of a bridge between 70s Paul Simon and 80s Paul Simon. It's mostly a very pleasant listen, with several standout tracks. Lyrics are always the star in Paul Simon's work, and the lyrics here are lovely, sometimes surprisingly personal. The collection overall I think lacks a certain cohesiveness, like he decided to throw a bunch of ideas at the wall that don't always connect. "Cars are Cars" is a bit silly viewed against the sweetness of "Rene and Georgette Magritte" and "Train in the Distance." But I've been listening to Paul Simon long enough to know he has a natural silly streak, so he gets a pass here. "Johnny Ace" is oddly bright given the subject, but the strings unexpectedly turn it to something richer and more thoughtful as the song and album draw to a close. Favorite songs: Hearts and Bones, Train in the Distance, Rene and Georgette Magritte, Think Too Much (a)

This is an excellent album, full of classic Neil Young, utilizing both the softer and grittier aspects of his sound. I think the mixture of live and studio tracks is unexpected and gives you a really full feeling of what Young was all about better than any studio album could. You can feel Young's style evolve into something edgier and rowdier as the album progresses, the stuff that made him such a touchstone for alternative musicians who would follow. Fave songs: My My, Hey Hey (Out of the Blue), Hey Hey, My My (Into the Black), Thrasher, Sail Away

A fantastic album here, I love listening to it. The music is warm and soulful, full of beautiful arrangements and Mayfield's incredibly evocative songwriting. Mayfield's vocals are flawless, as always. His ability to convey broader social concerns in such quiet, personal terms is a gift that no one else has truly been able to match. For those of you puzzling over a track like "Jesus," I would point out that this is Curtis Mayfield here. There is always a strong underpinning of faith in his work, and this is where soul music comes from. If you enjoy that, I highly recommend checking out his other work, including with the Impressions. Fave songs: Billy Jack, Blue Monday People, So in Love

It is some kind of evil algorithm that would give me Napalm Death immediately after giving me Curtis Mayfield. Okay, hey! I was fully expecting to hate it, but it's fine. Having been 16 when this album came out, it was probably pretty mind blowing at the time. I would not have been into it, but I would have respected it. Scum really doesn't deserve the title of worst reviewed album on this site, not by a long shot. But I can see how this album, this whole genre really, is going to be polarizing. Musically the album is pretty solid. Rhythm section is fierce, guitars are blistering. It's not for everyone, really it's not for most people. I don't love the guttural vocals, but I would say I prefer Nik Napalm's voice to Lee Dorrian's. The lyrics are pretty standard punk-thrash-metal lyrics. You know, power, fascism, conformity, corporate corruption, bleakness, etc. The things a certain type of disaffected young people have been moshing to for decades. The second half (the B-side) really accelerates and amps up from what you hear on the A-side. It's a little harder to listen to, if that's possible. This is very intense music that is hard on the ears. I'm giving it 2 stars, but really it's closer to a 3. One star deducted for the fact that now I have an earache. Fave songs: Siege of Power, Control, Born on Your Knees

This album was fantastic. Moody, beautiful, unsettling compositions, evocative of early Black Sabbath and Sonic Youth. There is a tension to this sound you could cut with a knife, a sense of real foreboding lurking in every song. The subject matter of the songs speaks a great deal of alienation, social awkwardness, despair. "Nosferatu Man" seems a little out of place thematically, but most of the other characters feel very grounded in reality and emotionally authentic. It's a shame the band didn't create more music after this. Favorite songs: Breadcrumb Trail; Don, Aman; Good Morning, Captain

Yes!! After two days of dark albums, I really needed the generator to send me something joyful. What can I say, hello there, welcome to the best live album ever! At Budokan captures Cheap Trick in a way that eludes their studio albums. Top notch '70s rock with sweet hooky melodies, rough edges and all. It's an album that fully rocks, still with all the brightness and warmth of the best power pop. "I Want You to Want Me" is the obvious star here, but all of the songs are a blast to listen to. Fave songs: Come On, Come On; I Want You to Want Me; Ain't That a Shame.

I feel like anything I would have to say about this album would be woefully insufficient. I mean, this is the epitome of a 5 star album. Best thing the Who ever made. There's a reason why we know so many of these songs, to the point where some have become overfamiliar. Don't let that get in the way of your enjoyment. There are literally some of the best rock songs ever made on this album, including the monumental "Baba O'Riley," the blistering "Won't get Fooled Again," and the deeply intense "Behind Blue Eyes." This is the Who musically at their best and going for broke on every song. Fave Songs: Baba O'Riley, Bargain, Behind Blue Eyes, Won't Get Fooled Again, Going Mobile

Very '90s, feel like I'm in college again. "Connection" was kind of everywhere in the mid-90s, but I managed to miss them at the time. The album is a fun listen in general, but a lot of the songs in the middle fail to stand out and just run together. I was fully prepared to give this album 3 stars, but after listening to it all day on Sunday, on Monday I honestly can't remember any of the songs beyond the one I already knew going in. That's 2 stars. Fave songs: Connection, 2:1, Waking Up

This is really some quintessential live music, isn't it? I know a lot of people seem to take issue with listening to live albums. But really, hearing the Allmans live is necessary to getting to know who they are and appreciating their brilliance. The album is packed with warm, bluesy, jammy tracks that flow effortlessly. The applause is occasionally jarring because the music has a way of just mellowing you out and its like snapping out of a daydream. I usually have very little patience for songs that exceed 6 minutes, but they just make it so easy to listen to. If you are similarly attention deficient, I would recommend not overly paying attention to every note, just let the music exist with you as you go about your business. It's hard not to like these guys. Fave songs: Whipping Post, Done Somebody Wrong, Statesboro Blues, In Memory of Elizabeth Reed

This is one of my favorite Dylan albums, and the definition of 5 stars. Masterful, poetic songwriting. The stories are riveting, with characters that feel very real, and emotions that are frequently raw and personal. Fave Songs: Tangled Up in Blue, Idiot Wind, Shelter from the Storm

Very clever. Interesting mix of sounds and genres. Fave songs: Glass Museum, Dear Grandma and Grandpa, Along the Banks of Rivers

This one of the true classic metal albums, top 5 of all time to be sure. Bruce Dickinson's voice is amazing, with a range few can match. The sound is intense but the musicianship is undeniable. Fave songs: Children of the Damned, Run to the Hills, Hallowed Be Thy Name

This sort of pop-tinged garage rock is usually something I would be drawn to, but I was mostly bored with this album. They could have edited several songs off of this and had a better album. I'm really not a fan of Mavers' raspy-whiny voice. The obvious star track is "There She Goes," which has been embedded in our collective cultural brain since 1990. It's a pretty perfect pop song with the best hook that will not let you go. Most of these songs I'm fine not hearing again though. Fave songs: There She Goes, Looking Glass

I am fascinated with the music of Tim Buckley. Buckley has an unusual, rich, caramelly voice. He hits his high notes with a wail and such intensity, in a way that sounds, dare I say almost feminine? It's really cool. The album is full of high energy songs, sexy, bluesy concoctions with hodgepodge instrumentation including organs, congas, sax, guitar, also strings?! Love it. The horndog lyrics haven't aged especially well, but I'm not bothered by it. I'm actually impressed how sexually open the lyrics are. I can't even imagine how they were received at the time. Fave songs: Make It Right, Sweet Surrender, Get on Top

This is really lovely album. The sweet and simple acoustic arrangement is excellent, and Welch's soft, bittersweet vocal will put you in a contemplative mood. As one reviewer put it, there is a sadness to these songs, even when the lyrics don't particularly call for it. The pace is slow and lingering, which some people may not like, but it's a really enjoyable listen. Not a bad song on here, really. Fave songs: Revelator, Everything is Free, Dear Someone, I Dream a Highway

I'm not sure what I expected, after reading about this album and then checking out other reviews. But this is pretty fantastic. Setting aside Spence's personal struggles for a moment, which necessarily underpin any discussion of this work, it's just really good. He floats pretty effortlessly from folk to psychedelic to bluesy rock, ethereal to dour. Spence is a talented guitarist with an interesting vocal range. It also appears he wrote, arranged and played these songs without much assistance from his producer, which is actually impressive. The fact that these songs were essentially demos works for them and the stripped down sound has allowed the album to age quite well. The only song that seems very much of the era is the first song, "Little Hands." The lyrics overall range from whimsical to disjointed and abstract, sometimes beautifully poetic. Consider them in terms of Spence's struggles, and some of them are pretty heartbreaking. This is the first album generated for me so far that surprised me in a really positive way. I will be listening to this one a lot in the future. Fave songs: Weighted Down, War in Peace, Grey/ Afro

Oh, this was really refreshing to hear. It's exhibit A in why musicians keep making live albums. Live albums are the attempt to capture in a bottle the energy of the artist in front of an audience, capture that moment in time. And this album absolutely crackles with the energy of James Brown's live performance at the Apollo. You can almost imagine his moves when the girls start screaming. Brown is in fine voice and the band is flawless. Recorded fairly early in Brown's career, the song selection is a nice mix of early hits. Almost every song here was a top 10 R&B hit, although some may have been overshadowed by the songs that were to come. It's a beautiful little snapshot of that moment in time, featuring one of music's most dynamic performers on the cusp of superstardom, with his audience at one of the hottest venues in the world. Fave songs: I'll Go Crazy, Lost Someone, Think

I was 17 years old when this album came out. A friend introduced me to Metallica, via this album and also Master of Puppets. At the time, I described the experience of listening to Metallica as a kick to the gut, and I meant it in a positive way. I cannot stress this enough, how huge this album was. Among metal fans, Metallica was probably a known quantity at this point. But for the rest of us, they were new, startling and so refreshing in a sea of hair bands. It was like someone turned on the lights and everything was different after that. A freaking revelation. The intensity and the speed is obvious, the dark imagery, the social commentary, but with real musicality as well. I compare this to my experience listening to Napalm Death recently, and the contrast is worth noting. ND's music is designed to repel all but a very small audience. But Metallica had an awareness of where the boundaries were in metal at the time and they just pressed against the line constantly until they moved it. Some have pointed out that Metallica had a more progressive approach to their music, which I had never thought about but I think is correct. The complexity of the arrangements, the eschewing of traditional song structures... the band just existed in a different space from most of their peers. There are moments that are genuinely lovely, like the intros to "One" and "To Live is to Die," which makes the contrast against the heavier parts even more striking. What a great album. An hour+ of Metallica can be a little exhausting, even if you like them. But it's been a long while since I've listened to them, so today was a gift. Fave songs: One, Blackened, Eye of the Beholder, To Live is to Die

Ahaha, here's one that takes me back. My brother had this album when I was a kid. Look at these guys. The costumes, the imagery, the grandeur, the pure RAWK of it all. It's impossible to listen to a KISS album without considering the whole package, because you're not supposed to. The music is the image is the music and it was designed that way, years before anyone knew about MTV. The problem is, if you take away the image, there's little to recommend. And I happen to like KISS, by the way. The album is fun and a time capsule for sure, but overall middling in quality. Weak tunes are held up by the stronger ones, glued together by the KISS-ness of the whole deal. "Detroit Rock City" is the true superstar of this album and it's pulling most of the weight here, while songs like "God of Thunder" and "Flaming Youth" are just kind of tagging along for the ride. "Shout It Out Loud" and "Do You Love Me" are fun, likeable '70s rockers and "Beth" is a sweet power ballad that should have closed out the whole album. Musically, the album is good enough, with riffs galore. Paul and Gene make for an interesting pair of contrasting leads. Yet they never really pull it together and half the songs fall flat. The lyrics are as shallow as you might expect, but no one comes to KISS looking for great lyrics. In that respect, I guess Destroyer delivers. Bet it sounded rad live. Fave songs: Detroit Rock City, Shout It Out Loud, Beth

This album. If I had 10 stars to award it, I would. Heck, 50 stars. It's one of my favorite albums, one of a few I've really been looking forward to rating. This was one of the first albums that was formative toward my taste in music, my obsessions over music, my love of music. I could go on all day over what it means to me, but I won't. Look at their Wiki, look at what others have to say about it. This is an exceptional album that is highly regarded and highly influential. There are multiple genres of music that trace back to this band and probably this album specifically. Given that it seems Morrissey goes out of his way to be disliked, that speaks volumes about the depth and quality of this album, the band, and yes, Morrissey himself. All that aside, it's just lovely to listen to. The songs are melodic, jangly, full of great hooks. Marr is in top form here, using a guitar in ways no one had really thought about before. It's like listening to an impressionist painting. I love the tonal shifts between the more irreverent songs (like "Queen," "Vicar" and "Shankly") and the sweet, pensive songs (like "I Know It's Over" and "There is a Light"). I am endlessly amused that the band everyone accuses of being so serious ends their best album with a song about, well, boobs. That's funny. The album is full of classics that are even better after repeat listenings. The Queen may get older, but The Queen is Dead hasn't really aged a day. Fave songs: Bigmouth Strikes Again, There is a Light that Never Goes Out, The Boy with a Thorn in His Side, I Know It's Over

How young are you? How old am I? Old enough to remember when this album came out and all the warm feelings it evokes of another time. Let’s count the rings around my eyes. This is a longtime favorite that I was delighted to listen to today. The Replacements were always two bands, the rowdy barroom punks and the band with surprisingly thoughtful lyrics and poppy hooks who hinted at aspirations for something bigger. This album showcases both of those impulses to nice effect. They never really got rid of the rough edges, but they are more prominent on Let It Be than on later albums. These are just some young guys having fun and figuring things out, which sat really well with Gen-Xers who were trying to do the same thing. The album is a touchstone for a lot of people of a certain age. The songs are classic Replacements, ramshackle falling down the stairs rockers mixed with beautiful, wistful, jangly, hooky songs still with edges too rough for them to ever really have that big pop breakthrough. They're fun, punchy, pissy, and bittersweet. And I love them for it. You know what, I just realized after all these years that on the cover of the album, the band is sitting on a roof. Get it, Let It Be... on the roof? That's pretty funny. They knew they weren’t the Beatles and they didn’t want to be the Beatles, so why not have a seat and hang. It doesn’t get more Gen-X than that. Fave songs: I Will Dare, Favorite Thing, Black Diamond, Sixteen Blue, Unsatisfied

This is a beautiful album. It is very much a mood though. Not as dark as some of his later work, but like a walk on a grey fall day, beautiful but sad. Gorgeous lyrics, spare compositions. Some lovely guitar work on "The Stranger Song" and "Teachers." I dislike the use of the female backup singers. It makes things weirdly bright where they shouldn't be. Fave Songs: Suzanne, The Stranger Song, So Long Marianne

I enjoyed listening to this. Great, crisp sound, high energy tunes. Musically diverse songs, with echoes of everything from the Kinks to Bowie to Syd to Gary Numan. The diverse styles are mostly an attribute, but it also tends to make the album seem unfocused and a bit rambling. They could have dropped several tracks and made a better album. "Boys and Girls" is for sure the top track, and "To the End" is absolutely charming. Fave Songs: Boys and Girls, End of a Century, To the End, Clover Over Dover

Solid collection of songs for the most part, very much of that era. I'm surprised how many of these songs I know. Garbage were on the periphery of things I was listening to in the mid-90s, but it turns out it was quite a bit more than I remembered. Not anything I'm planning to revisit anytime soon. Fave songs: Vow, Queer, Milk

Terrific album, I really enjoyed it. High energy, thrashy goodness with an unrelenting rhythm. It's intense and fast moving, but not too hard on the ears like some thrash is. "Good Mourning" has some legitimately lovely guitar work. The lyrics run the gambit from clever to overwrought, but Mustaine has a talent for vivid imagery. Fave songs: Wake Up Dead, Peace Sells, Bad Omen

Cool album. Warm, summery vibes, surprisingly jazzy and soulful. Beautiful guitar work. I love Martyn's voice. Spotify had recommended "The Man in the Station" to me before, which I enjoyed, but I hadn't taken the time to explore him further. So glad I had the opportunity to hear more today. Fave songs: The Man in the Station, Don't Want to Know, May You Never

What a great album. Eternally great songs, perfect production and vocals. I think the album is most successful when Jackson/Jones lean into the era and embrace the disco. The dance songs ("Don't Stop," "Off the Wall," "Workin' Day and Night," "Get on the Floor") are the best on the album and still considered to be classics, while the popier love songs ("Girlfriend," "It's the Falling in Love," "She's Out of My Life") fall a little flat. "Rock with You" splits the difference and is just sweet and fun to listen to. Fave songs: Don't Stop 'Til You Get Enough, Rock With You, Workin' Day and Night, Get on the Floor

Loved this. Lush, dreamy, spacey arrangements. I want to explore more of the band's work now. Fave songs: Shine a Light, Sway, Step Into the Breeze, 200 Bars

There is a dearth of truly memorable songs in today’s pop landscape, and this is an album full of them. The Stranger is a tight, beautifully produced collection of catchy, classic songs. It’s one of the great albums of its era and delightful to listen to, always. It’s impressive to me looking now how many hits reside on this album. Some of the songs have been overplayed in the past 40 years, but they also ended up being true classics. It’s hard to hear this album and not find a song you know very well. Joel's longevity is a testament to his singular talents as a singer and songwriter, as well as the universal likeability of this music. Admit it, it's also hard to listen to this album and not find yourself in a good mood. Fave songs: The Stranger, Vienna, I'm Movin' Out, Only the Good Die Young

This is one of those albums that speaks so much to it's era, experimental and influential for its time but probably not altogether palatable for modern listeners. The quality of the songs varies overall, but the album still has some great ones. It's like they wanted to try a bunch of stuff and threw everything at the wall, so the songs don't all work together. I liked it better the second time around, so it improves on repeat listening. Musically speaking, it's so pretty and so quintessentially the Byrds. The harmonies are pretty perfect and the guitar work is out of this world. Jangly, occasionally trippy, textured little gems. Fave songs: Mr. Spaceman, What's Happening, Eight Miles High

Wow, I've never considered myself an Aerosmith fan, but I've got to hand it to them here. This is a solid album, full of fun, bluesy, dirty little rockers. It's the stuff the that made Aerosmith famous and is still totally playable today. Perry's licks are perfection and you can feel Tyler's charisma coming right through your speakers. There's a reason these guys have lasted so long. "Back in the Saddle" and "Last Child" rock, full stop, a perfect pair to start this album with. "Nobody's Fault" is surprisingly heavy (both musically and lyrically), love it. "Home Tonight" is a sweet way to close it out, and hints at those juggernaut pop hits we would get from the band in the 80s and 90s. Fave songs: Back in the Saddle, Last Child, Nobody's Fault, Home Tonight

I get the premise of the album and appreciate its importance to the genre. It's also always a pleasure to listen to Ray Charles. That said, this album is very much of another time and some listeners will find it drags, especially in the middle. The best part about the album is Charles himself. His vocals are perfect as is his piano playing. Unfortunately, the big band horn and string arrangements and old backup vocals feel more than a little dated. I enjoyed the back end of the album best, like from "It Makes No Difference Now" to the end. "Careless Love" and "You Win Again" are flawless and "I Can't Stop Loving You" is a classic. Fave songs: You Win Again, Careless Love, You Don't Know Me

Great album, with classic power pop vibes. Nice, hooky arrangements and strong, soaring vocals by James Dean Bradfield. Starts a little slow but gets progressively stronger starting with the 4th song ("Enola"). "No Surface All Feeling" is stunningly pretty. I will definitely listen to these guys again. Fave songs: No Surface All Feeling, Enola/Alone, Further Away, Interiors

Masterpiece album, Elton in peak form. This is the album I would recommend to anyone who wants to get into Elton John beyond the hits. Yes the hits are there, but with deep tracks that will make you a fan forever. Fave songs: Bennie and the Jets, Goodbye Yellow Brick Road, I've Seen That Movie Too, Funeral for a Friend/Love Lies Bleeding

I'm thinking of a visit to the dentist long ago. He was getting ready to do some major drilling, and he asked me if I wanted to listen to any music. Tapestry is the album I picked. I found it warm and soothing in that unpleasant moment, and it's still an album I turn to when I want to feel comforted. Stressful day at work, Tapestry. Bummed out by current events, Tapestry. Having a moment when I'm stuck in my feelings, Tapestry. Even the cover... look at Carole King in the window, like a friend who is there to listen to you. In its way, this album feels like an old friend, as much as an album can. Tapestry has been there with me for so many years and speaks to me in a way few albums do. I think a lot of women, a lot of people, feel the same way. King's vocals and arrangements are understated, heartfelt, relatable. The songwriting is warm, earnest, intimate. The production is flawless. It's a beautiful album, long one of my favorites. Fave songs: It's Too Late, Home Again, So Far Away, Beautiful, Way Over Yonder

Big beat, indeed. Fun album, I'm imagining how much it would have killed to hear some of these songs in a club. The hits are obviously the star tracks on the album (""Praise You," "Rockafeller Skank," "Right Here, Right Now"). But I must say I really enjoyed the whole back half of this album, from "Kalifornia" to the end. Fave songs: Praise You; The Rockafeller Skank; Acid 8000; You're Not From Brighton

It happens that I was given two Fatboy Slim albums over the course of two days, this album and You've Come a Long Way Baby. I'd like to judge this one solely on its own merits and not overly in comparison to the other. But that's kind of unavoidable. Of the two, I think You've Come a Long Way probably played better in the clubs, while I think Better Living Through Chemistry plays better for everyday listening. Some of the songs are just incredibly pretty to listen to, like "Song for Lindy" and "Santa Cruz." The sampling is a little less sophisticated on this album. I can recognize a lot of the samples FS used. But I actually enjoy being able to catch them, so I don't hold it against him. My main critique would be that FS tends to make some of his songs overly long without really adding anything to them to justify the 5+ minute length and they just draaaag ("The Weekend Starts Here" and "Everybody Needs a 303" are examples of this). If a song is really in the groove, I'm not going to be looking for the escape hatch three minutes in. Fave songs: Song for Lindy, Santa Cruz, The Sound of Milwaukee, Punk to Funk

This is obviously a fairly recent addition to the mix, as the album is only from 2017 and has very few reviews. Is it an album I need to hear before I die? Absolutely not. I could have gone my whole life never knowing about Kelela and never been the worse for it. But I'm giving it a change here. Production is solid but musically the album doesn't stand out much. It's a bit samey and overly long and would have benefited from getting rid of a few tracks. Kelela has a nice enough voice, but it's over-tuned, like a lot of vocals of recent years. The album overall feels a little throwback, like I'm listening to 1990s R&B. Strong influence of Velvet Rope era Janet is evident. I'm not really hearing the supposed futurist vibe of the music, at least not anything that many other artists haven't done before her. Maybe it just isn't my genre. Fave songs: Turn to Dust, Enough, Bluff

You know, I grew up right in the middle of the whole Madonna thing, and was decidedly not a fan. But I'm actually looking forward to listening to some Madonna albums on here. Maybe hearing her 30 years on will give me a different perspective on her music. Madonna's vocals are solid on Like a Prayer. She's not the best vocalist by a long shot, but her personality shines through even the duller tracks and the production goes a long way to making for some interesting pop songs. There are some genuinely lovely arrangements and I like the use of strings. Another thing I've got to say is that they had a good sense of flow from song to song and also just how much of a song is enough. There isn't really a song on here that I would call overly long or overdone. That's a skill right there that a lot of artists/ producers never learn. The album starts strong, really strong, with the title track. You can't deny that "Like a Prayer" is a pretty perfect pop song, one of her best. I can't say the same for the second big hit of the album, "Express Yourself." Sorry Madge, I was bored by that song the first time around and I'm not feeling any differently about it now. Songs like "Cherish" and "Dear Jessie" are just way too lovey dovey and sweet for my taste. I did not know this "Love Song" with Prince was a thing that existed, and I'm excited to find it today. It's way more a Prince song than a Madonna song though, and it's really wonderful. It's possibly my favorite song on here, although I still think "Like a Prayer" is the superior Madonna song. I am also amused to no end that they chose to end the whole thing with "Act of Contrition," which also has Prince's fingerprints all over it (and some pretty blistering guitar work, also by Prince). What an odd choice, but I liked it. Fave songs: Like a Prayer, Love Song, Keep It Together, Oh Father

I'm an advocate for weirdness in music. The easiest thing in the world is to listen to conventional mainstream music that is pleasant enough, but boring and not conducive to thought or real feeling. Some of the best musicians know what's pretty and conventional, but push against those boundaries in ways that are surprising, amusing, and occasionally unsettling. Faust IV by Faust does all these things. On this album, the band dabbles with a variety of styles, sounds, noises, textures. The band uses dissonance as just another tool in their box. They utilize twisty, distorted guitar and keyboards, tin pan alley style piano, random instruments as needed, and a lot of other beeps, blips and noise. They're both reminiscent of the previous decade's psychedelia and forward looking to ambient and electronic genres yet to come. The vocal style is both detached and whimsical at the same time. Lyrics are minimal and occasionally surreal. They are probably intended as ironic and mostly for texture and effect. But if you read the actual lyrics there are some oddly violent moments. The song lengths might seem daunting, but most of these songs are progressive in structure, by which I mean they wander and ramble from one style into the next. So a 7+ minute song like "Giggy Smile" actually feels like three shorter compositions. It's a great method, allowing the band to experiment with a lot of techniques, instrumentation and dissonance, without it ever being too tiring on the ear. Fave Songs: The Sad Skinhead, Giggy Smile, Krautrock, Jennifer

Intense, relentless, piercing sound. Brutal, guttural-to-screaming vocals. Cathartic, angry lyrics. I enjoyed the use of Latin and indigenous musics, which pushes this creatively to a level beyond what I expected, particularly on the back half of the album. The closed it out nicely with "Canyon Jam." Overall hard on the ears, and not really my genre of choice, but this is a well made album. Glad I gave it a chance. Fave Songs: Breed Apart, Ratamahatta, Jasco, Itsari

Wow, this was great. If this album doesn't make you want to move, check your pulse. Percussive and energetic with song structures that are loose and improvisational. You just have to let go, embrace the groove and stop expecting a song to go somewhere all the time. Fave songs: El Cumbanchero, Choferito Plena, Billumba-Palo Congo, Tribilin Cantore

I'm so excited, my first Fleetwood Mac album on here. This is the album you didn’t really hear about too much for years, but over time listeners have come to appreciate it. I think it’s because people didn’t know what to make of Tusk. It was eternally in the shadow of what came before it, big and ambitious as the band may have tried to make it. After Rumours, Tusk was considered a failure as an album, but I don’t think they could have made a better album under those circumstances. The band was a crazy success, and they were also on the verge of falling apart. The double album was risky, and boy do they go big with the risk. They bring in the USC marching band to play on the title track, for Pete's sake. Stylistically it’s kind of a mess from the outset. It starts out all soft and sweet with Christine McVie on “Over & Over,” then throws you headfirst into the frenetic wackiness of Buckingham’s “The Edge.” Then! They throw on the brakes for McVie again in “Think About Me.” That drove me crazy the first time I sat through this album, the way the mood and the flow of the album is all over the place, but if you just lean into the disarray and stop expecting it to go in a particular direction, you will enjoy this album so much more. Lindsey Buckingham's guitar work is beautiful, as always. Mick Fleetwood and John McVie hold up the backbone as tightly as ever, and all three vocalists are in top form. The arrangements are solid, utilizing a lot of layered vocals and instrumentation. Buckingham is the dominant force on the album, but the more cool and restrained energy of Christine McVie really helps to temper his wackadoo brilliance. Stevie Nicks is a force of nature, bringing warmth and heart to the table as well as some incredibly personal songwriting. It really takes all these artists working together to pull off some special magic that, honestly, none of them have ever captured in their solo work. For all of its perceived (and real) flaws, I'm still happy to just give this album the full five stars. Other bands wish they could be so disorganized and still end up sounding so great. Fave Songs: Sara, Tusk, Think About Me, Sisters of the Moon, Beautiful Child

Wow, this is an exceptional album, just brimming with classics. Six of these songs are classic rock staples and the remaining two are top notch deep tracks. Consider for a moment just how rare that is. There isn't a bad song on here. It's warm, sexy, bluesy rock for the ages. Bad Company are the standard bearers for blues-based rock in the 1970s and 80s. This band and these songs set the bar for how rock would sound for years with countless bands attempting and failing to catch their sound. The band is a murderer’s row of musicians hailing from some really great groups – Free, Mott, King Crimson. This is also probably one of the best executed albums I have ever heard. The compositions are tight, flawless. Not an extraneous note or overly long solo to be found. The band has a steadiness and intensity to their sound without all the showboating some of their peers were prone to. Lyrically, they manage to come off as tough, but with enough sensitivity to pull off a song like "Ready for Love" without sounding silly. Paul Rodgers' warm and soulful vocals are ridiculously good. He really is one of the best rock vocalists ever, and criminally underappreciated. Fave Songs: Rock Steady, Ready for Love, Can't Get Enough, Bad Company

This is just about as good a punk album as you will ever hear. It’s ramshackle, rowdy and great fun to listen to, with plenty of tongue in cheek attitude to boot. Dave Vanian's proto-gothic vocal style is really rich and unique, elevating the songs quality-wise to a point where most other punk singers can’t compete. Stylistically, they're all over the place here, with some classic punk sounds laced with all manner of musical styles and a real pop sensibility as well. The band is more musically talented than a lot of their peers, with Captain Sensible in particular serving up some solid guitar work. Also, the band is clearly having fun and doesn’t take itself too seriously. You’ve got to admire that. Fave Songs: Plan 9 Channel 7, Love Song, Machine Gun Etiquette, I Just Can't Be Happy Today

A pleasant listen. Chill vibe with a lot of musically eclectic elements. A level above other singer songwriters of that era. Joan Armatrading has an interesting voice, very rich and soulful and confident, but also sweet when she wants it to be. Intimate, beautifully crafted lyrics. Fave Songs: Down to Zero, Love and Affection, Water with the Wine

I really liked this one. It’s a solid post punk/proto-industrial album that utilizes funk, electronic musical elements and noise to interesting effect. What they’re doing is foundational to what industrial artists will be doing 8-10 years down the line, but it’s also fairly accessible for the casual listener. The arrangements are simple and surprisingly melodic on occasion. Jaz Coleman’s vocals are strong, and the lyrics are spare, visceral and effective. The band has great chemistry and takes a less is more approach overall, with bass and drums taking a prominent place in their sound. Paul Ferguson’s hard driving but simple drums show a necessary restraint many drummers don't have. Youth’s bass guitar work is killer. This is all augmented by Geordie Walker’s fierce, grinding guitars and an economic use of synthesizers. Fave Songs: The Wait, Bloodsport, Complications, Requiem

Oooh, look, the R is backwards! Get ready for something edgy here, people. I've low key dreaded getting an album like this to review, but I decided I have to give everything a fair listen. But man, this one really tested my patience. I guess I can say now that I've listened to a Korn album all the way through. That's something, right? Musically the album is fine. The guitars (Head and Munky), the bass (Fieldy) and the drums (David Silveria), they actually aren't bad at all, and the band is talented at what they do. Their sound is heavy and very much in the vein of a lot of music from this era. But it’s boring. The arrangements are samey and the album is also entirely too long. They're obviously trying to go for something dark here, but they don’t elicit any kind of feeling from me. As for Jonathan Davis… a lot this album’s problems land squarely on this guy’s plate. Davis’ vocal style is terrible, whiny-then-vomiting, forgettable. That weird scatting he likes to do is just dumb. The rapping makes it somehow worse, my god. I was going to dig into the songwriting, but I went in and read the lyrics, and good grief. Davis (and by extension, the band) has an anger problem. He has a problem with women. He seems to especially have a problem with his own success. Other artists have similar problems, but they’re better songwriters. I don’t have the energy to close read garbage lyrics today. I feel like I've been more generous to some pretty hard to listen to albums that have been generated for me, like from Napalm Death and Sepultura. But see, there's a world view and some creativity behind that music that I respect, even if it's not my thing. This music feels very empty to me, a cash grab attempt to be edgy that is embarrassing for me to have to listen to, as a person with ears. Fave Songs: None. How about least favorite song? There are so many candidates. I'm going to go with All in the Family, what kind of warmed over garbage was that?

This is pretty much the gold standard for singer songwriters of the 1970s, both for it's quality and for its themes of reflection and search for meaning. Beautiful, melodic songs, with balanced, elegant arrangements. There's something in Stevens' delivery that makes him seem like he was beamed in from another time, long ago - a pop star Thoreau come to tell us, "Simplicity, simplicity, simplicity!" He's still on the journey himself at this point, of course. But it's delightful to ride along with him for a while. Listen in a sunny window, cup of tea at hand. Fave Songs: Wild World, Sad Lisa, Father and Son, Hard Headed Woman

Listenable 90s English techno with a nice vocal. Simple arrangements, lovely chord progressions, beats very much of that era. Tracey Thorn's voice here is as rich and lovely as ever. I don't think this phase of EBTG's career really touches the more jazz-pop stuff they made back in the 80s, which now seems a lot less dated than the techno. This album was pleasant enough to listen to, but overall unremarkable. Fave Songs: Wrong, Before Today, Walking Wounded

When I was in college I read a book, Running with the Devil, that made an excellent case that metal as a genre is built on classical musical principles. I couldn't help but think of that book while listening to this album because Metallica sounds just fantastic with the San Francisco Symphony Orchestra. To boot, this is a live album, but doesn't necessarily feel like one musically. The collaboration really elevates the band's songs, creating a monumental sound that must have blown the doors off the house while they were making it. My one critique would be that the band and orchestra don't always mesh together as well as I would like. Sometimes it's almost like they are playing two separate concerts and just lay one on top of the other. But when the two click, they're on fire. Second half of the album is much better than the first, so stick with it. Fave Songs: No Leaf Clover, Bleeding Me, Wherever I May Roam, Until It Sleeps, For Whom the Bell Tolls

Pretty, moody, melancholy songs. A rainy day album. I remember when this album came out. It seemed tonally out of place with what was going on in music at the time, but has aged really well. It sounds rather timeless now. The pace is mostly slow and lingering, which some people will not like. It has elegant, deceptively simple-seeming compositions, full of layered sounds and experimentation with percussion and electronic noise. I've visited this album a few times over the years and it never really clicked with me until today. I enjoyed listening to it. Fave Songs: Heat Wave, Automobile Noise, Tinseltown in the Rain

Groovy and fun. Very "New Romantic" in mood, with a strong influence from Roxy Music. Lexicon of Love is a singular creation, a pop album with the feel of a theatrical production, but built for the dance floor. There isn't another album that really captures this mood and this sound. It’s full of rich arrangements that build off essentially a disco groove, embellished with everything from studio strings to harps and horns. The songs are campy and occasionally outlandish, but romantic and heartfelt as well, thanks to Martin Fry's strong vocals. Fave Songs: The Look of Love, Poison Arrow, Tears are Not Enough. “Tears" is the deep cut that really deserves to be heard more.

Oh, this is fun. Jacques Brel has a strong, passionate vocal. Combined with evocative musical arrangements, Brel accomplishes the not insignificant feat of making you care about what he's singing, whether you understand him or not. By the time the audience kicks in at the end of "Amsterdam," I'm ready to storm the gates for him and possibly take up smoking. That's by far the best song on the album, but unfortunately none of the other songs quite match it in energy or emotion. This was an enjoyable listen though. Fave Songs: Amsterdam, Les Vieux, Le Plat Pays

Fun, eclectic group of songs with a party vibe and a sense of humor. The concept part of the album is ridiculous, but they make it work somehow. Sampling could be more subtle, but hey, I like P-Funk. I'll allow it. Fave Songs: Doowutchyalike, Rhymin' on the Funk, The Danger Zone, The Humpty Dance

This is such a fun album, a favorite from one of my favorite bands. The Slider probably is the quintessential expression of Marc Bolan's vision as an artist. This is his moment musically, and he would never quite capture it again. The sound of the album is distinctive, full of great, glammy, hooky songs. It’s good old fashioned sexpot rock and roll embellished with the loveliest string arrangements and some killer guitars. T. Rex has a true pop sensibility while also being unabashedly strange, building on Bolan's origins in psychedelic music. The band moves effortlessly from ethereal to full on rocker mode. They've got songs that pull at your heartstrings and songs you want to crank the volume on and just rock out to. You can hear all the little tendrils that grew out of this music and ended up seeding everything that came after it for many years, from heavy metal to post punk and indie. As a front man, Bolan is confident, puckish and sexy, but he’s also unafraid to show his vulnerability. His vocal delivery is all at once quirky, heartfelt and expressive. The lyrics run the gambit from fanciful to achingly sad and are best enjoyed if you don't over analyze them. Fave Songs: Main Man, Telegram Sam, Ballrooms of Mars, Rabbit Fighter, Buick McCane

Gorgeous songs, artful arrangements. Moody, sometimes haunting lyrics sung sweetly. It's heavy listening to Smith because we know how this story ends. But the album stands on its own as a beautifully crafted work. Fave Songs: Somebody that I Used to Know, Everything Means Nothing to Me, Son of Sam, Can't Make a Sound

I am going to preface this by saying I am really not a prog person. I don't have a lot of patience for overly ornate, concept driven, or long form music. That said, this album is really good. Whatever your taste, the musical prowess Yes displays here is undeniable. Steve Howe's guitar work is insane. Rick Wakeman's keyboards, just stunning. Jon Anderson has one of the more distinctive vocals you'll ever hear in rock music. They also showed a bit of restraint (!) in keeping the overall length of the album to 37 minutes, something I wish more artists would think about when attempting ambitious projects. I don't see myself coming back on my own to listen to this album much, if at all. But it was a good listen, glad I gave it a chance. Fave Song: And You and I

This was an amazing album, among the best of its era. Sadly, it's also one of the band's best and an indicator of where Nirvana might have been headed musically had things turned out differently. The songs are stunningly crafted and pretty perfect, but deliberately less polished than on Nevermind. Musically, the band is unforgiving in their delivery. It grinds, it burns and blisters, but also sometimes with an ear towards the melodic. Cobain's delivery flows effortlessly from insouciance to raging in a way I can't even compare to another artist. Lyrically, Cobain is brutal, clever, sarcastic, clearly in pain. I would just like to add that this is the second album I have reviewed in the past week by an extremely talented person who took his own life after the album I was reviewing came out, and it's a bummer, to put it mildly. The world was a better place with Kurt Cobain and Elliott Smith in it. If you're struggling, there are people who can help you. National Suicide Prevention Lifeline, 800-273-8255. Fave Songs: All Apologies, Heart Shaped Box, Dumb, Radio Friendly Unit Shifter, Milk It

This album is warm and a little rustic with some pure pop moments that you really can't beat. The vocal harmonies are sublime, as you expect them to be coming from the Eagles. No, this isn't the Eagles' best album, by a long shot. It's an excellent first album, though, and shows plenty of sparks of the sound the band would continue to develop over the decade. It's also nice to hear Randy Meisner and Bernie Leadon's contributions prominently featured. It's like the Eagles you remember, but kind of a different band as well, with more of a country sound. There are three top tier classic songs on this album that pretty much everyone knows who has heard of the Eagles "(Take it Easy," "Witchy Woman," and "Peaceful Easy Feeling"). They're all still crisp and fresh as the day they were made and they pretty much lift the whole album to the next level. There are a couple of other interesting little gems on here like "Train Leaves Here This Morning" and "Take the Devil," but most of the other songs just pale in comparison to those three big singles. This is obviously a band still getting its bearings and trying to figure out what they want to be. It's a solid listen though. Fave Songs: Take It Easy, Peaceful Easy Feeling, Witchy Woman, Train Leaves Here This Morning, Take the Devil

A classic early 80s synth pop album, a lot of fun to listen to. It was one of the first cassettes I owned, so it saw a lot of play in my house. Coming back to hear it now, I'm struck by the simplicity of it. The sound is crisp, the arrangements deliberately flat and cold. Phil Oakey's commanding baritone vocal is a centerpiece of this music, another instrument in its own right. The songwriting is simple but sophisticated, touching rather poetically on themes like alienation and sexual politics. And surprisingly for such a aloof sounding band, Phil Oakey for the most part comes off as an optimist, someone who still believes in love, who still believes we hold the power to find what we need in this life... if we dare to look for it. "Don't You Want Me" is incredibly catchy, a perfect pop song and a stone cold classic that belongs in any time capsule of this era. Funny to find out it's the last song on the album because Oakey didn't particularly care for it. Fave Songs: Don't You Want Me, Darkness, Love Action, Open Your Heart

I'm less entertained than I thought I would be by this album. Whatever your thoughts on Jackson and his music, it's indisputable that he was incredibly talented and that, at his best, he's really entertaining to listen to. So I had some general expectations for this album that really didn't play out. Honestly, I was pretty bored through a lot of this, especially toward the middle of it. "Bad" is an excellent pop song, the best on the album. "Leave Me Alone," "Smooth Criminal" and "The Way You Make Me Feel" are also pretty good. But some of the other songs just feel dead inside, like his heart wasn't in it. I also feel like Jackson is trying to go along with what he thinks will be musically relevant, so he ends up with a weird, disjointed assortment of songs that doesn't really serve his particular talents. It neither lives up to our expectations of him nor breaks any new ground. On the scale of pop music in general in 1987, I suppose it was a good record? But if you were listening to much music in 1987, you know that isn't really a compliment. Fave Songs: Bad, Leave Me Alone, Smooth Criminal

An interesting album that is for the most part pleasant to listen to. Actually a pretty good introduction to electronic music for newbies. The sampling of roots music is inspired and was probably incredibly fresh at the time. No complaints about it really except that it's excessively long. There's a fair amount of filler that could have been dropped and Moby would have had a better album. I get that Moby thought this might be his last album, but it would have been a classic had he shown some restraint. Fave Songs: Natural Blues, Rushing, Everloving, Honey, Inside

This album is tight. It's full of ramshackle, energetic rockers from one of the most unique bands in music. X's punk bona fides are on full display, sweetened with a rockabilly undertone and a hint of a twang, which would become more pronounced on future albums. Billy Zoom's guitars burn brilliantly. D.J. Bonebrake's drums set an urgent pace that propels everything forward without distracting from the true stars of this show, John and Exene. The chaotic harmonies of John Doe and Exene Cervenka are imperfectly perfect. They're languid and messy and totally endearing. Their lyrics are incredibly poetic, blurring the gritty with the romantic. They sing about the dysfunctional side of life and of love, and you can feel it. Fave Songs: The Once Over Twice, Adult Books, In This House That I Call Home, I'm Coming Over

“King's Lead Hat” has long been my weirdo bop, ever since I was an oddball teenager who stumbled onto the music of Brian Eno on late night radio in the mid-80s. It’s the first song I think I ever heard by Eno, which led me down into the huge rabbit hole that is his music, and all the possibilities of what music can be. My peers had no idea who Eno was, his 70s music probably considered to be obscure, out of date and just plain strange at that point. But those albums have meant a lot to me over the years. They’re a kind of touchstone to my own musical taste and my own desire to listen to music with curiosity and a sense of adventure. What I’m trying to say is, Eno is my jam. So, Before and After Science. This album might sit strangely with anyone who hasn't really listened to Brian Eno before. It's fairly accessible for the general listener as his albums go, with some very lovely instrumentation. Stylistically he is a little bit all over the place and has a pronounced weird streak, particularly on the front half. It's not a bad thing, just maybe a little hard to connect with immediately for some. Stick with it. By the time you hit "Julie With," the rest of the album kicks into a different gear, with a far more layered, reflective, and ambient sound. Honestly, the final four are some of the most spare, beautiful arrangements I have heard in any genre. I feel wonderfully relaxed and elevated by the time “Spider and I” comes to a close. “By This River” exists on a plane by itself, it’s so lovely. The instrumentation on this album is ridiculous, and I mean that in the best way. Eno has always collaborated and surrounded himself with the best musicians, but this is insane. These are some of the smartest, most creative minds in music and they just flow like they were always together in this band. That funkified bass work by Paul Rudolph and Percy Jones on “No One Receiving” and “Kurt’s Rejoinder” is insanely good. Inspired use of various forms of percussion, across the board, especially on “Kurt’s Rejoinder.” Robert Fripp’s guitar on King’s Lead hat, shut up. Phil Manzanera’s guitar on “Here He Comes” is more delicate and incredibly pretty, a waterfall of sounds when blended with Eno’s own synthesizers. Eno’s voice is distinctive and oddly affecting in a way unlike that of many other vocalists. He’s not a singer really, the voice is just another musical tool, but when he does sing he moves you. It doesn’t much matter what he’s singing about. Which is a good thing because these lyrics are characteristically off the wall for Eno. Don’t look for a lot of coherence because that’s not what he’s doing here. Just embrace the weirdness and enjoy. Fave Songs: By This River, King's Lead Hat, No One Receiving, Julie With, Kurt's Rejoinder

This was a solid album, lovely to listen to.The guitar work is absolutely gorgeous, like a sunny autumn day in musical form. Jansch has a really interesting voice, like he just teleported in from a distant time. The songwriting is eloquent and surprisingly pointed at times, like on the scathing "I Have No Time" and the mournful "Needle of Death." Fave Songs: Angie, Alice's Wonderland, Smokey River, Needle of Death

Surrealistic Pillow is a keystone collection of music for its time, the type of album you might slip into a time capsule as the best example of music to represent its era. The style is diverse across this album, covering a range of sounds from folk to psychedelic to the blues. It’s a bit of a musical compendium of many things that were going on in the late 60s. Jefferson Airplane is very much their own band with their own sound, but you still can hear hints that recall everything from the Mamas and the Papas to the Byrds to the Doors. Yet everything flows beautifully though the album and nothing stands out as being unnecessary or out of place. The musicianship is top notch, with Jorma Kaukonen’s guitar and Spencer Dryden’s drums in particular standing out. The guitar arrangements in songs like “Embryonic Journey” and “How Do you Feel” are gorgeous, a real pleasure to hear. I've heard "White Rabbit" a few too many times in my life and have avoided it in recent years, but coming back to it fresh, I have to acknowledge that it's a striking song. It's beautifully arranged, different from everything else on the album, and Slick's vocal is strong. "Somebody to Love" is also still stunning to hear, the best song on the album and a true rock classic. Grace Slick has an authoritative vocal presence in both songs that's kind of indescribable. She tends gets most of the attention/oxygen in this band, but I'm also really digging Marty Balin's voice myself, which contrasts well with hers. Paul Kantner also makes some solid vocal contributions as well. This is really a well-oiled machine of a band playing at the height of their talents. Fave Songs: Today, Somebody to Love, White Rabbit, Embryonic Journey, She Has Funny Cars

Ahhhh Queen, always a delight. This is a solid collection of tunes that is so much *fun* to listen to, something I think is lacking even from better albums. Did you have a good time, and did it rock? Yes and YES. Stylistically the album is kind of all over the place, but the band makes it work for them. It has all the touches you expect from Queen, the sense of grandeur delivered with masterful musicianship, ethereal vocals and a bit of cheeky humor. The band moves rather effortlessly from full throated rockers like “Brighton Rock” and “Stone Cold Crazy” to delicate ballads like “Lily of the Valley” and “Dear Friends.” The perfect, hooky pop confection that is “Killer Queen” stands above them all. It’s a perfect song and there really isn’t another song like it, by any artist. The quality of the music is undeniable. Brian May's guitar is brilliant, existing on a technical level that few guitarists will ever approach. John Deacon and Roger Taylor are also in top form. The vocal arrangements are stunning, functioning as an instrument in their own right. Freddie Mercury is, of course, a force of nature. His charisma just crackles, elevating even the less interesting songs to a higher level. I also think the songs improve on repeated listening. I like the album better today than I did last night. Fave Songs: Killer Queen, In the Lap of the Gods... Revisited, Now I'm Here, Stone Cold Crazy, Lily of the Valley, Brighton Rock

This is a great album, perfect from front to back. I love all of Kraftwerk’s albums, but this one is to my mind a perfectly executed album, probably the best introduction to the band for a new listener. The songs flow beautifully into each other and tonally they all work well together. It’s such a smooth listen. Half these songs clock in over 6 minutes and you don't even feel it really. There isn’t a bad song here as far as I’m concerned. I also feel like over time this album has really aged well. Back then, it was highly futuristic. Now it’s simply a classic, a necessary touchpoint for anyone with an interest in electronic music. The compositions are tight, crisp, melodic and spare. The vocals are limited, either sung directly by Ralf Hütter, or vocalizations processed through machines. I know not everyone is a fan of the songs with vocals, but I happen to like them a lot and I think they’re central to the whole “Man Machine” concept in Kraftwerk’s music. When you hear a song like “The Model” or “Neon Lights,” it’s Hütter’s vocals that provide that surprising warmth and pathos. Without it, all you have is the machine. It’s an idea both in music and in life that’s still pretty timely when you think about it. Fave Songs: Neon Lights (it’s so very good, possibly their best song ever), The Robots, The Model. I mean really, all of them.

OMG the generator gave me Kraftwerk albums two days in a row. I guess it liked my comments on The Man Machine. Hey, generator, what’s up ;) Yesterday I said that I thought "Neon Lights" was possibly the best song Kraftwerk ever made. As I typed it, a little voice in my head kept saying "Except for Autobahn!" So, I guess now I get to talk about Autobahn, which pretty much makes my weekend. Okay, it’s obviously not for everyone, an acquired taste, as one reviewer put it. But if you have the patience, this album is really worth the listen. Autobahn is next level over next level, something that I have tremendous respect for and also just like listening to. It is a bit of a mood though. I don’t necessarily want to hear it often, but when I put it on, those first 22 minutes just make me inexplicably happy. You get a sense of joy and that they were really having fun on this one, and I guess that’s what I’m feeling a response to, the joy. Musically, the album is absolutely sublime. I love the effects they use to give an impression of vehicles in motion (“Autobahn”) and the sounds of the natural world (“Morgenspaziergang”). It’s an incredibly playful and clever use of synthesizers. The incorporation of traditional instruments adds an extra level of depth you don’t hear in their later albums. This is actually “The Man Machine” in action, the natural/traditional paired with the mechanical/constructed. Go figure. In "Morgenspaziergang," the band masterfully captures the essence of sounds from the natural world like birds and flowing water to create a pastoral soundscape, complete with accompanying Pan's flutes. It's incredibly pretty. “Kometenmelodie 2” is likewise just a lovely, melodic listen. It’s a window into what other electronic artists will be doing 5-10 years down the line. As for the masterpiece of the album, "Autobahn" is the only 22-minute song I will ever care to listen to. I hesitate to even call it a song, because it's bigger than that. It's a far ranging, longform musical journey. I may never make it to the actual Autobahn, but one day I want to just get in the car and take a ride to nowhere with Autobahn playing on a loop. It's what this album was made for. Fave Songs: Autobahn, Kometenmelodie 2, Morgenspaziergang

I feel a certain obligation to give this a thoughtful review. It is after all one of my absolute favorite albums, and apparently is for a large number of reviewers on this site as well. But at the same time, I feel wholly ill-equipped to say anything about Rumours that hasn’t been said by a ton of other people. What can I say. It's Rumours, hands down one of the best albums ever made, not to mention one of the most beloved albums ever. It's a perfect production, full of perfect songs, perfectly executed. The songwriting... perfect. The vocals... perfect. The musicianship... damn perfect. Half of these songs have taken up real estate in our collective consciousness over the past 40+ years and they aren't moving out anytime soon. This album is Music 101: How to Make a Perfect Record, *but better*. What keeps this music from getting lost in the shuffle of run of the mill 1970s pop-rock is the stellar quality of the musical performances, plus three songwriter-vocalists who are each powerful enough to have led their own bands, had they chosen to do so. This is deeply rare in music, something just a few other bands have been able to accomplish. This is upper echelon rock music for the gods, delivered without a need for bombast or musical excess. The personal excess, well that's another story. Another reviewer made a comment that they cannot stop listening, and my god, if that’s not it. I have listened to this album I don’t know, hundreds of times in my life, and I’ve never tired of it. My feelings on it haven’t substantially changed, except it’s safe to say I like it a little bit more every time I hear it. How is that even possible? Individual songs, sure. Some of them have been overplayed on radio. So overplayed. If “You Make Loving Fun” or “Don’t Stop” comes up on the radio I don’t usually stick around for it. But as a collection, the full body of work? I will play the whole thing all the way through, front to back, no skipping. Individually these songs are beautiful, but as a group, they’re a freaking masterpiece. It’s funny, on an average day, if you asked me my favorite songs on Rumours, I would go for the same songs… Go Your Own Way, Dreams, maybe Second Hand News. But today, I’m really loving “Gold Dust Woman” and “Songbird.” See, that’s why you listen to them all together. For every juggernaut hit you have heard dozens of times, there is a “Never Going Back Again” hiding in the wings, waiting to come and charm you. I don’t think I can make the case for Rumours against the current #1 album on this site. I think #2 is correct though. You can’t beat this album… unless you’re the Beatles. Fave Songs: Never Going Back Again, Dreams, Go Your Own Way, Songbird, Second Hand News

A fun listen. Rocks hard, but not hard on the ears at all. Nice, compact, well-composed songs with a variety of musical influences. Fave Songs: She's Calling You, Re-Ignition, I Against I, Sacred Love

This is a solid album, fun to listen to. Good old fashioned garage rock for the millennium, a little edgy but with a strong pop sensibility. It definitely marked a turning point for music heading into the 2000s, a positive one. In the grand scheme though, I don't really have strong feelings for the Strokes. A lot of it just ends up sounding like the same song. It's a good song, but I don't need 11 of them. Fave Songs: Last Nite, Barely Legal, Someday, Hard to Explain

This is one of the greatest metal albums ever made, best among the best. It should be on anyone's short list who wants to get into this genre. It also has great mainstream appeal as metal albums go. Judas Priest adeptly straddles that line between metal and classic blues rock. I think that ultimately it gives a more timeless quality to the music. There's a reason you hear Judas Priest on classic rock radio more than you will hear most metal bands. But make no mistake, this music rocks hard, and how. Priest opened the door for metal that was actually metal, not just hard English blues. Music got harder, darker and faster after these guys showed up. Rob Halford is riveting as a vocalist. Piercing, growling, screaming, commanding, the man can do anything he wants with that voice. Oh and, lordy, those guitar solos are insane. That double barreled guitar assault by Glenn Tipton and K.K. Downing defined their sound, and probably launched a hundred bands. Tight, powerful rhythm section manned by Dave Holland and Ian Hill. No bad songs, no filler, just an album full of beautifully crafted metal. So much fun to listen to, and it just freaking rocks. Fave Songs: Breaking the Law, Living After Midnight, The Rage, Steeler

Oh, apparently it's metal week for me! After reviewing British Steel yesterday, I guess it's wholly appropriate that I get to do Back in Black, the other powerhouse early 80s hard rock album that everyone should listen to. Back in Black certainly lives in the same neighborhood as music we would classify as metal, but maybe down a house or two. Metal fans love AC/DC. AC/DC is also probably the gateway drug into the metal genre for most non-metal fans. But really, AC/DC is still a rock and roll band, a good old fashioned dirty blues and rock band that just happens to rock really hard. I mean really, really hard. This band shares commonalities with bands like the Stones as well as bands like Judas Priest. This makes them a better band than most metal bands. They have a very specific sound and they're really good at it. As a side note, I like that Rob Halford credits a tour with AC/DC as an influence on some of the songs on British Steel. Music doesn’t exist in a vacuum. What can I say about this album except that it’s pretty perfect. From the first toll of the bell, you know you’re in for something special, and AC/DC really delivers. This gets said a lot, but it’s really rare for a band to recover after the loss of a beloved core member like Bon Scott. Not only did AC/DC recover, but they sharpened their sound and became even more successful. It’s a singular event in music, kicked off with this album right here. It’s a swaggering, exuberant masterpiece. The band found a dream singer in Brian Johnson, who was able to step in and embrace the band’s sound, but also to make his own mark as a singer. They also found a masterful producer in Mutt Lange, who really helped the band to hone their sound. The great hooks were always kind of there in AC/DC’s music, but they went next level here and produced some incredibly catchy rockers for the ages. “You Shook Me All Night Long” is one of the best songs ever recorded, something people will be listening to with wonder 50 years from now. But make no mistake, the darkness and the edge are still there. The broody sense of foreboding in “Hell’s Bells” is fantastic and is an undercurrent that weaves through the whole album. It foregrounds the dark space the band (and their fans) had been occupying and helps to balance the high energy party vibe of songs like “You Shook Me All Night Long” and “Have a Drink on Me.” Musically, the band is on fire here. They’re a completely tight ship of a band. Beautiful riffs across the board from Angus and Malcolm Young, augmented with Angus' delightful solos. There’s a reason his name comes up in an any serious discussion of guitar players. Cliff Williams and Phil Rudd set the pace and hold the whole thing together while the band just burns through it. The songs are crisp and efficient, not an extraneous note or unnecessary solo to be found. I’ll also add, this album is beyond fun to listen to. The sound is powerful, but the band never loses that schoolboy energy. What’s more, Black in Black has got a groove to it. Try to sit still in a chair and listen to this album. You can’t do it! Fave Songs: You Shook Me All Night Long, Hell's Bells, Back in Black, Have a Drink on Me

This was really good. Musically solid, with creative, sometimes dissonant use of strings, which I always appreciate. Harvey's got a fantastic vocal style, with shades of Patti Smith. She can switch it up from blistering and raw to incredibly lovely with ease. Her lyrics are beautiful, raw, deeply poetic. The comparison to Smith seems apt again here. My one small critique would be that she does the quiet-loud thing a bit overly much, to the point where I'm having to adjust the volume constantly so I'm not blasting myself out of my AirPods. It's a great effect, when used more sparingly. Fave Songs: Dress, O Stella, Plants and Rags, Water

I feel like I've stumbled into a haunted music shop. It's a lot, too much really. There are moments of this album that are genuinely lovely to listen to. There are also some incredibly annoying elements that I'll not be seeking out again. Oldfield's musical chops are for real. He's a great guitar player. But the wide swings in tone make it hard to settle into a groove listening to this. It's also hard to take a piece of music seriously that has this much growling in it. This is undoubtedly a unique musical experience. Props to Oldfield for going all in, but this would be a firm no from me. I tried. Favorites: None

This is my 100th review. A special kind of symmetry in that my first album was Berlin by Lou Reed. In case you were wondering, I gave that one a 3. It’s hard to review an album that you love, an album that is one of your favorites. There’s a sense of obligation to say something meaningful, but the album is also wrapped up in all kinds of feelings and experiences that are hard to extricate from the music. I don’t have a single favorite album. I have a small number of albums that I consider foundational to my tastes in music, my attitudes about music and, to some extent, my world view. This is one of those albums for me. If you've never heard the Velvets before, that first song is deceptive. The twinkling celesta, the strings, "Sunday Morning" is a lure into a very dark, gritty space. Feedback, dissonance, dark lyrics that take you to dark places, oh yeah. This album is a scar across the lovely face of music. VU is one of those bands that cracks open the possibilities of what music is allowed to sound like and what we as listeners should expect from music. As I said, foundational. I’ve been listening to this album for about 30 years now and it still challenges me. I love that it still challenges me, that it’s never boring. There are still moments on this album that make me uncomfortable, a flash of distortion that will make me tense up momentarily, a turn of phrase that will make me stop cold for a second from whatever it is I’m doing. This is music that is designed to make you uncomfortable. But it’s also immersive and fascinating. I have never in my life met anyone like the people Lou Reed writes about. But he writes it so vividly that you feel like you can understand it. The world revealed in this album is terrifying, but somehow also alluring in a twisted way. The Velvets shine a light on that dark underbelly of what’s acceptable, revealing depravity, humanity, and a surprising beauty. The arrangements of these songs are deceptively simple for the most part, but every sound is precisely placed, every distortion intentional. Cale’s explorations of the viola paired with Reed’s own experimentation with guitar tuning creates a powerful sound that no one has ever been able to match. Add in the steady, minimalist backbone provided by Moe Tucker and Sterling Morrison and you have a sound for the ages, one that’s been copied incessantly but still never really captured. Also, for as much as this is an album is worthy of serious thought, it also is just excellent music. It can be sweet, it can be catchy, it can be provocative, it also at moments just simply rocks. You can’t ask for much more in an album. Fave Songs: (The whole album, favorite to least favorite): Heroin, I'm Waiting for the Man, Venus in Furs, Run Run Run, I'll Be Your Mirror, Sunday Morning, Femme Fatale, European Son, All Tomorrow's Parties, There She Goes Again, The Black Angel's Death Song

I enjoyed this. It's basically a lot of progressive and layered sounds/noises, so not the most compelling music in the world. But it's also pretty chill and enjoyable enough to listen to. It mostly works as background as I sit working, although sometimes the noise/dissonance gets distracting (i.e., "Flight Path Estate," "Jacob Street 7am"). I feel like it would have really benefited from a serious edit. They could have dropped several songs and had a much tighter, more cohesive album. Fave Songs: Wilmot, Ballad of Nicky McGuire, Tow Truck, Theme, Planet D

This is an outstanding album, really one of the best debut albums I’ve ever heard. It’s a pretty perfect punk album, better than practically anything their peers would produce. The Clash is the best that genre ever produced, but you can already hear them straining against the borders of punk. The lyrics are smarter, and there’s a pop sensibility (their secret weapon) that’s undeniable here. The band is surprisingly melodic when they feel like it, which elevates these songs to another level entirely. Don’t get me wrong, they’re as angry, irreverent, rowdy and pissy as the rest of them. Their energy is insane. They burn through 35 minutes of songs like a freaking brush fire. The album hasn’t aged in 40+ years really. The youth, urgency, the raw passion, all still as vividly on display as ever. And it’s still incredibly listenable, a true classic. The Clash has one album that’s even better than this one (you all know it), but no matter, this one is an easy 5. Fave Songs: Janie Jones, Police & Thieves, Remote Control, Garageland, I'm So Bored with the USA

Interesting album, with some very lovely arrangements. I don't love Wayne Coyne’s vocal style, but you have to give the band credit for creating something rather unique and beautiful. Fave Songs: Flight Test, Do You Realize, In the Morning of the Magicians, Ego Tripping at the Gates of Hell

Oooh, spacey. I was not pleased to see a 2 hour live space rock album waiting for me this morning, but I actually enjoyed it. As live albums go, this one's pretty solid. It rocks much harder than I expected and it was just fun to listen to. The album suffers from some of the sound quality issues that a lot of live albums do, but the actual performances are absolutely on point. I will add that this album is very, very jammy. Some will absolutely not have the patience for it. Some people here are dogging on the spoken word parts, but I'm cool with them. They're never overly long (which is key to making it work), and admit it, Robert Calvert has a perfect voice for spoken word. Lemmy and Simon King make for one hell of a kickin' rhythm section and Dave Brock's guitar is splendid. Fave Songs: Master of the Universe, Time We Left This World Today, Down Through the Night, Space is Deep, Brainstorm

This is really stunningly well-done album, just beautiful. I mean really, can you imagine anyone today pulling off something this marvelous? The musical prowess of Genesis is undeniable here, and I absolutely love Peter Gabriel’s vocals. Elegant, poetic lyrics, that will come off as opaque or too clever by half to a lot of listeners – including me at times! If you have to go to Genius to figure out what the heck a song is talking about, you lose a bit of its impact. The album has some truly lovely, moving arrangements, with everyone playing at top form. It’s also a nice reminder that Phil Collins is a remarkable drummer, better than he ever was as a singer. This album was a real pleasure to listen to, but a little goes a long way here. It’s also a little self-indulgent, which I have limited patience for. Not quite a 5, but a solid 4. Fave Songs: I Know What I Like (In Your Wardrobe), Aisle of Plenty, The Cinema Show, Firth of Fifth

I've always enjoyed Dwight Yoakam's presence in country music. He stands out as an individual in a sea of artists who exist to sound exactly like each other. Yoakam developed his chops playing for the cowpunk crowd in L.A. when the mainstream country music industry had no interest in him. His authentic sound and commitment to his music took him from a cult following to the top of the charts, something which I’ve always admired and respected about him. I wasn't listening to any kind of country in 1988. But I imagine this must have sounded great at the time, given the landscape in country music in the 80s. I'm also a fan of a good Dwight Yoakam cover song. He's made quite a few of them over the years. He has several on this album, including a solid cover of the old Johnny Cash tune, "Home of the Blues," as well as covers of songs by Hank Locklin and Lazy Lester. The star of the show however is his classic duet version of Buck Owens' "Streets of Bakersfield" (with Buck Owens!). As someone who grew up with a lot of Tejano music in the background of my life, I really love the vibe of that particular song. I also feel like this song is a special appreciation of Owens and his music, who deserved all the attention after years of being pushed out of the country mainstream. The subject matter on much of the album gets really dark, even for country music. It’s belied somewhat by Yoakam’s rather crisp sound, but go check out those lyrics. I like the idea of this song progression from love to adultery to paranoia and murder. I’m surprised more artists don’t try something like this, except for the fact that it’s probably really hard to do without coming off as overwrought or corny. Yoakam makes it seem effortless. Fave Songs: Streets of Bakersfield, Buenas Noches from a Lonely Room, Home of the Blues, One More Name

Thinking back at the musical landscape of my 17th year, there were a lot of threads you could follow if you had an interest in music out of the mainstream. You had your English groups (dark, synthy) and your American groups (acoustic, jangly). You had goth and industrial bubbling up. But these guys, *these guys* were something different when they showed up. They rocked hard, as much as any metal band, but they had this whole Zeppelinesque bohemian vibe, with a gritty sensibility and a little funk. Not to mention an unusual front man with an odd voice that didn't really sound like anyone else. Looking back now, I can see how special Jane's Addiction is as a band, how much they forecasted what was on the horizon in music. Something really different was happening and these guys were at the front of it. I'm also realizing here that I have not given Dave Navarro enough credit over the years for being the awesome guitar player he is. His playing can go from delicate and lovely to just blistering with ease. He can riff, he can play a wailing solo, he can burn it to the ground. Along with Eric Avery's sick basslines and Stephen Perkins slamming drums, they have such a rich and full sound. It's elegant when they want it to be, but also blow out your car speakers heavy. The songwriting is kind of all over the map, it goes from whimsical to thoughtful and sometimes incomprehensible. But it works. The treasure here of course is “Jane Says.” I didn't really know a Jane, but I probably met a few women over the years who related to her. I appreciate the empathy Farrell shows to Jane. The way men usually have written about women in rock music is... not great. Farrell has taken the time to tell her story and show care for her without judgement, pity or objectification. It’s really sweet and sad, accomplished with few words. It reminds me of Lou Reed's writing, not the least of which because they have both written iconic songs about a woman named Jane. Listening, you care about what happens to her, which is the power of great songwriting. I got weirdly emotional when I read that Jane Bainter finally did get to go to Spain. Good for her. Fave Songs: Jane Says, Mountain Song, Summertime Rolls, Ocean Size, Standing in the Shower... Thinking

Enjoyable! Trippy, blippy, housey, dancey fun. Très français. They're whimsical with a retro sheen, but also have a flair for the dramatic, which I like. As you get deep into the album in the back half, it gets a more dissonant, which grated on me a bit. The song “Stress” was probably the most aptly named song ever, because that one completely stressed me out. I believe that was absolutely intentional, so bravo to Justice, I felt it in my bones. I absolutely love “Let There Be Light.” Also the David Shire sample in “Stress” was inspired. Fave Songs: Let There Be Light, Phantom, D.A.N.C.E., Newjack, Genesis

You can't really get better than ABBA for pure pop perfection. No one has come close to touching what they created, even as pop styles continue to change. Nowadays you need a team of producers and auto-tuning to sound half as wonderful as they do, while ABBA just makes it sound so effortless. ABBA is always such a joy to listen to and this album is no exception. The songwriting is a bit more mature, along with a shift in musical style befitting a change of decade. The vocals are absolutely angelic. The arrangements are melodic and elegant. Musically, the vibe here is crisp and clear, very much in line with what was going on in the early 80s, maybe even a little ahead of the game. This album is a deep dive for anyone who hasn't gone further than the ABBA Gold hits, but what an enjoyable dive it is. It's unfortunate that songs this wonderful aren't more widely known. Fave Songs: The Day Before You Came, Cassandra, Under Attack, The Visitors

If there’s one thing I can always rely on, it’s for John Cale to confound me a little with his music, but I love it. His music can be a bit of a rough listen for some because of his avant-garde sensibility. But this album is probably one of his most accessible and most enjoyable to listen to. The songs are a pleasant listen, with a hint of a pop vibe. Several reviewers compared Cale to Ringo Starr which at first annoyed me, but I can hear it, particularly in the piano. They also have similar vocal ranges, but that’s about it. What Cale is up to is a bit more left field, to put it mildly. There are some stunningly pretty songs on here, mostly with simple but elegant arrangements. In contrast, the kicky rocker “Macbeth” is kind of ridiculous, especially followed up with the masterful “Paris 1919.” It’s a tonal shift that will break your brain on some level. I like to think Cale had a good laugh over it. Speaking of “Paris 1919,” it’s a singularly lovely confection of a song, the best track on the album. I would have loved a whole album of songs in this vein. The lyrics on “Paris 1919” are also quite clever but won’t mean much to a casual listener. As with a number of songs on the album, the lyrics are peppered with historical and cultural references that tend toward the obscure. Cale is not known for his vocal talents, but something in his delivery is enjoyable to me. It's slightly off-kilter and wavering, but conveys a certain pathos that works really effectively with his musical style. Richie Unterberger describes it as a “lilting if thin Welsh burr,” which is about as perfect a description of Cale’s vocal style as I have ever seen. Combined with his beautiful arrangements, that wonderful viola, and a little warmth courtesy of Lowell George’s guitar work, you have a really unique collection of songs here. It may take multiple listens to connect with it, but it’s worth it. Fave Songs: Paris 1919, The Endless Plain of Fortune, Child's Christmas in Wales, Andalucia, Half Past France

This is undeniably ABBA’s best album period, ABBA at the absolute pinnacle of their career. The arrangements are delightful. The production is flawless. Agnetha Fältskog and Anni-Frid Lyngstad are in perfect voice. If I had to pick an album to stick in a time capsule and represent 70s pop, this might be it. Which would be a lie ultimately, considering how much better this music is than much of the dreck of the era. There are two absolutely perfect pop songs on this album. The balance of the album is a nice assortment of slightly lesser pop songs that are still great fun to listen to. “Dancing Queen” is a marvel of a song, probably the best song the band ever made. Except for maybe "Fernando," my goodness. These are two of the prettiest, catchiest songs I have ever heard, and they are on the same album. They are two sides of the same coin as pop songs go, with “Fernando” pulling at your heart strings while “Dancing Queen” is just a bubbly, sparkling ode to joy. I like the reviewer who said you just have to let yourself go when you listen to ABBA. I can’t think of a better way to describe the experience of listening to them. For some reason ABBA is treated as some sort of guilty pleasure that you have to justify listening to. I think it’s time we let that notion go and appreciate the fact that crafting quality pop music is difficult. ABBA truly makes it look effortless. Fave Songs: Dancing Queen; Fernando; Knowing Me, Knowing You; That's Me, Money, Money, Money

Oh, this is great. I'm realizing that somehow, I managed not to hear this whole album over the years. I say this as someone who voraciously consumed New Order's earlier albums when they came out, as someone who has seen them live. I think it's a matter of timing really. By 1989 I had probably moved on to other things and I wasn't particularly aware of this one. Boy, do I feel dumb now. I still hold Power, Corruption and Lies as New Order's greatest album, a personal favorite. But let's be real, this is album is really close, among their best. The band is actually better at this point than they were when PC&L came out. They really mastered the technical aspects of their sound and pulled together a cohesive, compelling collection of songs. I've been reading Peter Hook's book and let me tell you, the band was not in good shape at this point. You really can't tell from listening that they were not playing together as a band and were heading in the direct of a split. That signature sound is there, that perfect melding of the acoustic with the electronic. No one does that as well as New Order. Practically every song is a winner. Well, I've got 32 years’ worth of catch up listening to do this one, so off I go. Fave Songs: All the Way, Love Less, Round and Round, Run, Mr. Disco

Somehow, I’ve managed to go all these years without ever listening to K.D. Lang. That’s unfortunate because this is was a pleasant listen. Lang’s vocal style is smooth as silk, languid and dreamy and quite engaging. It’s hard not to like her. Lang's style is very evocative of Patsy Cline, especially when she hits that little yodel. She really channels Patsy in “I Wish I Didn’t Love You So.” Musically the album definitely has a retro vibe, like honky tonk music of the early 60s, with a torchy undertone. Really lovely. Fave Songs: Western Stars, I Wish I Didn’t Love You So, Don’t Let the Stars Get in Your Eyes, I’m Down to My Last Cigarette

I went through a couple of years back in my thirties when I was deep into Zeppelin. They were practically the only thing I listened to. Back then, I think I favored the first two albums and Houses of the Holy. Coming back at it now, Physical Graffiti has so much to offer as well. If you asked me now to recommend just one Zeppelin album, I think this might actually be it because it’s such an expansive work. Yes, this album suffers maybe a little from double album syndrome. It’s all over the place stylistically. But the songs are undeniably excellent. This is the work of four artists at the top of their game, flexing their creative muscles. It's a joy to listen to. There isn't really another album like this, but the closest I can approximate is The White Album, sans the internal turmoil. Apparently John Paul Jones was tired and disillusioned with his role in the band, and things could have played out quite differently. But he was given more creative control and the benefit to the band is palpable on this album and their sound moving forward. This by the way is what should happen in a band when this sort of thing happens. The diversity of styles covered, the creative dalliances, the range of feeling, it's all here. You’ve got everything from heavy rockers like "Trampled Under Foot" and "In My Time of Dying" to the ambitious anthem "Kashmir" and the lovely acoustic instrumental "Bron-Yr-Aur." You’ve got blues, you’ve got prog, you’ve got good old-fashioned rock and roll. “Boogie with Stu” is full on just for fun. The musicianship as always is ridiculously good. I feel dumb even talking about it because... just listen. Page, Plant, Bonham, Jones, ‘nuff said. This is an album pack with songs that are soulful, sexy, beautifully crafted, and heavy as a hammer when they feel like it. Oh and also, they freaking rock. 5 easy stars… you know-oooh-ohh-oh. Fave Songs: Houses of the Holy, Trampled Under Foot, Bron-Yr-Aur, Down by the Seaside, Ten Years Gone, Kashmir, In the Light, In My Time of Dying, Custard Pie

Musically really pretty, pleasant arrangements, a mostly breezy listen if somewhat bittersweet. I'm not fond of Stuart Murdoch's vocals though. He has this anemic, emotionally flat style of delivery that leaves me cold. I didn't find anything particularly compelling in the lyrics. Fave Songs: We Rule the School, My Wandering Days Are Over, She's Losing It, Expectations

Tom Waits: Patron saint of misfits, weirdos and lost souls everywhere. I can't think of another album that has more character, or one that's much better at evoking atmosphere and mood. I suspect this album confuses some people. That's a selling point as far as I'm concerned. If you want to stop reading here, I have one thing to say: This album is a masterpiece. It’s just a deeply, deeply cool album. Rain Dogs is the second in a trilogy of albums (along with Swordfishtrombones and Franks Wild Years) Waits created in the 1980s which represented a sharp shift in his musical style. It’s maybe a challenging listen for some, but it’s really not that hard. You see, Waits is an excellent songwriter. He knows how to make melodic, affecting music. But he also likes to keep it interesting, and a central principle of his style is to take the familiar and make it ugly (“fuck it up” as I believe Robert Christgau put it). Waits created a style of music all his own, a bricolage of sounds and eras that takes you to another place. It’s like a detour through a dark, gritty world that has a thousand stories of hard luck cases and scoundrels. Waits also has some remarkable musicians working him, including the brilliant Mark Ribot on guitar. The use of percussion here is also second to none, with Waits incorporating multiple drummers and percussionists. I mean how many albums have you heard that make effective use of a marimba, parade drum, congas and a bowed saw? I haven’t even mentioned half the instruments that appear on this album. On paper it’s a kitchen sink approach, but Waits really makes it work, he brings it alive. The bruised cherry on top is of course Waits himself, with that famous raspy, theatrical vocal style. In the 80s this album was a thrilling antidote to the overly produced music of the time. Now it’s simply timeless. Fave Songs: Downtown Train, Jockey Full of Bourbon, Hang Down Your Head, Time, Diamonds and Gold, Clap Hands, Tango Till They're Sore, Big Black Mariah

Musically this album is fine. You've gotta really love yourself some drum & bass to want this much of it. The beats are pretty repetitive and samey, if fast-shuffling and energetic. It would make for some decent workout music. I really liked "Hi-Potent," but most of the others kind of blur together. And yes, this album is overly long, so very, very long. I wonder when I see these long debut albums if the artist feared they would never get another album, so they throw in all the things. It rarely pans out and Roni Size really needed to pare this down. If the album were half this length, I might have given it a 3, but I don't really see myself revisiting this one at all. Fave Songs: Hi-Potent, Trust Me, Morse Code, Electricks, Paper Bag

This is a fun album of breezy and soulful pop/new wave from Orange Juice. The band has a unique style, with a bit of an Afro-pop sensibility (courtesy of drummer Zeke Manyika) and some excellent punchy guitarwork. Edwyn Collins is the standout presence in the band, with his rich vocal style. Great pop hooks on both the title track and “I Can’t Help Myself.” “Mud in Your Eye” is a personal favorite, although “I Can’t Help Myself” is a can’t miss track, the best on the album. Fave Songs: Mud in Your Eye, I Can't Help Myself, Tenterhook, Rip It Up, Turn Away

Just great, soulful pop music, nicely done. "When You See a Chance" is the obvious classic track here, worth the price of admission just for this song. "Arc of a Diver" and "Slowdown Sundown" are lovely as well. Nothing on here I didn't like. "Second-Hand Woman" was probably the weakest song overall. Yes, the top-of-the-line-for-1980 synthesizers are admittedly a bit dated. But it's forgivable thanks in large measure to Steve Winwood himself. You can't shortcut his talent as a vocalist with a machine, that lovely soulful and timeless voice. Bonus star for the fact that Winwood plays all the instruments on this album, and adeptly so. Fave Songs: While You See a Chance, Arc of a Diver, Dust, Slowdown Sundown, Spanish Dancer

An outstanding album by Paul Simon, arguably his best. The songs are perfectly crafted, with a rich, eclectic sound. It’s a clear labor of love for Simon, who worked with an extremely talented roster of musicians in South Africa and in the US. But it feels like a real collaboration between artists, not just Simon playing musical tourist. Simon’s exceptional songwriting is the icing on the cake, some of the best of his career. Musically, the songs are joyful, warm and engaging, with gorgeous arrangements. Hard to single out any one performance because it's all amazing. I can’t imagine many artists being able to pull off such an ambitious effort, but Simon delivers an album for the ages. Fave Songs: You Can Call Me All, Gumboots, Graceland, The Boy in the Bubble, Diamonds on the Soles of Her Shoes, That Was Your Mother

Yes is one of those bands you either connect with or you don’t. They’re incredibly talented and their music doesn’t really have any flaws per se. The most you can ding them for is a little self-indulgence (ahem, "Perpetual Change"), which is true of a lot of bands of their genre/era. Short and sweet review, this album is really good, but I didn't connect with it as much as I did with Close to the Edge. It includes two of the all-time great, must-hear tracks from the band, “I've Seen All Good People” and “Starship Trooper.” The inclusion of the live instrumental "The Clap" was a weird choice that I don’t think served the overall album very well. Fave Songs: I've Seen All Good People, Starship Trooper, Yours is No Disgrace, A Venture

This is a perfectly good 90s grunge album. It's more thoughtfully done and musically better than a lot of the dreck that was out around the same time. I liked a lot of the songs, but in the end it's not super memorable. Fave Songs: Sworn and Broken, Witness, Look At You, Dying Days, All I know

Splendid. Musically flawless, such a warm, rich sound. Lyrics are mournful but ultimately spiritual and full of hope. Fave Songs: The Invasion, Jordan River, Marcus Garvey, Red Gold and Green, Live Good

This is kind of fun, although musically it comes off as rather corny/dated. Bongos are tight though. I don't see myself coming back to this. But it was worth it to hear "Apache," which was pretty great. I've got to say, I'm more impressed with the artists who were able to mine these songs for some excellent samples over the years. Fave Songs: Apache, Dueling Bongos, In a Gadda Da Vida, Let There Be Drums

This really isn't my genre. That said, this sounds pretty good. Fave Songs: The Corner, Food, Real People, They Say

This is an excellent album. Sonic Youth really mastered the effective use of distortion, feedback and noise better than anyone I can think of. A lot of bands would follow in Sonic Youth’s footsteps, but ultimately there is nothing else out there like them in music. The songs on Goo are moody and hard burning with a great, menacing undertone. Thurston Moore and Lee Ranaldo’s explorations of guitar are brilliant and fascinating. They push the instrument into places you didn’t even know existed. Moore and Kim Gordon's alternating vocals just ooze with an insouciance that’s so evocative of the mood of that era. Also frankly, this album just rocks. Fave Songs: Tunic, Titanium Expose, Disappearer, Dirty Boots, Mote, Kool Thing

I’m realizing today that I never really wrapped my head around this album, since I purchased it on vinyl at the tender age of 12. That’s no surprise as I really wasn’t the target audience for it! But I can appreciate now that what Soft Cell was doing here was something really interesting and unique. The album brilliantly evokes this quality of seedy, world-weary decadence, with a pronounced undercurrent of pathos. Musically, the album is better than I remember it. The cold, crisp style contrasts beautifully with Marc Almond’s torchy, theatrical vocals. Almond is a really talented vocalist who can flip it on a dime from melodramatic to anguished in a way that is uncommon and almost more suited to musical theatre than to pop. Lyrically they go full-on camp in places, which is what makes the whole thing work. The gleeful lasciviousness of songs like “Sex Dwarf” and “Seedy Films” makes the sadness and disillusionment in “Youth” or “Say Hello” more heartfelt. "Tainted Love" is hands down one of the best songs of the 80s, if not the best. It blows the original out of the water (Apologies to Gloria Jones, but you know it's true). It's lurid, dripping with self-loathing and disillusionment, and oh so lovely. If you haven't heard it, seek out the extended version with "Where Did Our Love Go," which is sublime. “Say Hello, Wave Goodbye” is a bittersweet gem of a song and the other must-hear track on the album. Fave Songs: Tainted Love, Say Hello Wave Goodbye, Sex Dwarf, My Secret Life, Frustration

Punchy, energetic, squonky fun. Fave Songs: Warrior in Woolworths, I Can't Do Anything, Identity, Let's Submerge, Germ Free Adolescents, The Day the World Turned Day-Glo

Excellent album from the Dead. It's a solid listen, with a great chill vibe and beautiful guitar work. Fave Songs: Truckin', Box of Rain, Sugar Magnolia, Ripple

Wow, this is an excellent album. It's this great intersection of sounds/genres with lyrics that are darkly poetic and beautiful. The conceptual element of the war pulls everything together really well and is like nothing I've quite heard in a post punk album. The dark subject matter could make an album like this a real slog, but musically it leans to the upbeat, like a lot of the best country music does. The Leon Payne cover at the end is a great choice that really fits with the whole mood of the album. Fave Songs: Abernant 1984/5, Darkness and Doubt, Chivalry, Country

I'm getting a strong sense how hard it must have been to stay relevant as an American rock band in the mid-1960s. You've got to keep it hooky, keep it fresh, offer something more than the average frat band. It's pretty palpable here, listening to the Raiders try to figure out their sound. That said, this album was a fun listen, better than I expected. Stylistically it's a little wacky, like they don't know if they want to be a garage band or to try and be the Beach Boys or the Byrds, so why not all of the above. To be fair, they do a pretty good job at it. It's punchy, energetic, and musically pretty solid. No, none of these songs are especially inspired music. It is mostly an enjoyable listen though. I did not realize the Raiders actually released "Stepping Stone" prior to the Monkees. Their version is actually pretty excellent. Fave Songs: There's Always Tomorrow, Kicks, There She Goes, I'm Not Your Stepping Stone

There isn’t anything I can really say about this album that hasn’t been said. I listen to Ziggy Stardust all the time. I can listen to it all day, every day, and it still moves me. I can’t say that about very many albums. I always say I don't have a favorite album but come on, does it get any better than this? I think technically, David Bowie probably made “better” albums than Ziggy Stardust. He didn't peak here. He produced plenty of smart, musically adventurous albums in the years that followed. But. This. Is. The. Album. This is the one. Of all of his works, I feel this is the most perfectly realized work. It's absolutely his most accessible album, which doesn’t sacrifice his art one bit. Front to back, every song is perfectly crafted and perfectly placed. There is no filler and there is no chaff. The concept aspect of the album is subtle but clever, apparently devised after many of the songs had already been written. You don’t need to be aware of it to enjoy the songs, which are all exceptional on their own. But if you consider the songs as a narrative, it’s even more enjoyable. Musically, the songs are gorgeously arranged, a joy to listen to. The songs range from dreamy and soulful to glammy and sexy without skipping a note. Mick Ronson’s guitar and string arrangements are masterful. “Suffragette City” and “Ziggy Stardust” are the classic rock mainstays, but it’s the deep tracks that give this album its substance. Fave Songs (all songs, ranked most to least favorite): Rock 'n' Roll Suicide, Moonage Daydream, Five Years, Starman, Soul Love, Suffragette City, Lady Stardust, Ziggy Stardust, Star, Hang on to Yourself, It Ain't Easy

Echo and the Bunnymen was one of those bands that got massive play in my house when I was a teenager. I had a concert tee that I wore down to nothing, I loved it so much. Ocean Rain is probably the best album the band ever made. The musical arrangements are lovely, but properly subtle and restrained. I was surprised to read they had an actual 35-piece orchestra backing them up. It’s beautifully done, an example of the right way to use strings in rock music. Special mention to Will Sergeant, whose resonant guitar work is distinctive, but interplays really elegantly with some rather delicate arrangements. The lyrics are darkly poetic and ambiguous, delivered in the way only an English post punk singer can do it, dead serious but then yet… not really. I mean how serious can you be if you're comparing your girlfriend to a cold cucumber in the fridge? Ian McCulloch is playing with language, being deliberately obtuse a lot of the time. He has a way of turning a phrase that is really idiosyncratic but beautiful. McCulloch is clearly influenced by both David Bowie and Jim Morrison as a songwriter as well as a vocalist. There is really one song everyone must know from this album, which is of course "The Killing Moon." If you ever want to share with someone why 80s music matters, that's really the song you've got to go with. It's such a darkly beautiful song, certainly the best they ever made, and also one of the best of that genre/era. As a teenager I was less of a fan of the slower tempo “Ocean Rain,” but I’ve got to say, I really loved it on relistening now. “Thorn of Crowns” seems very much of that time (not to mention fairly silly), but overall, the album has aged beautifully. Fave songs: The Killing Moon, Ocean Rain, My Kingdom, Seven Seas, Crystal Days

This is an unusual album, but I liked it. I'm more a fan of the Shake Some Action iteration of the Groovies, but I’ve always admired how they did their own thing musically regardless of what was popular at the time. This one is a little ramshackle and garage rocky, with a lot of 70s attitude and just a little of a proto punk edge. Stylistically it is all over the place, to the point where it’s kind of ridiculous. They start out going for a Stones-esque bluesy rock and they end up playing rockabilly. I would ding another band endlessly for this, but somehow, they manage to pull it off. This was a lot of fun. Fave songs: Whiskey Woman, Yesterday's Numbers, City Lights, Have You Seen My Baby, Evil Hearted Ava

I love this album. It's one of my favorites of that era. It got endless play in my house when I was a teenager and it's one I never tired of over the years. I think it's probably the first New Order album I had ever heard, so I have a special sentimentality for it. New Order made several terrific albums in the 80s, beautifully crafted collections of unique songs that were eminently listenable, front to back. No bad tracks. Low-Life is just one of those albums. It's full of gorgeously layered electronic arrangements, elevated by Peter Hook's guitar in a way other synth-based bands could never really touch. Bernard Sumner's slightly strained vocal style may be grating to some listeners, but we always liked it for that reason. It added a little texture to an otherwise pretty polished sound. Sumner never tried to be Ian Curtis. He knew his limits as a vocalist and kind of leaned into them, which I can appreciate. The album's only weak spot would be in the lyrics, which always seemed like a bit of an afterthought. This is the case with a lot of music in this genre. Bonus points for showing a sense of humor by adding the “frogs” to “Perfect Kiss.” Fave Songs (all songs, from most to least favorite): The Perfect Kiss, Love Vigilantes, Sub-Culture, Elegia, Sunrise, Face Up, Sooner Than You Think, This Time of Night

This is pretty great. Elegant arrangements, lovely vocals, with a strong message. It has a bit of a throwback quality. The flow of the album feels a little Janet or Lauryn Hill-ish, particularly with all the interludes. She actually overdid it with the interludes, but the album was enjoyable overall. Fave Songs: Junie, Weary, Don't Touch My Hair, Don't Wish Me Well

Aww, I've been waiting for a Sly Stone album to come up. Not the one I exactly wanted to see (which would be There's a Riot Goin' On), but this one is always a great listen. This band of delightful weirdos, I love them. Sly & The Family Stone is one of those bands whose songs are so familiar and embedded in the musical firmament, that we have to remind people of how significant they are. An interracial, gender mixed band that blended funk, soul, pop and psychedelic rock... in 1969? Sign me up. They were musical revolutionaries whose influence can still be found in any number of genres today. And oh, they're also just so much fun to listen to. That's a party you really want to be at. The album takes a few songs to heat up, but when it gets there, look out. The funk is strong with this one. The tone is exuberant and joyful. You can tell they are having fun here. The music is soulful and groovy and a little hectic with more than a hint of psychedelic flavor. Lyrically, Stone hints at social commentary without really going incredibly deep with it. It’s more of a feel good activism he embraces in songs like “Everyday People” and “Stand.” That said, "Don't Call Me..." is probably even more jarring on the ear than it might have sounded in 1969. It is really a time capsule from another era, not to mention just kind of a musically weird song. Even with all the stone cold classics on this album, today I'm digging "Somebody's Watching You," which is the sleeper track of the album. “Sex Machine” is some kind of marvelous, funky musical odyssey that really stands out from the others. Love it. Must have been a blast live. Fave Songs: I Want to Take You Higher, Sing a Simple Song, Everyday People, Somebody's Watching You, Stand, You Can Make It If You Try

I was not particularly a fan of this style of music at the time it came out, and it hasn't really grown on me since then. It's a quite good album as these things go, though, and clearly marks an important moment in rock/metal. Musically the band is really solid. It's a departure from most metal of the era, with some excellent guitar work and a prominent, funky bass. Never enjoyed Mike Patton's vocal style, which probably launched more than few crap 90s/00s vocalists. The cover of "War Pigs" is great, although it's a little too on the nose to be taken as much more than an extraordinarily faithful copy of a much better band. On balance, I would still give this album a 3. Fave Songs: Woodpecker from Mars, Falling to Pieces, Epic, War Pigs

The 1990 version includes some awesome songs, but I decided for the purposes of this review I'm just looking at the 6 songs on the 1988 release. I wasn't big on grunge when it first broke through, so I think really listened around bands like Mudhoney at the time. I suppose that's fine, as I don't think I would have much appreciated them at the time. But man, these guys are great. They're the only band I can think of that consistently embodies the raw energy of groups like the Stooges and the MC5. This is some stellar proto-grunge that burns with a ramshackle energy, with some furious guitar work and hard driving drums. The vocals by Mark Arm are some of the most blistering and I have heard. I like the contrast between slow burn and straight up rage he does in “If I Think.” Following it up and closing it out with the high energy “In 'n' Out of Grace,” and that’s a pretty compelling group of songs. It makes me want to hear more. Fave Songs (1988 version): In 'n' Out of Grace, No One Has, If I Think

This was fun. I know this album gets pegged as the Temps' big funk and psychedelic turn, but much of it is not. It's more that they took their signature sound and tweaked it slightly to go with the tone of what was on the charts at the time. It actually works pretty well. The more funk-driven tracks of side 1 are the real deal. The title track is a stone cold classic. I'm just realizing "Runaway Child" clocks in at 9+ minutes. It's pretty awesome as well, and kind of surprising coming from this group. Honestly the only side 1 song that left me a little cold was the cover of "Grapevine," which brought nothing new to the song. Dennis Edwards absolutely deserves credit here for making his mark as a vocalist in the wake of David Ruffin's departure. He was never going to top Ruffin, but he sounds great here, his grit balanced nicely by Eddie Kendricks’ splendid vocal. The album could have been a flat-out failure, and it's actually a really fun listen. I'm actually digging several of the more conventionally Temptations-y romantic songs. They're lovely, classic Motown songs, which are always a delight to hear. Fave Songs: Cloud Nine, Run Away Child Running Wild, I Gotta Find a Way (To Get You Back), Why Did She Have to Leave Me, Love is a Hurtin' Thing

Fun, funky, top notch beats. An hour of it is a bit much. Fave Songs: Lost in the K Hole, Where Do I Begin, Dig Your Own Hole, Elektrobank

A really nice, more mature outing by the Pet Shop Boys. I think the Pet Shop Boys were always among the best of their genre, with smarter lyrics and better arrangements than a lot of their peers. But this is some next level Pet Shop Boys. Some really rich, elegant arrangements. Love the presence of Johnny Marr on guitar, which adds a nice additional texture you don't always get in electronic music. It teeters on the line of being a little overly torchy, but thank goodness for that. Otherwise it would be another drab synth album of the period. It feels a touch dated musically at times, but overall a really strong collection of songs. Fave Songs: Jealousy, The End of the World, To Face the Truth, This Must Be the Place I've Waited to Leave, Nervously, Being Boring, My October Symphony

I know this album is a little challenging or odd for some listeners, but it’s actually one of Brian Eno’s more accessible albums. He’s working with a pop and rock palette but using his more avant-garde sensibility to push at the seams of what we’re used to hearing. It's 1973, a couple of years after T.Rex first put out Electric Warrior, same year as Queen's debut album and as Aladdin Sane. Eno is fresh off his time in Roxy Music. He fits in well into that art-prog-glam context, building on his work with Roxy, but he's pushing our comfort levels even more. Musically it rocks, it struts, it grates, it twists, it veers off key, it wanders from the noisy back into the lovely and sublime. It’s never boring. I love the anecdote that Eno chose the musicians for the album based on the idea that they were musically incompatible. He fully expected that there would be conflict and competition, resulting in musical “accidents.” It’s a creative risk that pays off with some of the more unusual and interesting rock songs from the past half century. The musicians he collaborates with are all top caliber, including several of his bandmates from Roxy Music. Robert Fripp’s and Phil Manzanera’s brilliant, far-ranging guitar work is worth the price of admission, they’re so good at what they do. The lyrics are whimsical, campy, and largely nonsensical, on purpose. I've said this before about Eno when I reviewed Before and After Science. It's not about understanding the lyrics, which are just a delivery method for the vocal instrument. And Eno’s vocals are always great, posh, aloof and wry but also emotionally affecting at times. “On Some Faraway Beach” is a good example of this, with a sweetness and a pathos you aren’t really expecting. I like that he jumps from that song into “Blank Frank,” which is such a noisy and jarring tonal switch. I think this is totally intentional, keeping us on our toes as listeners. This is one of my favorite albums by one of my favorite artists. I’ve been listening to it for the better part of 40 years, and it never ceases to delight me. It’s a great entry into his earlier “rock” oriented phase of the 70s. But don’t stop there if you like it. He has a whole career of adventurous and compelling music to explore, both in his own work and as a producer. Fave Songs: Needles in the Camel's Eye, On Some Faraway Beach, Some Of Them Are Old, The Paw Paw Negro Blowtorch, Here Come the Warm Jets, Dead Finks Don't Talk

We get a lot of electronic music here on 1001albums, in all its forms. I actually like a lot of electronic music. My brother does it for a living, so I've heard a fair bit of it. But after a while, another techno or house album comes up and I can't help but let out a sigh. This one is really good, though. A full hour+ of really listenable and diverse music, from progressive house to drum and bass to a splash of ambient, none of it tiring nor ear splitting. The album starts out strong and never lets up. Beats are perfect, not hard on the ear for the most part. The compositions are smoothly sequenced and layered, with subtle little progressions that make each track more complex and interesting as it develops. Even the long tracks (which are series of songs that lead into each other), are a breeze to listen to. Lyrics are poetic, but on the abstract side. Vocal distortions, noise and guitar loops are used economically, to nice effect. It’s not all danceable, but there is a solid mix of the clubby and the more contemplative, which makes for a better overall listen. Bravo. Fave Songs: Banstyle/Sappy's Curry, Juanita : Kiteless : To Dream of Love, Air Towel, Blueski, Rowla

I hate to judge solo artists too much by their previous work in a band. But I'm not really feeling this one from Frank Black. It's not bad per se, but musically it's just not particularly compelling. And Black's bona fides from his work in the Pixies are huge. Their sound was huge, intense, urgent. You can't help but have some expectations of him moving forward. On Teenager of the Year, Black's vocals in particular are weak. What's missing in him is the intensity we’re used to hearing. Like did he have a cold that day? You can see where Black is experimenting with some different sounds, applying his vocal in different ways. But unfortunately Black isn't a strong enough singer to pull off a subtler vocal. It’s a nice attempt that lands flat about half of the time. There are several solid tracks that keep the album from being a wash. My favorite track is probably “Superabound,” which shows a bit of the old Black spark, elevated by some excellent keyboard and guitar work. “Headache” is probably the other can’t miss track. The second half of the album for sure is pretty listenable. This is one of those albums that would have benefited from some decisive editing. Drop 4 or 5 of these songs and you would have had a much better album. Fave Songs: Superabound, Headache, Thalassocracy, Sir Rockaby, Bad Wicked World

I'm thrilled by the number of Brian Eno albums I've been getting on here to review. He’s one of my favorite artists and I am fascinated with his music, no matter how often I hear it. This is undoubtedly the best album Eno created in that first group of albums he released in the 1970s, possibly his best one period. It’s really the launching point into more of a minimalist style of music for him and the beginning of his departure from rock music. I listen to it frequently and it never fails to move me. For any other artist, this album would be the masterpiece, but Eno’s just getting started here. The album is challenging in subtle ways, but absolutely accessible for those with an interest who are just getting into this kind of music. This is probably the album I would recommend for a new listener to Eno. For all of his creative dalliances over the years and tinkering with noise, there is an inherent prettiness to Eno’s approach on Another Green World. It's just simply lovely to listen to. The songs are all economical in composition, nothing over 4 minutes and the majority of them without vocals. The arrangements are quite simple and subtle, but with an incredibly rich and textured use of instruments and sounds. You can listen to them over and over and you’ll continue to notice new touches you hadn’t heard before. As usual, Eno brings together a murderer's row of talented musicians to this work, continuing his work with the brilliant Robert Fripp on guitar and Phil Collins on Drums. I absolutely love John Cale's contributions on viola. A lot of rock artists bring in strings here and there to their work, but Cale is always a next level collaborator in that regard, particularly on "Sky Saw." Cale and Fripp together on “Golden Hours” are a delight. On almost half of the songs, Eno is the only musician credited, working adeptly with a variety of instruments, from guitar and bass to synthesizer. His use of synthetic percussion on songs like “In Dark Trees” and “Sombre Reptiles” is really terrific and brings to mind future sounds utilized by Talking Heads (go check out “Listening Wind” after hearing this). His use of synthesizers in general is emotionally compelling and a pleasure to hear. Lyrically, Eno starts out with a joke in “Sky Saw,” suggesting that no one gets his lyrics anyway. But overall, when he does sing on this album, the lyrics are softer than on previous works, more poetic and more contemplative. The line I love is “I’ll come running to tie your shoes.” It's so intimate and sweet, a completely unexpected lyric from Eno. What a gem, all of it. Fave Songs (All songs from most to least favorite): Golden Hours, Everything Merges with the Night, I'll Come Running, St. Elmo's Fire, Sky Saw, Becalmed, The Big Ship, Sombre Reptiles, In Dark Trees, Another Green World, Little Fishes, Spirits Drifting, Over Fire Island, Zawinul/Lava

You know, I owned this album when it came out. I actually owned three of their albums, but I never really connected with The The except for couple of songs. I thought maybe 35 odd years later, I might feel it a little more, but nope. Infected is still a noisy hodgepodge of an album. It’s still brassy and weird (which I usually would like), but also kind of bleak and soulless, like it was built in an 80s music lab without adding any of the fun stuff. Musically and lyrically it’s tense, like it stresses me out to listen to it. Credit to Matt Johnson for beating his own drum, I mean that sincerely. It’s just not a drum I care to listen to. I guess I’ll check back in 2056 and see how I feel about it then. Fave Songs: Infected, Heartland, Slow Train to Dawn

Wow, this is absolutely lovely. Beautiful arrangements, minimalist and restrained. Striking lyrics, worth reading all on their own. It is a bit of a mood though to listen to, but today happens to be a gray, snowy day. It sounds pretty perfect. Fave Songs: West Country Girl, Lime Tree Arbour, Into My Arms, People Ain't No Good, Where Do We Go Now But Nowhere

Nice to see a more diverse offering today. An interesting bricolage of styles, if a little repetitive at times. No, I didn’t feel every song on the album. But M.I.A. is clearly doing something really different and special musically here. Even almost 15 years out it’s a fresh sound with an uncompromising perspective. The beats are solid and the non-Western influences and samples make for a distinctive sound. Some of the songs (like the first three, unfortunately) were a drag on the overall pace and flow. That group of songs were all distinct from each other, but all repetitive in the same way, which was just tiring to listen to. She shines on songs like “Jimmy” and “Hussel” though, when the pace picks up and the sound gets way more complex and interesting. I enjoyed this. It's a little outside my regular listening, but that's why we all came to 1001albums right? Fave Songs: Jimmy, Hussel, XR2, The Turn

Life's too short for this foolishness. Next.

This is like being asked to review the Sistine Chapel. Where to begin. It took me some years to get in the rhythm of Joni Mitchell's music. Thankfully I stuck in there because her music is an indescribable gift. Blue in particular is an album I come back to frequently. Listening to Blue is like reading someone else's diary. It feels very personal, so intimate, so much so that you feel a little like you shouldn't have that kind of access to another person's thoughts. Mitchell’s lyrics are pure poetry. Her turns of phrase are stunning. "I could drink a case of you and still be on my feet" is a line that I think about a lot. It’s simple, but incredibly elegant, evoking all our own feelings and memories of being exuberantly, drunkenly lost in a love, regardless of the cost. The songs are a journey between those exuberant feelings to less pleasant feelings like melancholy, loneliness, disillusionment, loss. She revels in those emotions and displays them for us like jewels. Let's also not sleep on the quality of the music itself. The arrangements are simple, delicately rendered, but incredibly moving. Mitchell's piano and guitar work is a thing of beauty. Her accompanying musicians (James Taylor, Stephen Stills and Pete Kleinow) add great depth and texture to the work. Kleinow’s pedal steel guitar on “California” and especially “This Flight Tonight” is a delight. Mitchell’s vocal is so unique, it’s an instrument in itself. It’s angelically pretty, but she’s not afraid to bend her voice as it suits her, into some unexpected places. A lot of artists get compared to Joni Mitchell, but there’s really no one like her. I could say much more, but it would somehow never be enough. I could drink a case of this and still be on my feet. Fave Songs: A Case of You, River, California, This Flight Tonight, All I Want, Blue

I didn't really listen to Tori Amos at the time this came out, but this album was important to a lot of women my age and she loomed large over college radio in the early 1990s. She was part of a group of women artists who made really personal, uncompromising music and who had a firm grip on how they presented themselves as artists. Listening to it now, it’s pretty good. I'm actually surprised how many of these songs I remember. The album does feel very much of another time. Not every song has held up all that well, but it’s mostly a solid listen with some interesting arrangements. Lyrically, the songs can be a bit much. I just listened to Joni Mitchell’s Blue yesterday and well, that is how you do confessional lyrics. This here is some sort of free associative therapy and it’s a lot of words. I hope Amos was able to refine her songwriting over time, because she does have a way of turning a phrase when she wants to. It’s interesting all of the comparisons reviewers have been making between Amos and other artists, not all favorable. I try not to hold that against artists too much. All music is a conversation with what came before it. It’s almost unfair to compare her to Kate Bush because Bush is such a talented, singular artist. And Bush’s idiosyncrasies are quite natural for her. Tori Amos’ attempts at that style feel like contrivances and she does comes off as somewhat of a discount Kate Bush. There’s a tension between Amos’ attempts at being adventurous and what is in places a fairly anodyne sound. That doesn’t mean there aren’t good songs on this album because there are quite a few. But it is the difference between being a pretty good album from 30 years ago and being a classic. Fave Songs: Winter, Girl, Crucify, Mother

When I listen to George Michael a couple of things cross my mind (and my heart). One, I just feel joy in everything he does, he was so very, very good. Everything he created was a gift. But now I also feel a sadness for the way we lost him, essentially to his fame. One thing is for sure, pop music probably would have taken a different trajectory without George Michael. There's a depth and maturity to some of his work that pop music is just starting to come back around to, after so many frivolous years. Listen Without Prejudice is not a perfect album. But it stands out so starkly from pop music of the 80s, from everything Michael had made up to that point. It's smart, seriously crafted pop that really cracked open the possibilities in 1990 of what a pop album could or should be. Another reviewer commented that the album essentially kicked off pop for the 90s, which is so true. The arrangements are more sophisticated, the lyrics are deeper, this is music for grown ass adults, not the teenagers who listened to Wham! in the 80s. That's not to say the album doesn't have fun, because that’s in there too. Maybe not as much fun as Faith, but that would be a hard one to top. There's another vibe at work here, one of introspection, one of growth. I can't think of a better opener than "Praying for Time." It has this lush, atmospheric arrangement that just pulls you in. Michael's vocal is so silky, so infectious, so gorgeous. I want to hear it forever. “Freedom '90” is damn catchy, a perfect pop song. It’s smooth, funky, more than a little angry. I have special fondness for it knowing it really is George Michael's declaration of independence from his image and our expectations of him. Being frank about the costs of stardom made Michael a far better artist. As I listen now, the album is a touch more dated than I expected it to be. But seriously, who cares? Pop music is specifically a time sensitive genre, but excellent is excellent. In that sense, Listen Without Prejudice is timeless. Fave Songs: Freedom! '90, They Won't Go When I Go, Praying for Time, Soul Free, Cowboys and Angels

Interesting album. I like the the mix of guitars with the more electronic, noisy vibe. Cool, unexpected roster of guest vocalists. Fave Songs: Soul Auctioneer, Dirge, Broken Little Sister, Aisha, Flying

Sticky Fingers is a perfect, total package of an album. In my mind when I think about classic albums, this is one of the first ones that comes to mind. It’s everything an album is supposed to be. It was built for long haul listening, for hours and hours of listens and re-listens, and arguments with your friends over the best tracks, and figuring out the lyrics, while you contemplate that cover. Right, that cover. It’s got to be one of the most daring album covers of all time. It’s alluring in its way, but entirely too much. It’s the Rolling Stones of album covers. But that’s just the cover. Dare to look inside, and it’s a real gift. From track one, this album is on fire. That moment the needle drop takes you into that first riff on “Brown Sugar” is one of the most consequential of all time. I can’t think of a more appropriate song to kick off an album, except maybe “Hells Bells” on Back in Black. It’s a strutting, unrepentant masterpiece of a rocker that doesn’t lose a bit of its power, even as our perceptions of the song might change over time. To be clear, I think our perceptions should change of it over time. You can appreciate a song and still critique it. The album has plenty of that sultry, dirty blues, the badass sound that the Stones more or less invented, exemplified in "Bitch" and "Can't You Hear Me Knocking." But then there’s the other stuff, the deeeep Stones of “Sister Morphine,” “Moonlight Mile” and “Dead Flowers.” They aren’t afraid to go dark when they need to, or to hint that there’s some vulnerability hiding under all that bravado. Most of these songs are straight up classics and a joy to listen to. There are a couple of weak ones, but this was an easy 5. Fave Songs (all songs from most to least favorite): Moonlight Mile, Brown Sugar, Dead Flowers, Sway, Bitch, Wild Horses, Can't You Hear Me Knocking, Sister Morphine, I Got the Blues, You Gotta Move

I don’t listen to a ton of country, but I have always had a soft spot for Buck Owens. He has a crisp, classic sound with catchy melodies and a vocal style that’s really heartfelt and earnest. Not every song on “Tiger” is a winner, but several of his very best are on here. Overall, this was a breath of fresh air. Fave Songs: I've Got a Tiger By the Tail, Cryin’ Time, Let the Sad Times Roll On, Fallin’ For You, Trouble and Me

Ah, Out of Step. This album was my anger management therapy back during my teen years. I still come back to it from time to time when I'm in a particular kind of mood. This is really the epitome of a perfect hardcore punk album, full of wonderful little nuggets of burning intensity. It's brutal, blistering, raging, snotty, and entertaining as hell. Not a bad song on here. Fave Songs: Betray, Cashing In, Out of Step, Think Again, Sob Story

Really beautiful music, pastoral, relaxing. Note that the version on Spotify is a re-recording and not worth your time. You need to go to YouTube to hear the original. I wasted half an hour listening to the wrong thing on Spotify before figuring that out. Fave Songs: Bhoop, Ahir Bhairav/Nat Bhairav, Rag Piloo

Stunningly good album. I mean geez, what can you even say about Fela and Ginger Baker? Two Olympian talents here, backed by the most incredible musicians. The sound is jazzy, groovy and funky. They make it seem so effortless. Fave Songs: Black Man's Cry, Ye Ye De Smell, Let's Start

A fun, energetic listen, and a Manchester/acid house classic. 808 deserves credit for bringing strong melodies into this genre while retaining the groove. It's a real bridge between electronic music of the 80s and all the electronic genres that would blow up in the next decade. I recall this sounding incredibly fresh and ahead of its time in '90, like we hadn't really heard anything like it. "Pacific 202" and "Sunrise" are the "prettiest" songs on the album, but "Donkey Doctor" "Cobra Bora" are just wonderfully layered and built for the dance floor. The only track I absolutely did not like was "Magical Dream," not because of the music but because of the terrible vocals. Fave Songs: Donkey Doctor, Cobra Bora, Pacific 202, Sunrise

This album is fine and perfectly listenable for the most part. I don't have strong feelings about it. Chris Martin's delivery feels emotionally flat, which makes it hard to care about these songs. The fairly plodding pace of the album doesn't help. Fave Songs: Clocks, The Scientist, A Rush of Blood to the Head, Amsterdam

My Generation is probably one of the best of the mid-British invasion era albums that wasn't recorded by the Beatles. It’s so good, and I imagine as fresh sounding today as it ever was. The tight, punchy arrangements, the attitude, the crunchy sonic assault of Townshend, Moon and Entwistle. That’s a great rock band, and they’re just getting started here. I love how well the band works together and around each other, each with his own specific set of musical skills. It’s not their best album, but wow what a start. Roger Daltrey is an engaging and unusual front man. He's not a conventional singer of that time, but not delivering at full rock star intensity yet either. He's got a sneering delivery that probably launched a hundred punk bands. His pissy, stuttering vocal in "My Generation" is singularly awesome and like nothing else I can even think of in music. It's like he's so mad he can't get the words out. Daltrey’s style of delivery paired with Townshend’s lyrics in a song like “The Good’s Gone” is some sort of special chemistry that no other band ever had. It’s a moment of emotional honesty, but delivered with a meanness and intensity that’s rather unsettling. Songs like that speak to a youthful frustration and anger that long made this music a touchstone for what it means to be young. On the subject of vocals, I have always loved the alternating leads of intense-Daltrey and sensitive-Townshend, which vary depending on the mood of the particular song. I also love how when they go for harmonies, it comes off sometimes as slightly off-kilter. Lennon and McCartney they are not even trying to be, but it works. Townshend's guitar on the album is, of course, brilliant. It's grinding, jangly, crunchy and even distorted at times. John Entwistle is the steady backbone of the band who holds everything together. And if you ever wondered for a second why Keith Moon is such a beloved drummer and why the band lost its mojo after he died, check out “The Ox.” “My Generation" is full stop the best song of the album and a strong contender for best rock song ever. It's the Ur-anthem of youthful rebellion and captures a mood that no other artist has ever been able to fully duplicate. That song deserves five stars all on its own (ten stars actually). The next best tracks would be the hooky, more pop leaning “The Kids are Alright” and “A Legal Matter.” Calling these songs classics feels insufficient. Take your five stars, sirs. Fave Songs: My Generation, The Kids Are Alright, A Legal Matter, The Ox, Out in the Street

An exceptional album, pretty flawless. Artful arrangements + one of the most compelling vocalists ever to be recorded = Magic. Whatever else was happening musically in 1997 was pretty much reduced to rubble by this one. Fave Songs: Let Down, Exit Music (For a Film), No Surprises, Climbing Up the Walls, Karma Police, Electioneering

Solid Brit pop album, with a Smiths-y sound, overall a pleasant listen. Brett Anderson’s idiosyncratic vocals are a bit of an acquired taste, but I enjoyed them. He has a really varied range that can be quite elegant but also glammy and playful. I can see the comparisons some want to make to Bowie, but I’m getting more of a Russell Mael meets Pete Shelley vibe. I love how he hits the high range, but it’s also a lot, like eating a box of truffles in one sitting. Some may not want to sit through 45 minutes of it. Fave Songs: The Drowners, So Young, Sleeping Pills, Animal Nitrate, Metal Mickey

It's been a long time since I've listened to this, but it's pretty good. Heck of a debut album. As I recall, Let Love Rule was really fresh and unusual at the time it came out. It was rock, but with somewhat of an alternative slant and also a retro soul vibe. Nobody else was really making music like this in 1989. Lenny Kravitz wears his influences on his sleeve, but he still manages to pull it all together without seeming derivative of any particular artist or style. Kravitz's vocals are passionate, sexy and soulful and his charisma is on full display here. His guitar work is terrific. Just learning today that he played many of the instruments, which is really impressive. It gets a little soft in the middle and would have benefited from dropping several songs, but this is still a great album. Even early on, you could tell Kravitz had the potential for something much bigger and it's been great watching him develop over the years. Fave Songs: My Precious Love, Let Love Rule, I Built This Garden For Us, Freedom Train

A noisy, rambling 39-minute delight. Probably one of the best debut albums I have heard in this genre. As a front man Stephen Malkmus runs the gambit from bemused to insouciant to caterwauling, which is simultaneously a lot of fun and way too much. Musically, the album rocks, jangles, rattles, burns. The songs are all nice, crunchy, compact little numbers, most clocking in at 3:00 or less. The band toes the line between melodic and noisy, deliberately teetering over it at times to interesting effect. Lyrically both clever and absurd. Fave Songs: Two States, Here, Our Singer, Jackals, Summer Babe - Winter Version, Zurich is Stained, Perfume-V, Trigger Cut/Wounded Kite At: 17, In the Mouth a Desert

Wow this is fun. Full energy live Jerry Lee, what's not to like? There's a reason why people call this guy "Killer," and this is Exhibit A. Lean, mean, foundational rock and roll. Fave Songs: Long Tall Sally, Great Balls of Fire, High School Confidential

Okay, this was pretty cool. I came in planning to be pretty bored, but Mr. Shankar set me straight. This is really gorgeous music, showcasing Ravi Shankar's talents beautifully. I will say a little Ravi Shankar goes a long way. I probably won't revisit on my own, but this really was a great introduction to Indian music. Fave Songs: Bhimpalasi, Dadra

It's daunting to thoughtfully take on any Bob Dylan album, even one I've listened to numerous times. Blonde on Blonde is more than a little intimidating in that regard. Other albums are mere collections of songs. This album is a whole universe, encompassing 14 other universes. People try interpreting his lyrics all the time, but I think Dylan resists that sort of analysis. It's like the album cover, it gives a hazy impression of the man, but focus in too closely, and it's increasingly harder to see. Blonde on Blonde is one of the most beautiful, perfectly crafted albums ever made. It's Dylan at his peak as a songwriter. When you realize how many of these songs were written as they were being recorded, it's pretty mind-boggling. This is some of the best songwriting ever done, and Dylan just kind of spun them out in the moment and called in the band when he needed them. No songwriter comes close to touching the quality of these lyrics and they flow from him so naturally. The album is full of gorgeous compositions, due in no small part to the brilliant work of Al Kooper and Robbie Robertson, as part of a crew of seasoned studio musicians. It’s full of languid, melancholy songs that somehow blend perfectly with the irreverent, blues-based ones, even though on paper they shouldn't. The lyrics run the range from delicate and vulnerable, to jocular and obtuse, to acidic and surreal. The scenes he paints with his words are masterful, as I said, universes unto themselves. Every song here individually is a gem, there is no filler. Put them all together and you have one of the greatest 72 minutes of music you will ever hear. It gets better every time I hear it. Fave Songs (All songs, in order from most to least favorite): One of Us Must Know (Sooner or Later), Visions of Johanna, Temporary Like Achilles, Just Like a Woman, Stuck Inside of Mobile with the Memphis Blues Again, Obviously Five Believers, Most Likely You'll Go Your Way (And I'll Go Mine), Sad-Eyed Lady of the Lowlands, Fourth Time Around, Absolutely Sweet Marie, Leopard Skin Pill-Box Hat, I Want You, Pledging My Time, Rainy Day Women #12 & 35

I'm really not an Aerosmith fan, and this era of the band in particular was a time when I wanted nothing to do with them. And they were everywhere in 1989, God help me. So, in my reconsideration of Aerosmith-version-1989, this is a pretty good album, with a few standout songs. Considering the dire state of hard rock and metal that year, this was actually a great offering from the band. They are in really solid musical form here. Aerosmith has always been a real workhorse of a band, with excellent chemistry and real musical chops. Joe Perry's riffs as always are stellar and worth the price of admission of any Aerosmith album. Steven Tyler also sounds great, his charisma in full force. Joey Kramer on drums is also excellent and noteworthy. I always see Aerosmith as being Steven and Joe, but Kramer’s energy is palpable and keeps the whole album moving rather effortlessly. Let’s talk about the lyrics, shall we? Yeah, that horndog shtick was warmed over in 1989 and it has not aged well at all. Now I remember what I didn’t like about this band. It’s just so sophomoric and frankly, dumb. You can do this kind of lyric and be clever about it, and this ain’t it. But if you can look past the lyrics, musically the songs are pretty tight. Despite the jailbait theme, "Young Lust" is actually a solid rocker, and a great way to kick off the album. I also really liked "Monkey On My Back," which is a mighty fine showcase for Joe Perry. It’s also a surprisingly dark turn, compared to the general hedonistic tone of the album. I was prepared not to like "Voodoo Medicine Man," but it's pretty great. Brad Whitford's guitar burns beautifully through this song with strong support on rhythm from Kramer and Tom Hamilton. "The Other Side" is a legitimately good song, probably the only single I much liked on this album. As for the rest, I never liked "Love in an Elevator" and that hasn't changed today. How that song was so big will eternally be a mystery to me. "Janie's Got a Gun" is just okay, but it’s got an understandably catchy hook. The subject matter was perplexing at weird at the time, but somehow, they were all over the radio with a hit about a girl killing her abusive father. Only in 1989 folks! "What It Takes" is a pretty solid power ballad by the band, just as listenable as ever. Fave Songs: The Other Side, Monkey on My Back, Voodoo Medicine Man, What It Takes

This album is probably the best album that Culture Club ever did. It has a few quite good pop songs, with some excellent singles. I think it could have been improved by dropping a couple of songs. This is one of those bands that had a lot of potential, but ended up falling far off the radar, both from their own personal problems and the whims of pop music. That's too bad, because Boy George in particular had so much talent. I forgot what a pretty voice he had. Fave Songs: Karma Chameleon, It's a Miracle, That's the Way, Church of the Poison Mind, Stormkeeper

I'm back and forth a lot over which Led Zeppelin album I think is their best. But honestly, I think, song for song, IV really delivers everything that Zeppelin is about as a band. If you listen to classic rock at all, you probably know most if not all of these songs. They are stone cold classics, all of them. I cannot stress enough how rare that is in an album. Yeah, a few have been overplayed somewhat in the past 50(!) years. But this is an album that holds up ridiculously well to repeat listening. From the mega energy “Rock and Roll,” to the grandiose, epic “Stairway to Heaven,” to the delicate acoustic “Going to California,” to the slow burning blues of “When the Levee Breaks,” every flavor of Zeppelin is present here. “Black Dog,” my word. That is possibly the best intro to any album that I have heard. It's perfection. Fave Songs (All songs, in order from most to least favorite, adding that I love them all): When the Levee Breaks, Going to California, Rock and Roll, Black Dog, Stairway to Heaven, Misty Mountain Hop, Four Sticks, The Battle of Evermore

Surprisingly excellent rock album from a really talented band. It reminds me a little of a lot of things, a little rock and roll, a little country-blues vibe, with shades of CCR, CSNY and the Dead. Some of the more high energy songs can get a little ramshackle or rambling, but when they're focused, it's great music. I absolutely love the guitars, which are exceptional, and in league with some of the best in country rock. I also like the all-band/multi-vocal approach, propelled by a strong lead in Peter Lewis. Go to YouTube for the full album. Spotify didn't have all of it. Fave Songs: Hey Grandma, Fall on You, 8:05, Ain't No Use

This is an excellent David Bowie albums, one of my favorites. This is also possibly the most accessible album he ever made, one I would recommend to someone looking to get into Bowie's music (after Ziggy, of course). Bowie really embraces the soulful aspects of his style that were always there, and just goes for full tilt funk and soul on this album. The result is a collection of sexy, groove-filled songs with warm, rich arrangements. The album also performs the neat/difficult trick of being very much of its time, but only in the best ways, in large part because it never loses Bowie’s own avant-garde sensibility. It's mid-70s hip, but entirely unique and a harbinger of what other singers would be doing for years after this. Vocally, Bowie sounds looser and more relaxed than usual. He is supported by a strong group of musicians and singers, including the exceptional David Sanborn on sax and a then unknown Luther Vandross. All of this this adds up to some incredibly engaging music and two of the very best singles of Bowie’s career in “Young Americans” and “Fame.” “Fascination” is my favorite deep track, a personal favorite. Bowie would move on rather quickly from this style, but this was a delightful detour. Fave Songs (All songs, ranked from most to least favorite): Young Americans, Fame, Fascination, Win, Right, Across the Universe, Somebody Up There Likes Me, Can You Hear Me

I really didn’t feel this one. I will note that appreciate the attempt to do electronic music with an international influence, particularly with the use of Indian music. I also think the flute work of Sakamoto and Chaurasia was very nice, as well as Suchitra Pillai’s vocals. But overall, the album ends up being a bit of a hodgepodge mess. A little goes a long way when you do fusion in music, and Singh struggles to have a cohesive sound here. Additionally, the frenetic pace of some of these songs makes them a rather unpleasant listen, like I felt agitated and impatient for the album to just be over. Fave Songs: OK, Disser/Point.Mento.B, Sutrix

Oh, today is the day I learned the generator is not completely random! No way I get this album on December 25th just out of the blue. That said, I'm sad I only got to this at 10pm on Christmas, because I would have loved to listen to this album all day long or over the past week. It's a pretty perfect Christmas album, as good as it gets. This album is what all artists aspire to when they make a Christmas album, whether they know it or not. The rich, sonorous arrangements, the warm and engaging vocals, and infectious melodies you want to keep singing. This is it. I mean, what's not to love about Darlene Love, the Ronettes, the Crystals and Bob B. Soxx & the Blue Jeans? I've heard most of these songs individually over the years, but as a collection you appreciate them so much more. Phil Spector had an ear for what makes beautiful music, and an ability to find really talented artists to present his musical vision. First and foremost, these are great pop songs, that also happen to be great Christmas songs. That is what makes a Christmas song a classic that never grows old, it has to be an excellent pop song first, and Spector understood this better than anyone. These songs are beautifully made and so much fun to listen to. They are standards for the most part that many artists had performed before Spector got a hold of them (the exception being the brilliant Darlene Love’s “Christmas (Baby Please Come Home),” but these versions are the ones that really have endured over time. Thanks for the gift 1001 Albums Generator, I thoroughly enjoyed it. Fave Songs (All songs, from most to least favorite): Christmas (Baby Please Come Home), Winter Wonderland, Sleigh Ride, Santa Claus is Coming to Town, White Christmas, The Bells of St. Mary, Frosty the Snowman, A Marshmallow World, I Saw Mommy Kissing Santa Claus, Rudolf the Red-Nosed Reindeer, Here Comes Santa Claus, Parade of the Wooden Soldiers, Silent Night

This was an enjoyable album, with a housey-jazzy-R&B vibe. I gather from some of the reviews that this album prefigured a lot of UK garage music, but it feels a little dated to me, coming out all the way in 2000. I still like it for the most part. It would have been better had he just let the singers sing and done less chopping up of the vocal pieces. Fave Songs: You're Mine, Crazy Love, Rough Out Here

Dark, intense, unsettling. A masterfully made album by an incredibly talented band. I need to be in the right mood to listen to it, but it's really good. Fave Songs: Would?, Them Bones, Rain When I Die, Down in a Hole

God, I love this album. It's the flaming cherries jubilee of rock albums. It's decadent and absolutely too much, but incredibly beautiful. I mean, have you ever spent a night at the opera? I have and it really isn’t like this at all, but at the same time, they kind of nail it here. It’s big and luxurious and theatrical and you might just shed a tear before it’s all over. This is probably Queen's most perfectly realized album. It's one of the only ones I can listen to without skipping a track. The production is superb and the band are in the best form of their lives. The layered vocals are stunning, the arrangements absolutely gorgeous. It has all the pomp and majesty and R-O-C-K you want in a Queen album, with plenty of surprises. The way the band breezily sways from twee, old timey confections like "Lazing on a Sunday Afternoon" or "Seaside Rendezvous" to muscular, complex songs like "Prophet's Song" and "Death on Two Legs" is a sonic joy, something no other band could hope to pull off without sounding ridiculous. Only Queen could put out an absurdity of a song called “I’m in Love with My Car” and not be met with endless derision. Queen gives us permission to let go and indulge as listeners like no one else. They were at heart a killer power trio plus one, the One being Freddie Mercury, rock’s greatest front man, with an operatic vocal range and a flair for the dramatic. It’s the interplay/tension between that huge rock sound and the band’s more elegant, progressive inclinations that creates a singular kind of magic. Throw in a little winking, campy humor and you have a style of music that delivers on every level. "Bohemian Rhapsody" is of course the star of the whole production. Queen does more musically with this song than most bands could hope to do with an entire album. The pathos, the grandeur, the bombast, the humor, the strutting rock assault. Yes, this song gets played a lot, but there's a reason why. There's nothing else in the world like it. Fave Songs (All songs, in order from most to least favorite): Bohemian Rhapsody, You're My Best Friend, Death on Two Legs, Love of My Life, Seaside Rendezvous, The Prophet's Song, Lazing on a Sunday Afternoon, '39, Sweet Lady, Good Company, God Save the Queen, I'm In Love With My Car

This album was so good, and really a breath of fresh air when it came out. Music was so bloated in 1990, and these guys strut in like they own the place with just some great, classic bluesy rock and roll. It's laid back, no frills, and completely engaging. This is probably as close as anyone ever got to fully catching the Stones' vibe. What I like about the Crowes is how they move really effortlessly between rockers like "Hard to Handle" and the slower, more thoughtful songs like "Seeing Things" without missing a step. That gives such a nice flow to these songs that a lot of artists can't really capture. The hits get played a lot on the radio, with good reason. They've aged really well. Fave Songs: Jealous Again, Twice as Hard, Hard to Handle, She Talks to Angels, Seeing Things

I was a little skeptical about some of the raving critical reviews this album has gotten, especially starting out with the weird "Artificial Energy." But after the rough start, I was completely sold. This is a gorgeous collection of songs, full of rich vocal harmonies and some stunningly lovely guitar work. The Byrds beautifully marry a pop sensibility with psychedelic experimentation and a bit of a country twang. It really shouldn't all work together, but it does. Roger McGuinn's guitar work is ridiculously good, some of the best put to record. I really enjoyed this. Fave Songs: Get to You, Change is Now, Wasn't Born to Follow, Draft Morning, Goin' Back, Natural Harmony

I'm endlessly fascinated with the way Sonic Youth’s Thurston Moore and Lee Ranaldo use guitars to such varied effects. Their noisy experimentations are a testament to the possibilities of sound. This music clangs and chimes, it screeches and grinds. It’s trippy and whirling, occasionally pretty, and often pointedly noisy. The contrast between Kim Gordon’s insouciant vocal and Moore’s more atonal style add interesting contrast and depth to the songs. The pacing of some of these songs is brutal, with credit due to some hard driving drums by Steve Shelley. There's an urgency that can feel oppressive as it pulls/drags you along, the only relief coming from strategically placed moments of quiet. If you don't dig noise, this will be a hard listen. If you enjoy it, this is glorious. Fave Songs: Schizophrenia, Pacific Coast Highway, Beauty Lies in the Eye, White Cross, Cotton Crown, Pipeline/Kill Time

Lean and mean. Southern rock that really rocks. It's been probably 10 years or more since I've played this album all the way through. I forgot just how good it is. I almost went for a 4 but I mean, come on. An album this great is a rare thing. Several of these songs get heavy rotation on classic rock radio, to the point where you don't really want to hear them. But you really need to listen to these songs together as an album to appreciate how Lynyrd Skynyrd really was on to something special musically. Nobody sounded quite like this when they came out. And there have been so many imitators to this sound over the years. It all falls flat when compared to the original. Skynyrd pulls on a lot of musical threads that were around in the early seventies - blues, rock, country. They take those threads and turn them into something distinctively theirs. It's a heavier and bluesier than a lot of their contemporaries, but also with a soulfulness and heart that's unexpected. Only the Stones and the Allmans were able to navigate such varied waters so effortlessly. These are all strong tracks, and a lot of fun to listen to. Fave Songs: Gimme Three Steps, I Ain't the One, Simple Man, Things Goin' On, Mississippi Kid, Poison Whiskey

I really liked this album. Tim Buckley is one of those artists who is a little hard to classify, but really fascinating musically. His music is always engaging and somewhat off the wall, which I appreciate. It’s like folk-rock with strong jazz vibes and a splash of the psychedelic/experimental. The songs are warm, rambling, laid back and sensual. Buckley has a rich, soulful voice, augmented by some unusual but elegant arrangements. Lee Underwood's resonant, free-ranging guitar works beautifully in concert with the jazzy feel of the marimba and vibraphone. The resulting sound is very much of that time, but it also stands out as something quite unique. Fave Songs: Buzzin' Fly, Love from Room 109, Strange Feelin', Gypsy Woman

This was a pleasant listen, pretty, melodic music. Ultimately I find it pretty unmemorable though. I probably will not revisit. Fave Songs: Your Protector, Meadowlarks, Sun It Rises, He Doesn't Know Why

I’ve heard this album a lot over the years, but I’m really enjoying it more now today for some reason. It’s nicely cohesive for a VU album, and far more musically accessible. The absence of John Cale gave the band an opportunity to be a little more restrained, moving into fresh territory while still retaining some of their trademark grit. The album also feels like more of an all-band affair, and frankly just sounds like they’re just having fun. The lyrics are more contemplative and emotionally earnest, with less of the cool cynicism you might expect from VU. The band really nailed a certain moody, melancholy vibe, one that other artists have been chasing unsuccessfully ever since. I really like the collaborative aspect of the vocals that the band took this time around. Lou Reed had a strong pop sensibility, which I don’t think a lot of people give him credit for. He didn’t want to do the vocal on every song, and the other band members were brought in to do lead or harmony depending on who he felt was most effective for each song. Doug Yule probably doesn’t get enough acknowledgement for the quality of his vocals, but his work on “Candy Says” is really lovely. Also, Moe Tucker on “After Hours” at the end is such a bright blossom of a song. When the band ventures into more energetic fare, the commingling guitars of Reed and Sterling Morrison are riveting, the sonic equivalent of a sneer. I tend to favor tensely melancholy songs like “Candy Says” and “I’m Set Free,” but the punchier little rockers like “What Goes On” and “Beginning to See the Light” are great fun, full of the old VU jangle and burn. “The Murder Mystery” is some kind of wackadoo madness that you’re only going to find on a VU album. It’s noisy and outlandish and so very 1969, but weirdly fascinating. The album would have been better without it, but you just know they couldn’t help themselves. And I can’t help but love them more for it. Fave Songs (all songs, in order from most to least favorite): What Goes On, Candy Says, Pale Blue Eyes, Beginning to See the Light, I’m Set Free, Jesus, Some Kinda Love, After Hours, That’s the Story of My Life, The Murder Mystery

I have been simultaneously waiting for and dreading my first Elvis Costello album. He is absolutely one of my favorite artists, but I feel like it’s impossible to talk about him without sounding like a bit of an idiot. I haven’t really given this album as much time over the years as I have for other EC albums, which was an incredible mistake on my part. This album is fantastic. I want to go off and spend a week with it and then listen to it all the time for the rest of my life. This the last of that first (best) series of albums Costello made with the Attractions in the 80s. Elvis Costello has done so much interesting work over the years, but musically, it never got better than when he was with the Attractions. It’s the end of an era, and a pretty damn good send-off. This is Costello & the Attractions at their best - smart, punchy, witty, seething. There are some really melodic, gorgeously arranged songs, offset by pointed, frequently dark songwriting. Lyrically Costello is clever as ever, with a flair for vivid imagery. It’s a very specific, bitter pill brand of pop that not everyone likes, and no one in the world can do like Elvis Costello. I also don’t know if the Attractions ever sounded better than this. What a pleasure to listen to. And Nick Lowe producing again? *Chef’s Kiss* This album was way too smart for the likes of 1986 (or 2022, for that matter). Maybe it could be a song or two shorter, but who cares? More Elvis Costello is not a bad thing. Fave Songs (All songs, from most to least favorite): I Want You, Tokyo Storm Warning, Battered Old Bird, Crimes of Paris, Next Time Round, Home is Anywhere You Hang Your Head, Uncomplicated, I Hope You're Happy, Poor Napoleon, Blue Chair, Honey Are You Straight or Are You Blind

I thought I would like this album more than I did, but it's not really my thing. It’s bleak, misanthropic subject matter, backed with a mostly lackluster and incoherent musical point of view. MSP clearly want to do post punk or alternative, but they’re better when they lean into their pop sensibility. I mean, the subject matter of “Yes” is repugnant, but musically it’s really engaging. Most of the songs aren’t able to pull that off and stylistically the album veers in too many directions. Some of the cultural critiques are nonsensical when you dig into them, but we're looking at the world from the inside of Richey Edwards' brain. It's not a pretty place. Fave Songs: This is Yesterday, She is Suffering, 4st 7lb, Yes

This was a lot of fun. At Folsom Prison was probably the best of his prison performances, but At San Quentin has a similar spirit. Cash's live albums capture his talent and charisma in a way that's simply missing from a lot of his studio recordings. The raucous energy of the audience is on full display. And it's that interplay between Cash and his audience that really gives this album its fire. Fave Songs: A Boy Named Sue, I Walk the Line, Darlin' Companion, Wanted Man, Wreck of the Old 97

Fierce, noisy, classic. The album starts out ridiculously strong with that exceptional cover of "Summertime Blues" and burns beautifully to the end. Rough-edged and a little jammier than I generally like, but this was a solid listen. Fave Songs: Summertime Blues, Doctor Please, Rock Me Baby, Second Time Around

Ahaha, this is an album I know so well. I was an eleven-year-old girl when this came out, so there you go. Listening now, I think this album is as good as it ever was. It's a New Romantic classic, and a still a really fun listen. Rio is probably the strongest, most perfectly crafted album Duran Duran ever made, the album that made them stars. Credit where it's due: John Taylor is a legitimately great bassist, delivering a surprising, funky groove that a lot of English bands did not have. You pull Taylor out of Duran Duran and you have a considerably less interesting band. The best songs on this album are the ones that lean into that groove, like the title song and "New Religion." Taylor's funky bass plays well against Andy Taylor's equally strong, energetic riffs and Roger Taylor’s crisp, punchy drumming style. Nick Rhodes' keyboard arrangements are elegant and exotic sounding, with a vibe straight out of Bowie. Simon Le Bon had a lot of charisma as a front man and his voice works well with these songs, even if he wasn't as strong a vocalist as some of his contemporaries. The album is book ended with two excellent songs in "Rio" and "The Chauffeur." The rest of the songs vary in quality, but the overall flow from beginning to end is really good. The danceable stuff is where the band excels, but the ballads are also still lovely to listen to, with some of the prettiest, most stylish keyboard arrangements out at that time. Fave Songs: Rio, New Religion, The Chauffeur, Save a Prayer, Hungry Like the Wolf

Outstanding album by Fela. A stunning act of political courage on his part, and a testament to the power of music. Fave Songs: Zombie, Mr. Follow Follow

You really hit my sweet spot today. This was my absolute favorite album in '92-'93, one I still pull out to hear from time to time. It's a perfect little musical gem of that moment in time, one that has held up beautifully over the past 30 years. This album is full of edgy power pop, with a great mix of melodic, bittersweet toe tappers and muscular, energetic rockers. It has those ragged, grungy edges that made it fit in so well in its time. There is a nice interplay of jangly and jagged guitars burning at the edges that keep any of these songs from getting too pretty. The mood of the album goes a level deeper than most power pop, with a strangely cheerful malaise, conveyed through some wonderful, catchy hooks and thoughtful lyrics. It never gets overly dark or dour though. Some of Evan Dando’s lyrics may hint at dissatisfaction and restlessness, but the more pensive and personal songs like “Rudderless” or “Confetti” live easily alongside songs that are just pure fun like “Rockin Stroll” and “Alison’s Starting to Happen.” Dando delivers the lyrics perfectly, with a warm, sometimes slightly wistful and bittersweet vocal. He doesn’t convey the detachedness or irony of some of his contemporaries, so the lyrics come across as very heartfelt. Juliana Hatfield’s brief vocal appearances are like a little lemon zest on your pasta, bright and unexpected. I find myself really enjoying "Hannah & Gabi" today, which wasn't a song I gave much thought to in ‘92. It’s actually one of the best songs on the album, and probably the best musically executed song on here. The slide guitar on that song is really gorgeous. I did not know until today that it was the amazing Jeff "Skunk" Baxter playing on that song. Every song on here is terrific, with no filler. The flow of the album is crisp and concise, clocking in at around 33 minutes if you include “Mrs. Robinson.” The Simon & Garfunkel cover that was added to later versions of the album is doesn’t add a thing, but still sounds pretty great. The cover of “Frank Mills” from Hair is actually very sweet and engaging. Fave Songs (All songs, from most to least favorite): Confetti, Hannah & Gabi, Rudderless, It's a Shame About Ray, The Turnpike Down, My Drug Buddy, Rockin Stroll, Kitchen, Alison's Starting to Happen, Bit Part, Ceiling Fan in My Spoon, Frank Mills, Mrs. Robinson

Oh, this is fun. Strong early 80s dance and new wave vibes in a 90s electro-pop package. I usually complain about the length of some of these electronic albums, but I didn't really feel that as much here. I might have dropped maybe two songs to make it tighter. Otherwise, it's pretty great. Fave Songs: Brothers, Hypnotise, Hey you what's that sound, Jacques Your Body (Make Me Sweat)

Classic album from Elvis in the early, early days of rock and roll. Tight, energetic and fun to listen to. His covers really don't touch the originals most of the time, but they don't need to. His charisma, his resonant, heartfelt vocal style, his raw talent. 66 years later, and the music still speaks for itself. Fave Songs: Blue Suede Shoes, Money Honey, Blue Moon, I Got a Woman, I'm Counting on You, One Sided Love Affair

This album is probably the best post punk album ever recorded. This is the album I would recommend for anyone with an interest in checking out this genre. It really sums up what post punk was all about, still embodying the energy and anger of punk, but so much smarter and more musically adept. The lyrics are more pointed, more driven by the band's political and philosophical points of view. The songs are tight and urgently paced with great jagged, menacing guitars, propulsive drumming, and some of the best, funkiest bass work in post punk. Fave Songs: Damaged Goods, Not Great Men, Ether, 5.45, At Home He's a Tourist, I Found Essence Rare

This is some dark, weird, noisy business, It's wild, weird, irreverent, deliberately obnoxious stuff, and I am here for it. Such a fun listen. Fave Songs: I Hate You, Shut Up, Complication, Oh How to Do Now, Blast Off!

This is a striking album of gorgeously composed songs. The arrangements move from sparse to lush, peaceful to spacey, with sometimes eerie and menacing sounds, drawn together with some expert sequencing. Whatever you're doing, stop and just listen to this one without interruption. Fave Song: Phaedra

This is a classic live album, and great fun to listen to. It showcases Peter Frampton's talents better than any of his studio albums at the time could. He really is an excellent guitarist and he's so likeable, you can't help but be in a good mood listening to these songs. The quality of individual songs is somewhat uneven, with some absolute classics mixed in with other songs that are well-played, but ultimately unmemorable. "Show Me the Way" is just lovely, and something I will gladly listen to every day forever. Fave Songs: Show Me the Way, Do You Feel Like We Do, Baby I Love Your Way, Doobie Wah, Penny for Your Thoughts

What an album. It’s pretty flawless in every way, and an easy 5. I was 16 when this album came out. Joshua Tree felt timeless then and still does, so many years later. It was U2’s fourth album, but really different than anything else they had put out at that point. It was a continuation of the band’s relationship with Brian Eno and Daniel Lanois that began with The Unforgettable Fire, but in a far more mature and carefully crafted work, their most perfectly realized album. Joshua Tree marks a turning point for U2, after which they were simply the most important band in the world. No one makes albums like this anymore. From that first slowly unfolding open in “Where the Streets Have No Name,” you know you’re in for something special, something monumental. It really does have a cinematic quality to it. This is mature, thoughtful music, beautifully written and expertly played. In 1987 it stood out starkly in a landscape full of spandex and hair, of glossy, gimmicky songs. It was also their most focused work to date as a band. Bono’s ode to/critique of “America” is palpable here, but not at all overwrought. I often think of this U2’s Springsteen album, which I mean as a giant compliment to both of them. The earthiness of these songs, the warm and resonant arrangements, the full throated expressions of emotion, the sense of spiritual longing, the images of a promised land out of reach… it all comes from the same musical place. Lyrically, Bono has matured tremendously on these songs. The lyrics reflect the band’s lived experiences at that time, like the death of band roadie and friend Greg Carroll (One Tree Hill) and Bono’s growing interest of global social and political issues (“Bullet the Blue Sky" and "Mothers of the Disappeared"). U2 was always an openly political band, but these songs just feel much more personal, more passionate, more spiritual. Still, he’s also able to address his own demons, with the stunningly lovely, slow burning “With You or With or Without You,” which pulls away from the political to look inward and face his own frustrations and anguish. The emotion feels real because it is real, simply put. Bono’s delivery of course is captivating. He sings with an urgency and an earnestness that I think a lot of people don't understand, but he makes you feel these songs in your bones. As for the Edge, I mean, come on. Here is one of the greatest guitarists of his generation, making some of his best music ever. There is a texture and a resonance to the Edge's playing that no one really can touch. I mean, he's painting with sound here, showcasing that signature chiming style through an adept use of studio effects. Adam Clayton and Larry Mullen Jr. are also in top form, one of the tightest rhythm sections in rock. Clayton and Mullen’s ability to intuit just the right amount of intensity to serve each particular song is an underappreciated talent and really the backbone of the band’s entire sound. Individually these songs are all exceptional. Taken together, they’re nothing short of a masterpiece. Fave Songs (All songs, in order from most to least favorite): Where the Streets Have No Name, With or Without You, I Still Haven't Found What I'm Looking For, In God's Country, Red Hill Mining Town, Bullet the Blue Sky, Mothers of the Disappeared, Exit, Running to Stand Still, One Tree Hill, Trip Through Your Wires

Great album, full of soulful, gorgeously produced songs. Franklin is in perfect voice and surrounded by some top notch musicians. Some of the middle songs are musically less interesting than others, but not due to Franklin, who gives her all to every song. Fave Songs: Do Right Woman, Do Right Man; I Never Loved a Man (The Way I Love You); Respect; Drown in My Own Tears, A Change Is Gonna Come, Dr. Feelgood, Save Me

Great album, with a smooth, sexy, retro vibe. My main critique is that so many of these songs are longer than they need to be, with more than half clocking in at over 5 minutes. It could be a tighter album. Still it's a lovely, fun listen. "Ascension" is the best song on the album, a classic. Fave Songs: Ascension (Don't Ever Wonder), Sumthin' Sumthin', Whenever Wherever Whatever, Dancewitme

I was 11 when this album came out and folks, I cannot stress enough how massive it was at the time. These songs were on radio constantly and the videos in steady circulation on MTV. You were kind of forced to have an opinion on Thriller whether you were into it or not. But the adulation for Michael Jackson here was mostly well-deserved. It was fresh and different for the time and set a high bar for Jackson himself that he never really surpassed. It's been a while since I've heard this all the way through and I wasn't sure how I would end up rating it. Overall, the album has held up pretty well. Quincy Jones’ production is obviously great with bright, catchy songs throughout that are just plain fun to listen to. Jackson is in exceptional voice. He kicks it off in full energy with the awesome "Wanna Be Startin' Somethin'." That's a cool song because it's kind of a bridge between Off the Wall Michael and Thriller Michael. Similarly, "Baby Be Mine" has a certain "Rock with You" vibe to it. Further into the album Jackson ventures into newer territory, to spectacular effect. I suppose you had to be there, but "Billie Jean" was really something special and different. People lost their minds when that song came on, it was so cool (not to mention the great video). Similarly, "Beat It" is really different from what people expected of Jackson, with a solo from Eddie Van Halen that seemed so out of the blue, but was pretty perfect. I will say this, you would be hard pressed to find a bigger Paul McCartney fan than me, but "The Girl is Mine" is not a good song. It was a big deal at the time because, come on, Michael and Paul? WOWWW. But real talk, that song is dumb. There is this schmaltzy quality that exists in a lot of Jackson's music that appears on Thriller as well, in the McCartney song, as well as on pretty much all the more ballad-y stuff. Those songs hold up far less well than the songs that built for dancing. You know what, I said basically the same thing when I reviewed Off the Wall. When it was fresh, I’m sure that type of sound was quite lovely. It just lands a bit flat now. Fave Songs: Billie Jean, Beat It, Wanna Be Startin' Somethin', Thriller, P.Y.T., Human Nature

You know what I love about Talking Heads? They completely existed in their own musical headspace. This is a band that basically invented their sound as they went along, frequently wandering into uncharted territory. They could draw on what was hip at the moment musically if they felt like it, but bend it into their own weird concoctions. Their music was off the wall, lyrically complex and sometimes pretty challenging. This is wickedly smart music that is also incredibly engaging and fun to listen to. There really is no other band like the Talking Heads and I live on this music. Fear of Music has everything you want or need in a Talking Heads album, full of funky grooves, offset with a little punk-tinged terseness and grit. The band is in top form with jagged, urgent guitars, frenetic drumming and some seriously funky bass. Byrne's singular vocal style lilts from whimsical to menacing and even melancholy in a sometimes surprising but always entertaining fashion. Not every song on this album is an easy listen, but the band is able to strike a balance between being adventurous and being fun, which is really hard to do. They get even better at it on the albums that come after this one. Fave Songs (All songs from most to least favorite): Cities, Life During Wartime, Heaven, I Zimbra, Mind, Memories Can't Wait, Air, Paper, Animals, Electric Guitar, Drugs

The vibe on 461 Ocean Boulevard is warm and relaxed, perhaps to a fault. While “Motherless Children” is a classic song and a perfect start for the album, some of the songs that follow are on the sleepy side and not particularly compelling musically. The band has great chemistry and Clapton’s guitar is spot on as ever, but ultimately the album only has a few standout tracks. When “I Shot the Sheriff” kicks off it’s almost a little startling in contrast to the songs that precede it. The strongest songs on the album are obviously “Sheriff” and “Motherless Children.” I also like a couple of the deeper tracks like “Please Be with Me” and “Give Me Strength.” It’s not Clapton’s best work, but it’s the musical equivalent of a side roads detour on a summer day – pleasant, laid back, more journey than destination. Fave Songs: I Shot the Sheriff, Motherless Children, Give Me Strength, Please Be with Me, Let It Grow

This is a great album from R.E.M, certainly one of the band’s best. What I really like is how Michael Stipe has opened up lyrically, with less of the opaque, muddily delivered lyrics he was known for on earlier albums. He goes darker in these songs, touching on themes of death, loss, and growing older. But still, the darkness is frequently tinged with sweetness and hope. "Everybody Hurts" is probably the best on the album. It’s so simply rendered, but still moving to me, even after all these years. I've listened to a lot of R.E.M. over the years, and this is the one song you can feel in your bones. It’s like Stipe is speaking directly to you. On that note, I appreciate that Stipe used two of his songs (“Everybody Hurts” and “Drive”) to address his fans quite directly. I didn’t appreciate it at the time, but Stipe comes off as someone who really cares about his listeners. My other favorite song is “Nightswimming,” a bittersweet, gorgeously composed meditation on getting older. I was 21 when this album came out, and I’ll tell you, that song lands very differently at 50. Anther standout track is the hooky, wonderful “Man on the Moon,” which is simply a delight to listen to. I like to think Kaufman would have appreciated it. Fave Songs: Everybody Hurts, Nightswimming, Man on the Moon, Try Not to Breathe, Drive, Sweetness Follows, Monty Got a Raw Deal

On a basic level, you can’t go wrong with the Stones. They’re an exceedingly talented band and they’re really the gift that keeps in giving. They have a deep catalog full of little gems to discover, many of which aren’t widely heard by casual listeners. The early albums are a bit of a mixed bag, a little overly fixated on mastering American blues. But Aftermath is probably the first album where the Stones really begin to stretch their musical legs. And oooh, Charlie Watts with that first beat crashing in on Brian Jones’ sitar in "Paint It Black," what a way to kick it off. That's one of the best openings to a song you will ever hear and a brilliant way to start an album. The exotic, middle eastern vibe gives this song such a rich sound. It’s one of the few earlier Stones songs that retains its musical power to this day. The rest of the album, although musically ambitious, is kind of all over the place. It comes off like this is a band in search of a sound. You have the dark numbers like "Paint It, Black" and “Under My Thumb,” mixed in with typical Stones bluesy fare like "Doncha Bother Me" and the affected, baroque sounding "Lady Jane." The Stones haven't figured out yet what kind of band they want to be, and it shows. That said, the album is absolutely a solid listen. The songs are crisp and concise, most of them barely clearing the 3-minute mark. The songwriting is dark, insouciant, full of attitude. And musically, the band is really tight. This is the best of the early albums, without a doubt. Fave Songs (U.S. version): Paint It Black, Under My Thumb, Doncha Bother Me, I Am Waiting; Lady Jane

I wanted to give this album a fair shot, but I'm not feeling it very much. The album has a fairly likeable poppy sound, if not particularly memorable. As a vocalist, Williams is fine, but ultimately neither here nor there. His voice is neither pretty nor gritty nor soulful enough to be particularly memorable. I can hear the Brit pop influences, but Williams didn't take them far enough to make it very interesting. The best song by far is "Killing Me," which is nicely arranged and features Williams' best vocal on the album. Fave Songs: Killing Me, Life Thru a Lens, Old Before I Die, Angels

You know how George Costanza said he would drape himself in velvet if it were socially acceptable? This is how I feel about this album. I just want to luxuriate in it all day long. Oh my, yes I'm weird. I have a special fondness for glam-era Mael brothers. Their music is so over the top, exuberant and whimsical. It's the word "dandified" in musical form. Did I also mention it rocks? Of all the band's albums, I think Kimono My House might be my favorite. The quality is consistent throughout and thoroughly entertaining. It’s an album full of fun, campy musical confections, with lush, frolicking arrangements, and a delightful sense of humor. It’s not all for show either; Sparks has real musical chops to back up their showy tendencies. This is an album that’s a pleasure to listen to, on every level. This band loves what they're doing, and it shows. Fave Songs (All songs, from most to least favorite): Falling in Love with Myself Again, Equator, This Town Ain't Big Enough for the Both of Us, Barbecutie, Here in Heaven, Lost and Found, Thank God It's Not Christmas, In My Family, Amateur Hour, Talent is an Asset, Complaints, Hasta Manana Monsieur

Sexy vibe, smooth and slick production. This was a really talented group of performers and this album was fire in ’94. Even I owned a copy, and I was never really into this kind of music. The hip hop underpinnings of these songs that made them sound so cool and fresh at the time make them sound somewhat dated now. The best songs ultimately are the ones that go more for straight R&B. The subject matter sometimes tends to be oversexed, which gets tiring. A little goes a long way with that sort of thing. As for the interludes, there are too many of them and they add nothing to the album. Rounded up to a 3 because when they’re good, TLC hits it out of the park. But there are more than a few skippable tracks. Fave Songs: Creep, Diggin' On You, If I Was Your Girlfriend, Waterfalls, Kick Your Game

Great album. Calling this music punk is somehow insufficient because the Stranglers were so much more clever and musically adventurous than many of their peers. But the sneering attitude is there for sure. I love the interplay of guitars and organ, which gives these songs a really distinctive sound. There really isn't another album like this. Fave Songs: Hanging Around, Sometimes, (Get A) Grip [on Yourself], Down in the Sewer, Goodbye Toulouse, Princess of the Streets

I like how so many 4/5 reviewers seem surprised by this album. That was me back in '89 when this band showed up. Believe me, they surprised all of us. 1989-90, my freshman year in college. Stone Roses may have technically debuted in the middle of '89 and this gets talked about as an ‘80s album, but really the band is more about the ‘90s and what was to come. The Stone Roses sounded ridiculously fresh at the time, ushering in a sound that was really different from what came before it. It was all over college radio for a couple of years, and I carried a cassette of this album everywhere with me. There wasn’t anything particularly revolutionary about The Stone Roses that you could point out. But they took all the best aspects of what came before them (pop, post punk, psychedelic) and somehow managed to make a sound and a genre that was distinctively theirs. It really changed the way music sounded, for years. They were a bridge between the post punk sound of the 80s and Britpop and Indie music to come, while somehow skating past a lot of what was going on with alternative here in the States. The songs are unabashedly lovely. They’re jangly, shimmering, melodic, gorgeously hooky songs. The lyrics are occasionally hazy and lacking in depth, but it's forgivable when the music sounds this good. It’s sometimes trippy, sometimes self-indulgent, but enjoyable from front to back. It's a downright shame this band was around so briefly. But they left behind a perfect album. Fave Songs (All songs, in order from most to least favorite): I Wanna Be Adored, I Am the Resurrection, (Song for My) Sugar Spun Sister, Made of Stone, Shoot You Down, Bye Bye Bad Man, She Bangs the Drums, Don't Stop, Waterfall, This is the One, Elizabeth My Dear. Fool’s Gold, which wasn’t part of the original UK version, but was on my well-worn cassette, deserves a 5 all on its own.

Enjoyable. Classic honky tonk music with a bit of a sleepy, sometimes torchy vibe. It takes a few songs to settle into it, then it's pretty great. The only drag on the whole thing honestly is that weird intro, which was really unnecessary. Fave Songs: Pride, If She Could See Me Now, Bright Lights and Blonde Haired Women, Sittin' and Thinkin', The Twenty-Fourth Hour, Night Life

I don’t really have anything to say about this album that hasn’t been said by many people. It’s in the National Recording Registry in the Library of Congress, for Pete’s sake. There are better Dylan albums, but this is a better album than most artists will ever dream of making. It’s an important marker of the era in which it was made, but also a timeless work of art. Fave Songs (All songs from most to least favorite): Don't Think Twice, It's All Right; Girl from the North Country; Blowin' in the Wind; A Hard Rain's A-Gonna Fall; Masters of War; Corrina, Corrina; Bob Dylan's Dream, Talkin' World War III Blues, Honey, Just Allow Me One More Chance; Oxford Town, Down the Highway; I Shall Be Free

This is a great album, one of Depeche Mode’s best. It’s probably the most musically cohesive of all the albums they had done to that point, with a dark, sensual and slightly menacing vibe. There are several straight up synth classics on here which make it a must listen, but had they dropped a couple of songs, it would have been a tighter album. Fave Songs: Never Let Me Down Again, Little 15, Behind the Wheel, Nothing, Pimpf, The Things You Said

I love the feel of this album. It’s languid, contemplative, intimate, with songs that linger with you long after they’re over. Beck starts with a bit of a warm Laurel Canyon-ish vibe, building on it with some really gorgeous string arrangements that give great depth to the sound. The lyrics are desolate, bleak and painful. Anyone who has experienced loss will feel these songs in their bones. The album is on the long side, without much change in tone to move it along. Beck’s trapped in an emotional inertia here, and so are we as listeners. It's a heavy listen, but really beautiful. Fave Songs: The Golden Age, Guess I'm Doing Fine, Lost Cause, Lonesome Tears, Already Dead, All in Your Mind

Tim Buckley is in exceptional voice and a real pleasure to listen to on this album, as always. I admire Buckley’s desire to experiment with different genres and take folk rock into some interesting places. But I have a hard time connecting with the demented troubadour vibe that runs through some of the songs. There's a fine line between inventive and overwrought. Buckley stumbles over that line with gusto occasionally with some incredibly dense, psychedelic arrangements. That said, “Once I Was” is an incredibly gorgeous song, probably my favorite Buckley song of them all. “Pleasant Street” and “Phantasmagoria in Two” are also terrific. Fave Songs: Once I Was, Pleasant Street, Phantasmagoria in Two, Morning Glory, I Never Asked To Be Your Mountain

This is a fascinating album. I really enjoyed listening to it. It’s musically ambitious, hearkening back to the golden age of rock albums in the 70s, but fully in tune with the vibe of its time. Nobody else was putting this kind of effort into an album in 1995. Some of the arrangements are beyond gorgeous, tempered with some equally blistering harder songs. Smashing Pumpkins have a musical range few other bands can touch and this album was the band at their creative peak. I’m partial to the more melodic songs on the album, but the hard rocking songs are also wickedly good. This band has the wonderful ability to turn on a dime from artful to raging that’s pretty impressive. The experience of listing to this album is a bit overwhelming though. It’s packed with some really excellent songs. The ones that were released at singles (“Tonight,” “1979,” “Bullet,” “Thirty-Three, “Zero”) are all pretty much modern classics, they’re so good. But it’s just so long, so very, very, very long. This album is suffering from double album syndrome like I have never seen before. It meanders, it lacks much of a coherent tone or point of view, packing in some of the best songs of the 90s with a lot of other songs that are high quality, but fairly forgettable. There aren’t really any bad songs on this album. But the sheer volume makes it hard for any but the absolute best to stand out. In a way, this feels like two albums, the melodic album and the noisy album. But it’s not arranged that way. Oddly though, had they released this as two separate albums, it would have been far less impactful. Fave Songs: Tonight, Tonight; 1979; Love; An Ode to No One; Bullet with Butterfly Wings; Thirty-Three; Lily (My One and Only); Cupid de Locke; Zero; Galapogos; To Forgive; Porcelina of the Vast Oceans

I just came off reviewing a 2 hour long Smashing Pumpkins album, so this album was a delight. It's crisp, concise and flawlessly rendered. The album has everything you want in a George Jones album, that affecting vocal, the gorgeous guitars, the lyrics that are a total mood. It's a pretty perfect country album. Fave Songs: The Grand Tour, Borrowed Angel, Darlin', Who Will I Be Loving Now, Once You've Had the Best, Pass Me By (If You're Only Passing Through)

This album is a lot of fun. I was an early Wham! fan, neon sweatshirt and all. This album was a surprise and a delight when it came out because it was so different from anything George Michael had done before. It was very apparent at that point that he was a real talent and not just a haircut. It still gives me so much joy (and a little sadness) to hear this album today. It's a pretty flawlessly executed album with some outstanding singles, although some of the songs are stronger than others. For depth and musical quality, I think Listen Without Prejudice is a better album, but this one is probably the more entertaining of the two. Fave Songs: One More Try, Kissing a Fool, Father Figure, Faith, Hard Day, Monkey

Melodic, chill electronic music. A little dash of humor ("Missing Persons Duran Duran Duran Duran...") makes it darn delightful. A major mood lifter. Fave Songs: Otto's Journey, Zenophile, Emotion 98.6, Valley of the Dolls, Rikki, Paris Four Hundred

Not quite to my taste, but the innovation and musical proficiency of King Crimson is undeniable. Robert Fripp's guitar is beautiful, as always. I love his work. "21st Century Schizoid Man" is wickedly good. A squonky, propulsive musical odyssey. Fave Songs: 21st Century Schizoid Man, Epitaph, The Court of the Crimson King

Moody, sparsely rendered songs. I really like the guitar work and Cohen's songwriting is always interesting. I don't like the use of the mouth harp, which gives a kind of hokey vibe to an otherwise serious collection of songs. "The Partisan" is gorgeous with some really lovely guitar work and violin, best song on the album. Fave Songs: The Partisan; Bird on a Wire; Tonight Will Be Fine; Lady Midnight

Full disclosure: I was named after one of the songs on this album. When I was a little kid, adults would randomly sing my name at me and I didn’t really know what that was all about until some years later when I heard it on the radio. And oh, what a lovely, lovely song it is. I was already on the path to loving the Beatles at that point, but that song pretty much sealed the deal. I’m a total Beatles nerd. I listen to all of their music, but Rubber Soul is just one of a few of their albums I listen to regularly in full, beginning to end. This is such a marvelous album. It's a real turning point from the Beatles' early sound into what they would become as a band. It's also probably their first album that functions as more than just a collection of songs, with its own mood and flow, a cohesive work as a whole. The quality is probably slightly uneven when you consider the songs individually, but as a whole, the quality and the beauty is undeniable. This album has some of the best songs the Beatles ever made on it. You know them really well, some of them by heart. I don’t have to tell you this album is great. It’s in our cultural DNA. Fave Songs (All songs, in order from most to least favorite): Norwegian Wood, In My Life, Drive My Car, Michelle, Wait, Girl, The Word, You Won't See Me, Nowhere Man, I'm Looking Through You, Think for Yourself, What Goes On, If I Needed Someone, Run for Your Life

Exceptional album, a classic. Tight, minimalist compositions, with strong songwriting from Nelson. Not a bad song on here. Fave Songs: Blue Eyes Crying in the Rain, Red Headed Stranger, Hands on the Wheel, Can I Sleep in Your Arms, Time of the Preacher

Unusual, different from what I typically expect in Brazilian music. Elis Regina has a really lovely voice. Fave Songs: So Deus e Quem Sabe, Tiro Ao Alvaro, Nova Estacao, Sai Dessa, Vento de Maio

You know, this is an album that grows on you as you listen to it over time, kind of like a comfortable pair of old jeans. I've heard it before a few times here and there, but enjoyed it more this time around. I also enjoyed the album more as the songs progressed. It's a classic sound of stripped down, rock-tinged country. The songs are warm and catchy with some really earnest and engaging songwriting. It's a sound that doesn't really get old, even 30-odd years after it came out. Fave Songs: Think It Over, Someday, Goodbye's All We've Got Left, Fearless Heart, Down the Road, Little Rock 'n' Roller, My Old Friend the Blues

Excellent trip hop album. Dark, weird and provocative, splendidly arranged. Considered individually, the song quality is a bit uneven, but overall a really interesting collection of songs Fave Songs: Aftermath, Overcome, Ponderosa, Hell is Round the Corner, Pumpkin

Oh here it is, this is the one. The one that made me love Bob Dylan, probably my personal favorite. So, this is the 5th Bob Dylan album I've been asked to review. Not everyone will feel the same way, but I think these albums really are the music everyone should hear before they die. Dylan is a once in a lifetime kind of artist. His sensibility, his humor, his attitude, his lyrical virtuosity, they're burned across the musical landscape. They exist in some way in pretty much every kind of music that followed him. I get that he’s a polarizing artist. I get that some people find him grating. It’s not always about sounding pretty. Sometimes the truth is in the flaws. The lyrics really are a kind of poetry – bitter and biting, reflective but unsentimental, cryptic and sometimes straight up hilarious. The way Dylan can flip from irreverent to profound without giving us all tonal whiplash is a true gift very few artists have. Musically, the songs are evocative and flow effortlessly throughout. Some are also pretty fun when Dylan wants them to be. This album takes you on a gorgeous, rollicking, absurdist odyssey like no other. If you don’t “get” Dylan after this one, keep trying. Hands down, “Like a Rolling Stone” is the best song on the album, and a strong candidate for best rock song ever. The other songs are varying shades of brilliant, and hard to rank. Fave Songs (All songs in order, from most to least favorite): Like a Rolling Stone; Queen Jane Approximately; It Takes a Lot to Laugh, It Takes a Train to Cry; Tombstone Blues; Highway 61 Revisited; Desolation Blues; Just Like Tom Thumb's Blues; Ballad of a Thin Man; From a Buick 6

Jamiroquai! Now there's someone I haven't really thought of in about 20 years, but boy did I love them when Travelling Without Moving came out. I'm not familiar with this album, but it's a jazzy, trippy, fun listen. Heck of a debut album. Jay Kay is a solid vocalist, full of energy and soul. He gets the Stevie comparisons a lot. He's not quite that good, but he's a lot of fun to listen to. Love the funky, jazz inflected arrangements. Strong Earth Wind & Fire and Sly Stone vibe, which I love. The politically driven songwriting doesn’t go super deep, but by 1993 pop music standards they were actually ahead of the curve. Fave Songs: Whatever It Is, I Just Can't Stop; If I Like It, I Do It; Emergency on Planet Earth; When You Gonna Learn; Didgin' Out

You've got to love the late 60s. A wacky, brilliant little treasure like this could never get made today. This is really a singular kind of album from a singular artist. It's got a laid back and chill style of delivery but with a totally trippy and spooky psychedelic vibe. It's fascinating. Fave Songs: I Walk on Guilded Splinters, Mama Roux, Danse Kalinda Ba Doom, Jump Sturdy

This is a lot of fun, good old fashioned, bluesy rock and roll with a touch of glam. Mott does an interesting job of balancing their swaggering rock star vibe with this softer, more elegant sensibility that reminds me of Bolan or Bowie. All great songs, front to back, with no filler. Fave Songs: I’m a Cadillac / El Camino Dolo Roso, All the Way from Memphis, I Wish I Was Your Mother, Whizz Kid, Ballad of Mott the Hoople, Hymn for the Dudes

The album has a wonderful baroque folk vibe, augmented with some beautiful strings and guitar work. I complained about Love's attempt at this style in my review of Da Capo, but they do it so much better on Forever Changes. They've lost a lot of that scattershot sound and come across as much more musically sophisticated and focused on this album. The album starts off strong with the gorgeous "Alone Again Or," but drags a bit in the second half and then wanders a little stylistically at the very end. They could have dropped a couple of songs and had a much better album. Fave Songs: Alone Again Or, A House is Not a Motel, The Red Telephone, Andmoreagain

Nobody catches this bluesy, earthy vibe as well as CCR, their sound is so singular and so good. They're not the first rock band that comes to mind when you think of this era, but boy are they one of the best. "Proud Mary" never gets old, it's such a perfect song. Fave Songs: Proud Mary, Penthouse Pauper, Born on the Bayou, Keep On Chooglin'

In 1991 I didn't particularly care for Julian Cope and probably couldn't pick his hits out if pressed to do so. As I listen to Peggy Suicide now, I remember why his music never really connected with me. Musically the album is actually quite good, as early 90s college radio fare goes. Cope has a solid group of musicians working with him and some pretty interesting arrangements. But there was much better stuff going on with music in 1991 than this. Cope struggles to hit some of his notes, and his vocal style isn't interesting enough to excuse it. I still mostly enjoyed listening to this, but the album is also overly long. It should be several songs shorter. Fave Songs: Safesurfer, Las Vegas Basement, Beautiful Love, Pristine, Not Raving But Drowning

Great album. Musically the band is really tight. The Isleys have a wonderful pop sensibility with a smooth vibe few of their peers can touch. Quite a few covers on this album, some brilliant ("Don't Let Me Be Lonely Tonight," "Summer Breeze") and some just fairly good ("Sunshine," "Listen to the Music"). On the flip side, I was today years old when I learned that "If You Were There" was not an original Wham! song. Loved it. Fave Songs: What It Comes Down To, That Lady, Don't Let Me Be Lonely Tonight, Summer Breeze, If You Were There, The Highways of My Life

Gosh, this is fun. I love the energy of this album. Catchy and tuneful, but also totally rocks. Starts fun and punchy, ends sweetly. This is Britpop masterfully done. Fave Songs (All songs, from most to least favorite): Sofa (of My Lethargy), Time, Alright, Time to Go, Mansize Rooster, Lose It, She's So Loose, Caught by the Fuzz, Sitting Up Straight, We're Not Supposed To, Lenny, Strange Ones, I'd Like to Know

This is an outstanding album, Aretha Franklin at her peak. The songs are rich, soulful and beautifully arranged, and Franklin herself has never sounded better. When she sings, you feel it in your bones. Easy 5. Fave Songs: Ain't No Way, Chain of Fools, (You Make Me Feel Like) A Natural Woman, Good to Me as I Am to You, People Get Ready, (Sweet Sweet Baby) Since You've Been Gone

This album is a lot of fun. It was massive when it came out and it's just as catchy now as ever. One thing that stands out to me is how mechanized their sound is, something that's very different than the ZZ Top of the 70s. It was a brilliant move, because the band created this sound that rocked hard, but still fit in with the more electronic-leaning stuff that was dominant on MTV. Apparently the move didn't sit well with many of the band's longtime fans, but they really carved out a unique space in music that doesn't really sound like anything else. Many of the resulting songs are true classics. Fave Songs: Got Me Under Pressure, Sharp Dressed Man, Legs, Gimme All Your Lovin', I Need You Tonight

Scott Walker is one of those artists Spotify always thinks I should be listening to. I kind of get it based on my own taste, but I've never really connected completely with his music. The best compliment I can give to Scott Walker is that there's nobody quite like him in music. Walker has an interesting, resonant vocal style, and his arrangements are grand, sweeping and theatrical. Some rather artful use of strings and use of studio effects on Walker's vocal makes for a pretty distinctive sound. But there is still something off kilter and weirdly plodding about his music, that makes a 3 minute song feel like it's 5. It's deliberately atonal in places, which makes it a bit of a rough listen. The lyrics are oddly frank yet contrived feeling, like Leonard Cohen attempting a Broadway musical. I'm glad to see Walker here, but I'm still unconvinced about him. I'm happy to keep trying though. Fave Songs: Black Sheep Boy, Come Next Spring, The Bridge, Wait Until Dark, Windows of the World

Musically this album is fine and pleasant enough to listen to, easy on the ear with a bit of a retro groove and a sense of humor. Much of the sampling is overly loopy and could have been used more creatively. Bleeps, static and other noises are also done a little heavy handedly. That said, this was pretty fun. The second half of the album is top notch. Fave Songs: ETOH, Summer Crane, Frontier Psychiatrist, Live at Dominoes, Electricity, Extra Kings

I really enjoyed this album, more than I expected to. Great catchy, energetic songs, soaring arrangements. Fave Songs: Crown of Love, In the Backseat, Wake Up, Rebellion (Lies), Une année sans lumière,Neighborhood #4 (7 Kettles)

I love Mark Smith's vocal style - insouciant, almost bemused, but the lyrics are all business, elegantly phrased but really acidic. I would hate to get on the wrong end of this guy's pen. This is old school social commentary that burns, pure punk in attitude, but smarter. Fave Songs: A Past Gone Mad, It's a Curse, The League of Bald-Headed Men, Lost in Music, Ladybird (Green Grass)

I previously reviewed the album Roots by Sepultura. Although that album was in some ways more creative than this one, I think Arise is the better album of the two, with more tonal consistency and arrangements that are a little more ear friendly (as far as Sepultura albums go LOL). This is high energy, thrashy music that burns. Musically it's really good, with magnificent guitars by Andreas Kisser and wicked drumming by Igor Cavalera. It's a top notch metal album. Fave Songs: Murder, Meaningless Movements, Altered State, Under Siege (Regnum Irae), Desperate Cry

This album was an absolute delight, including some splendid jazzy arrangements, a kickin' band, and the lovely surprise of Keely Smith on vocals. The star of the show is still Louis Prima. His big personality, exuberance and sense of humor are what keep this album going and make it so much fun to listen to. I really love this. Fave Songs (All songs, from most to least favorite): Jump, Jive, an' Wail; (I'll Be Glad When You're Dead) You Rascal You; Medley: Just a Gigolo / I Ain't Got Nobody (and Nobody Cares for Me); Medley: Basin Street Blues / When It's Sleepy Time Down South; (Nothing's Too Good) For My Baby; Oh Marie; Buona Sera; Night Train; Body and Soul; The Lip

You know, I'm not much of a fan of double albums or albums that clock in over an hour. Not Abattoir Blues / The Lyre of Orpheus though. This is a surprisingly compelling collection of songs that kept me rapt all the way to the end, it's so well done. It takes a song or two to settle into the mood of this one, which is contemplative, lusty, irreverent and spiritual all at once. But once you get in there, it's a real pleasure to listen to. Personally, I favored the second half of songs (Lyre). Musically the album is gorgeous, with rich arrangements and splendid musicianship. I don't know if Cave or Conway Savage does more of the piano on this album, but it's absolutely lovely. Warren Ellis also adds some real multi-instrumental depth to these songs. I also really like the strong backing vocals, which I didn't initially care for. They really grew on me by the end of the album though. Cave's songwriting is elegant and poetic. As a songwriter, he is among the best of his generation. He has a way of turning a phrase that few songwriters have. Fave Songs: Messiah Ward, Spell, Breathless, Easy Money, Carry Me, Babe, You Turn Me On, Let the Bells Ring, Cannibal's Hymn

There is a darkness to Bruce Springsteen's music that has always been there, from the earliest albums. But there's a period between Darkness on the Edge of Town and Born in the USA where he really leans into it. I would recommend listening to these albums as a group, to get the full impact of what he was doing. Nebraska is the apotheosis of this period. It's stripped down, mean, Steinbeck-level naturalism. Instrumentation is minimal, no Clarence Clemons solos to temper the dark stuff. The mood of course is pretty bleak. It's a hard, uncomfortable listen if you're looking for the Springsteen anthems of old. There are images from these songs that will haunt you long after you hear them. As a songwriter, Springsteen is at his best here. He drops some of the flowery turns of phrase that turn up in the earlier albums in favor of a more plain-spoken style. There are no "ghosts in the eyes of the all boys you sent away" here (I adore that line, btw, but it has no place here). These stories stare hard into the eyes of the struggling, the desperate, the broken, not necessarily with sympathy, but with honesty and pathos. Springsteen covers a lot of thematic territory with a purposefully limited lyrical and musical palette, and yet somehow spins complete narratives populated with some pretty memorable characters. The few mood breakers he offers are brief but impactful. The way he ratchets up the tension in "State Trooper" and then busts it open with a holler is nothing short of brilliant. Try listening to that riding in your car at night and see if you don't feel your hands tighten on the wheel. I also enjoyed the whistling in the dark exuberance of "Open All Night." Fave Songs (All songs, from most to least favorite): Atlantic City, Johnny 99, Open All Night, State Trooper, Highway Patrolman, Nebraska, Reason to Believe, Used Cars, My Father's House, Mansion on the Hill

Tonally, this album is a little strange, combining two of the most profound pop songs ever recorded with a hodgepodge of styles that sometimes work, and sometimes don't. "Bridge Over Troubled Water" and "The Boxer" are both such hauntingly beautiful songs, they practically bear the weight of the whole album. It almost doesn't matter what the other songs are. There are a few other solid songs on here though. "El Cóndor Pasa" and "Song for the Asking" are both incredibly pretty, and Cecilia is simply one of the most fun, exuberant songs ever put to record. The rest of the songs are a mixed bag, with some interesting creative excursions and some borderline hokey pop-rockers. The live "Bye Bye Love" cover is a head scratcher as to why they included it. Overall I really enjoyed the album, but it teeters on the line between being eclectic and being unfocused. It should come to no one's surprise that it was Simon & Garfunkel's last studio album, but what a way to go out. Fave Songs: Bridge Over Troubled Water, The Boxer, Cecilia, Song for the Asking, El Cóndor Pasa (If I Could), Song for the Asking, The Only Living Boy in New York

Raw, sneering, blistering, hyper-paced, classic punk album. The lyrics are pretty impossible to fully discern by ear but surprisingly smart and eloquent. It's incredibly biting political and social commentary, some of the best. Listen, the go read the lyrics to catch the full measure of what this band was about. Album is not on Spotify, go to YouTube. Fave Songs: Our Way, We Must Bleed, Media Blitz, The Other Newest One, Land of Treason, Strange Notes

Reminiscent of Orange Juice and Suede, with a dash of U2. Gorgeous songs, elegantly arranged. I wasn't entirely sold on the vocals at first, but they grow on you. Fave Songs: Two Dancers (ii), We Still Got the Taste Dancin' on Our Tongues, Two Dancers (i), Empty Nest, This Is Our Lot, Underbelly

So many good songs on this album. It may be Rush's best, certainly their most accessible. I mean what can you say about this music? It's a perfectly executed album by one of the most talented bands of that era. The band is absolutely at their best here. The arrangements are tight and the musicianship is ridiculously good. This is smart music that also rocks, which is a pretty rare thing. Fave Songs (All songs, in order from most to least favorite): Vital Signs, Limelight, Tom Sawyer, Red Barchetta, YYZ, Witch Hunt, The Camera Eye

I picked this up on vinyl when I was a teenager, specifically for the title track. The album as a whole is actually nothing like the title track, which is probably why teenage me never really listened to it. That's really too bad, because that's actually one of the weaker tracks on the album. Musically, it turns out the album is quite good. Lyrically and musically mature, the songs mix acidic social commentary with pointed sexual politics. Fave Songs: What's the Hurry, Witches' Song, Working Class Hero, Broken English 3 4 3 3 3 5 4

I was hopeful going into this, but there are much better Elvis albums. This is fairly bland as Elvis albums go, with just a couple of notable songs. The ballads are better than most of the up-tempo numbers, with the exception of "Such a Night," which is a genuine delight and the best song on the album. Fave Songs: Such a Night, Thrill of Your Love, Soldier Boy, Reconsider Baby

This album is a total mood, and I quite enjoyed it. It has a couple of songs on it that I listen to frequently, but this is the first time I heard it all the way through. Had I known it was a part baroque folk, part stealth Velvet Underground album, I would have gotten around to it sooner. I see why Nico disapproved of the string and flute overdubs, because the arrangements aren't particularly well timed to her vocals. I quite agree when it comes to the flute, which is superfluous and doesn't really add anything to the album. I do think the strings in particular are suited to Nico's voice though. John Cale's viola, as always, is a gift. The rambling, noisy distortions of "It Was a Pleasure Then" were jarring, but actually really welcome. That song really cuts through the softer aspect of some of the other songs and it perfectly showcases the great musical chemistry of Reed-Cale-Morrison. "These Days" and "I'll Keep It With Mine" are pure perfection. Fave Songs: These Days, I'll Keep It With Mine, The Fairest of the Seasons, Somewhere There's a Feather, It Was a Pleasure Then

There are several really excellent songs on this album that are worth the price of admission on their own. But overall, the quality is uneven, with a mix of styles that's all over the place. The saving grace of this album is of course the brilliant Annie Lennox. Lennox's vocal ranges from authoritative to soulful and is pretty flawless. Musically, the songs have some interesting elements here and there, but half the of the songs are fairly unmemorable. Fave Songs: Sweet Dreams (Are Made of This), Love is a Stranger, Jennifer, The Walk, I've Got an Angel, Somebody Told Me

Hello, I love this album. This is classic Cash, punchy, full of attitude and humor, but also tinged with faith and sadness. Cash has a mindfulness of where he is and a clear sense of purpose toward his audience. The love between Johnny Cash and his audience is genuine and it radiates through these songs beautifully. It's a joy to hear. The enthusiastic roars and hollers from the crowd (sometimes at inappropriate times) brings a gallows humor and an exuberance to these songs that doesn't always exist in the studio versions. Cash is charismatic, in excellent voice and the band has great energy. June Carter's presence is an added delight. There is nothing else quite like this in music, and it's a strong candidate for best live album of all time. Fave Songs (All songs, from most to least favorite): Folsom Prison Blues, Cocaine Blues, Jackson, I Still Miss Someone, 25 Minutes to Go, The Long Black Veil, Orange Blossom Special, I Got Stripes, Dark as the Dungeon, Green, Green Grass of Home, Greystone Chapel, Send a Picture of Mother, Give My Love to Rose, Dirty Old Egg-Suckin' Dog, The Wall, Flushed from the Bathroom of Your Heart

Groovy, chill vibe. Loved it. Fave Songs: Back at the Chicken Shack, When I Grow Too Old to Dream

This sound of this album isn't what immediately comes to mind when I think of the Beau Brummels. It certainly fits in with the musical vibe of its time though. It's a little musically scattered, as a lot of albums apparently were in the late 60s. You have baroque pop mixed in with psychedelic and folksy rock, which doesn't always work. But it grows on you a bit as the album progresses. The guitars are really lovely as are the strings, but some of the songs have too much going on in them. Fave Songs: Magic Hollow, It Won't Get Better, The Wolf of Velvet Fortune, Painter of Women, The Keeper of Time

Solid, enjoyable Britpop album. Great, catchy songs with a mostly low key vibe that is hitting me just right today. This is an album I think I'll be coming back to. Fave Songs: Get on It, Only Teething, How Can You Leave Us, Tellin' Stories, You're a Big Girl Now, North Country Boy, How High

There are several true classics of the early years of rock and roll on this album. There's also more filler than I'd like to see, but that was pretty common for pop albums in the pre-Beatles years. It's still a pretty top notch album, with lots of catchy hooks and those classic Everly harmonies. I enjoyed this. Fave Songs: Cathy's Clown, Love Hurts, Stick With Me Baby, That's Just Too Much, Made to Love, Always It's You, A Change of Heart

I'm not really feeling this album. I don't particularly care for Lorde's vocal style. Musically, the production is fine, but it's formulaic and fairly bland. All I'm taking away from this is a mild sense of annoyance. "Fave" Songs: The Louvre, Sober II, Homemade Dynamite

I appreciate where they're going with this, but it's really not all that fun to listen to. I find it a bit of an atonal hodgepodge mess, and my tolerance level is higher than most. They do get points for creativity and the scratchy, jagged guitars are pretty spot on. It's not boring. Fave Songs: FM; Newtown; Instant Hit; Ping Pong Affair

Wow, what a great album. These songs have a warmth to them that I don't typically associate with Radiohead. Nice to see this side of the band. Fave Songs (All songs, in order from most to least favorite): Jigsaw Falling into Place, Reckoner, Weird Fishes/Arpeggi, All I Need, Videotape, Nude, House of Cards, Faust Arp, 15 Step, Bodysnatchers

This is such a beautiful album. I really can't imagine a more fitting final work for an artist with the depth of Leonard Cohen. Musically, it's spare and stripped down with songwriting that is contemplative, intimate, and dark. Not an album I could listen to every day, but really excellent. Fave Songs: Leaving the Table, Steer Your Way, Treaty, You Want It Darker, Traveling Light, String Reprise/Treaty

Another reviewer describes this album as "dumb glam." I mean, yeah. Isn't it great? Well, I had a blast listening to this album, but it turns out if you're listening on Spotify, this is not Back to Mystery City. About half the tracks are mislabeled. With a little digging on YouTube, you should be able to find the others. These are the actual songs Spotify shows as being on the album: 1) Strange Boys Play Weird Openings; 2) Malibu Beach Nightmare; 3) Mental Beat; 4) Don't You Ever Leave Me (mislabeled); 5) Lost in the City (mislabeled); 6) First Timer (mislabeled); 7) Cheyenne (mislabeled); 8) Beating Gets Faster; 9) Ice Cream Summer; 10) Back to Mystery City. In spite of the annoyance of having to find the right tracks, I really enjoyed listening to this. Hanoi Rocks gets associated so much with 80s glam metal that I was expecting not to like this, but they're better than a lot of those bands. This album has a Mott-Meets-Sweet-Meets-New York Dolls vibe to it, ramshackle but with a surprising pop sensibility. The songs are glammy and trashy and tongue in cheek, all of it in good fun. Fave Songs: Tooting Bec Wreck, Beating Gets Faster, Until I Get You, Ice Cream Summer, Mental Beat, Malibu Beach Nightmare

This is a fun, classic country album. Loretta Lynn's voice is a pleasure to listen to, and there's a nice balance between the punchy, strident tunes and the sweet and sad ones. Fave Songs: Don't Come Home a Drinkin' (With Lovin' on Your Mind), I Really Don't Want to Know, The Shoe Goes on the Other Foot Tonight, Tomorrow Never Comes, I Can't Keep Away from You

This really is one of the great debut albums ever. Swirling, confident rock and roll laced with perfect pop melodies and some killer hooks. What's not to like about it? It's also just a really well crafted album that flows effortlessly. Starting out with a solid rocker like "Rock 'n' Roll Star" and ending up at the stripped down "Married with Children" is pretty brilliant. Fave Songs (All songs, from most to least favorite): Live Forever, Slide Away, Married with Children, Digsy's Dinner, Supersonic, Rock 'n' Roll Star, Cigarettes & Alcohol, Columbia, Shakermaker, Bring It on Down, Up in the Sky

Grungy, jangly, noisy, ramshackle collection of songs. The album starts out strong and has some moments of real creativity and fun, but a little dissonance goes a long way. On the whole I enjoyed it, but it really is a lot. Fave Songs: Soul and Fire, Two Years Two Days, Cliche, Happily Divided, Think (Let Tomorrow Bee)

I was so excited to get this album today because I'm a huge Billy Bragg fan. This album was probably my first exposure to his music. I don't know how Billy Bragg has pulled it off so well, but he has managed to thrive for 40 years as a folk singer with a punk sensibility. No one else really was making music like this in the 80s, but it was as natural for us to listen to Bragg as it was to listen to the Clash or the Smiths. Bragg mixes the personal and the political in surprising ways, but it works really well. This is music of a young man with a point of view, but also the music of a young man simply trying to figure out what he wants in life. Bragg's songs are crisp, concise, with simple arrangements. He's really one of those once in a generation songwriters, with lyrics that are honest and deeply heartfelt. The political songs are strident and sometimes downright acidic, but Bragg balances that with storytelling that is incredibly intimate and affecting. Bragg's not a conventional singer and he may grate on some, but he delivers a line with an earnestness, pathos and humor that really sticks with you. Fave Songs (All songs, from most to least favorite): Levi Stubbs' Tears, The Warmest Room, The Passion, Greetings to the New Brunette, The Home Front, Wishing the Days Away, Help Save the Youth of America, There Is Power in a Union, Ideology, The Marriage, Train Train, Honey, I'm a Big Boy Now

I mean, come on. Everything about this album is perfect, from the first mind blowing riffs right down to that cover art. I can't even imagine what it was like hearing this album fresh in 1967. Jimi's still years ahead of the rest of us, over 50 years later. Fave Songs (All songs, from most to least favorite, from original US version): Purple Haze, Foxey Lady, Fire, Are You Experienced?, The Wind Cries Mary, May This Be Love, I Don't Live Today, Manic Depression, Love or Confusion, Hey Joe, Third Stone from the Sun

I enjoyed this for the most part, but a little goes a long way. I feel like it probably improves on repeated listenings. Fave Songs: Triangle Walks, Coconut, Seven, Concrete Walls

This is splendid. Beth Orton has a lovely voice, with just a hint of a Joni Mitchell vibe. Perusing the personnel, Orton has assembled a nice group of really talented supporting performers, including Dr. John, Benn Watt and Ben Harper. Will definitely come back to this. Fave Songs: Pass in Time, Central Reservation, Feel To Believe, Blood Red River, Sweetest Decline, Stolen Car

High energy, catchy, fun stuff. Best so far of the post-2000 albums I've reviewed on here. Fave Songs: You Probably Couldn't See for the Lights but You Were Staring Straight at Me, From the Ritz to the Rubble, A Certain Romance, Mardy Bum, When the Sun Goes Down, Riot Van, Fake Tales of San Francisco

Admittedly, I don't listen to a ton of jazz. But this is one of my favorite jazz albums, one of just a few I actually own. Trippy, funky, sick grooves, front to back. Fave Songs (All songs, from most to least favorite): Watermelon Man, Chameleon, Vein Melter, Sly

Every time I have attempted to engage with Pentangle's music in the past (usually by way of something like "Light Flight" or "Lyke-Wake Dirge"), I've been quickly put off and just shut it off/switched the station. I see as I listen to this that I haven't really been fair to them. This is really lovely music, with gorgeous vocals and incredibly elegant acoustic arrangements. A couple of songs I didn't love, but overall a great listen. Fave Songs: Train Song, Hunting Song, Once I Had a Sweetheart, The Cuckoo, Springtime Promises

An artful, whimsical delight. Gorgeous arrangements. Powerful, frequently surprising vocals. Unabashedly, unapologetically weird and all the more endearing for it. Kate Bush is an acquired taste, but she's also a once in a lifetime talent. I've been listening to her for 40 years and this album just gets better with every listen. Fave Songs (All songs, from most to least favorite): Suspended in Gaffa, Sat in Your Lap, All the Love, Houdini, Night of the Swallow, Get Out of My House, Leave It Open, The Dreaming, Pull the Pin Out, There Goes a Tenner

You know, I've listened to this album many times, and I'm struck today by the fact that this is possibly the most upbeat-downbeat album I've ever heard. Yeah, the anthems are there, they're full of energy and they still feel great to listen to. But dig in and listen, this is some dark stuff. It's more polished and has more of a pop sensibility than The River or Nebraska, but it takes you on the same kind of downbound journey. There's humor, pathos, slow burning passion, oppressive sadness, joy, regret. Somehow it all lives together here in this perfect little package. That's an incredibly rare thing and Springsteen makes it all seem so effortless. I was 13 years old when this album came out, so I couldn't relate to a lot of these songs at the time. Almost 40 years on, Springsteen is now one of my absolute favorite artists. I listen to him every day, and the depth of this album grows for me every time I hear it. Fave Songs (All songs, from most to least favorite): I'm on Fire, I'm Goin' Down, Born in the USA, Dancing in the Dark, Downbound Train, Darlington County, Cover Me, Working on the Highway, No Surrender, Glory Days, My Hometown, Bobby Jean. It's actually hard to rank these. I have clear favorites in my mind, but as each song comes up, I change my mind and have a new favorite. This is that kind of album.

This is my first listen to this album. I'm a little confused how this particular album seems to be so widely reviled, when there are way worse albums on here. It's fine, people. It's a little ramshackle and noisy, but it's also creative and weirdly fun. Musically, it has a gothic/post-punk/rockabilly sensibility, like Bauhaus and Cramps had a demon baby. I'll take this kind of snarling, high energy fun over Kid Rock any old day. Fave Songs: Dead Joe, Several Sins, The Dim Locator, Kewpie Doll, Junkyard

Oh this is really nice. "Street Life" has got to be practically the smoothest 11 minutes of music I have ever heard. I just wanted it to go on forever. The rest of the album falls short of the title track, but overall it's a jazzy, groovy, pleasant listen. Fave Songs: Street Life, My Lady, The Hustler, Carnival of the Night

This is really excellent. Great mix of the energetic and the laid back, with some solid guitar work. Loved it. Fave Songs: Sekou Oumarou, Petit Metier, Desert Melodie, Weyei, Jolie, Nick, Soubour

Great English house album. Twisty, funky, energetic. This was pretty fun. Fave Soungs: Red Alert, Rendez-Vu, Jump n' Shout, Rendez-Vu

Anything Elvis Costello did with the Attractions is magic, but Armed Forces is one of their very best. The band's chemistry is rock solid, Nick Lowe's production is rich and nuanced, and Costello's songwriting is witty and incisive in a way most lyricists could only dream of being. The man can turn a phrase like no one else. These songs are incredibly listenable with stellar pop hooks and some beautiful arrangements, but it's not always easy music. It's beyond clever to couch interpersonal and sexual politics in the language of sociopolitical conflict (and vice versa), but it's also the kind of songwriting that leaves some listeners cold. I happen to love it. Fave Songs (All songs, from most to least favorite): Oliver's Army; Two Little Hitlers; (What's So Funny 'Bout) Peace, Love, and Understanding; Big Boys; Accidents Will Happen; Goon Squad; Party Girl; Senior Service; Green Shirt; Busy Bodies; Chemistry Class; Sunday's Best; Moods for Moderns

A great, classic Metallica album. It lacks the speed and energy of the earlier albums, trading it for a tighter and more polished sound. I will add that slowing down really helped the band amplify the depth and intensity of their sound, allowing them to venture into new musical territory and create some of their most memorable songs. The original fans may not all love it, but this is the album that really made them superstars. Fave Songs: Nothing Else Matters, Wherever I May Roam, Enter Sandman, Sad but True, The Unforgiven, The Struggle Within, Holier than Thou

This album has a great energy. The quality of the individual songs is a little uneven throughout, but it's still an incredibly fun listen that has aged well. Fave Songs: Fell in Love with a Girl, Hotel Yorba, I Can Learn, Expecting, I'm Finding It Harder to Be a Gentleman, Now Mary

Rich, warm, laid back sound. Loved it. Fave Songs: Soya, Savane, Soko Yhinka, N'Jarou, Banga, Hanana, Gambari Didi

This is just so stunningly good, a powerful album in every way. The album is a brief 39 minutes, but it's so rich and soulful. It feels more substantial than anything you could fit in 39 minutes, and yet not nearly long enough. I'm still turning over in my mind the fact that this album is comprised of leftover songs (!) from previous albums. Nina Simone's leftovers outshine the best songs of other artists. Fave Songs (All songs, in order from most to least favorite): Wild Is the Wind, Black Is the Color of My True Love's Hair, Four Women, If I Should Lose You, What More Can I Say, Why Keep On Breaking My Heart, Lilac Wine, Either Way I Lose, I Love Your Lovin' Ways, That's All I Ask, Break Down and Let It All Out

This was quite good, although I think I prefer Suede's first album better. There are some elegant, soaring arrangements and nice use of strings. The album really could have been cut by several songs and been much better. Fave Songs: The Asphalt World, Still Life, The 2 of Us, The Power, The Wild Ones, Daddy's Speeding, Heroine

This album is terrific. Nicely crafted sound, beautifully trippy, musically creative and diverse. The tonal shifts from song to song are sometimes pretty weird and extreme, but somehow it works. Fave Songs: Star, Motörhead, Long Life, Medication, If They Move, Kill 'Em, Stuka

I think this album is fantastic. It's not one I often listen to all the way through, but I should. Tommy is such a great mix of the straightforward rocking with the theatrical and occasionally trippy. And it's at heart just a great Who album, creative and engaging and powerful from beginning to end. There's really nothing else like this in music. Most of the songs are great to listen to on their own, without even engaging with the somewhat hazy plot. A couple of the best songs the Who ever recorded are on this album ("I'm Free," "Pinball Wizard"), as well as some stellar deep tracks ("Christmas," "The Hawker"). The flow from song to song is seamless and the album never drags. It's over an hour long and you don't really feel it. Fave Songs: I'm Free, Pinball Wizard, Christmas, The Hawker, Tommy Can You Hear Me, Welcome, Go to the Mirror, The Acid Queen

This album was a solid fixture in my brain when I was 16 years old. The first time I drove on my own to a concert was to see R.E.M., in support of this album in the fall of '87. I listened to Document constantly in those days, so it means a great deal to me and is tied to so many memories. But it's also just a great album to listen to, even now. Every song is engaging and memorable. Document was the album that first brought R.E.M. into the mainstream spotlight in a major way. The quality of the album is terrific, with the band going for a tighter, more accessible musical style than on their earlier albums. The cryptic/quasi-political/frequently confounding/strangely whimsical lyrics are a deal breaker for some, but they shouldn't be. This is really an excellent album from one of the most uncompromising bands in rock, playing at their peak. They also opened the door to broader success for a lot of alternative bands with this album, and I'm forever grateful for that. Fave Songs (All songs, in order from most to least favorite): Welcome to the Occupation, Oddfellows Local 151, The One I Love, King of Birds, Finest Worksong, It's the End of the World as We Know It (And I Feel Fine), Lightnin' Hopkins, Disturbance at the Heron House, Exhuming McCarthy, Fireplace, Strange

This is really good as Sonic Youth albums go, certainly their most polished and accessible one that I've heard. It was easier on the ears for sure, but I do miss the grit and musical risk taking of the earlier albums. The vocals also seem a little shakier to me, especially Kim Gordon's. All that said, I'm still giving this a 4. Thurston Moore and Lee Ranaldo can bend, twist and grind a note like nobody's business and Sonic Youth is never not interesting. Fave Songs: Purr, Chapel Hill, Sugar Kane, JC, 100%, Youth Against Fascism

Musically this album is fine, but Greg Dulli's vocals aren't doing it for me. I enjoyed Marcy Mays on "My Curse." This is a perfectly fine album of its genre/time, but not especially memorable. Fave Songs: My Curse, When We Two Parted, Fountain and Fairfax, Brother Woodrow

I enjoyed this quite a bit, more than I thought I would. It reminds me a bit of the Stranglers. I'm not a fan of the trumpets, which I actually assumed was a synthesizer at first. But in general this was a solid post punk album. Fave Songs: Poppies in the Field, Treason, Thief of Baghdad, Second Head, Sleeping Gas, Bouncing Babies

I recently watched a documentary about the making of this album, so it's fun to sit down with it today. It is also never a bad time to hear a U2 album. I cannot stress enough how cool this album sounded when it came out. It’s still one of the most creative and memorable albums U2 ever made, arguably their best. U2 had made some great albums up to this point, but I don't think anyone expected that they could pull off an album like this. The band stretches creatively in a completely different direction, embracing more of the dance pop sounds that were popular at that time, more vocal and musical distortion, and darker subject matter. The lyrics are more introspective and personal. But there’s also a cynicism in these songs that was unexpected from this band. It shows the band’s capacity for growth and substance. It's a big part of why we still talk about U2 30 years later. What a fantastic album. Fave Songs (All songs, from most to least favorite): One, Until the End of the World, Love Is Blindness, The Fly, So Cruel, Even Better Than the Real Thing, Ultraviolet (Light My Way), Acrobat, Mysterious Ways, Zoo Station, Tryin' to Throw Your Arms Around the World, Who's Gonna Ride Your Wild Horses

Short and sweet. Beautiful vocals, with songwriting that must have stood out starkly against mainstream country at the time. The songs are a nice mix of the sweetly personal and even the surprisingly funny. On the whole, most of the songs never quite reach the quality of the album's title song, but this is still a great album that's a pleasure to listen to. Fave Songs: Coat of Many Colors, My Blue Tears, The Way I See You, Here I Am, She Never Met a Man (She Didn't Like)

Okay, I was really prepared not to like this, and the first few songs did nothing for me. But once you get get past those, this is a pretty solid album. It's catchy, has great energy, and it's distinct from a lot of what was going on musically in the mid-90s. These guys are pretty good. Fave Songs: Used, Drop Out, Fat Lip, On a Rope, Suit City

This is a pretty remarkable debut album, not because I necessarily think it's so great, but because the structure of the thing is so nutso. Here we have a debut album, a double album mind you, the first side of which contains a short intro and a 13+ minute rambling odyssey of a title song. It turns out "Pleasuredome" really is one of the best songs on the album, so I get it. The album as a whole though is kind of all over the place. I have to wonder what the thinking was behind all of it. It's like they knew they wanted to do the whole "Pleasuredome" thing and they had just a handful of singles and other ideas they wanted to use, which necessitated a whole 2nd disk that was mostly made of filler. It's very odd and I find the gleeful lack of flow or coherent musical point of view more than a little annoying. I’m annoyed because this has all the pieces of a great album, and they don’t quite get there. This is such a weird mix of the clubby, the political, the mildly obscene and the musically grandiose, which sometimes works and sometimes doesn't. Chris Barrie's little monologues pinpoint a moment in time, but ultimately are just weird. The covers are pretty random and generally not great. That said, the beats and the bass lines are solid fun. When this album hits the right notes, it's terrific. I will add that I give Frankie credit for being incredibly brave in 1984. I still can't believe they made an album like this and it wasn't just a niche recording. It was a massive hit record. Fave Songs: The Power of Love, Relax, Welcome to the Pleasuredome, The Only Star in Heaven, Bang, Black Night White Light

At the time this album came out, I had zero interest in Green Day, and have mostly managed avoided listening to them too much all these years. Looking at it now, I don't remember what my aversion to the band was. This is an excellent album and it kind of suits my mood today. The songs are short and sweet, punchy but melodic, polished but with a bit of an edge. The band's pop sensibility is second to none and I'm impressed how many hits came out of this album. I generally don't dig Billy Joe Armstrong's vocal style, but he's able to toe a line between insouciant and irritating, something most of Armstrong's peers can't do. Okay Green Day, I'm willing to admit when I'm wrong. Good show. Fave Songs: When I Come Around, Pulling Teeth, She, Longview, Welcome to Paradise, In the End, Coming Clean

Some really beautiful songs here. The album was a bit too long, but a really enjoyable listen. Fave Songs: Loodo, Ko Wone Mayo, Salminanam, Muudo Hormo, Lam Tooro, Kettodee

Aww, I haven't listened to this album in full in a really long time. It was in my heavy rotation during my sophomore year in college though. 1989-91 was peak time to be a Pixie's fan. Little did we know the albums weren't going to keep coming out every year like that. This isn't the album that immediately comes to mind when I think of the Pixies, but Bossanova is still light years beyond most of the alternative albums that were out in 1990. It's missing some of that frenetic wildness of the earlier albums, but it's no less creative. The album is more polished, maybe a tad more accessible than previous efforts. It follows along the same lines from the previous year's Doolittle, with a catchier and more melodic sound. The Pixie's have an incredibly unique style, that twisted surfer from hell vibe with the strange cryptic lyrics... that hit all the right notes with weird kids like me. The songs are full of great tonal shifts from the quiet to the melodic to the raging. There aren't a lot of bands I can think of who float so effortlessly from pretty to ugly and back. It can be startling, but it's also exhilarating in a way no other band really captures. It goes without saying that nobody screams like Black Francis/Frank Black. What tempers that rage is of course the haunting softness of Kim Deal. There is some kind of special magic between those two when they hit an off-kilter harmony together. Musically, everyone is on point here. Joey Santiago's guitar is blisteringly good, Deal's bass is solid, David Lovering's drums are propulsive and energetic. I agree with the reviewer who said this album is greater than the sum of its parts. This is an album to enjoy in full, but it's more than worth the time. It also grows on you with repeated listens. Fave Songs (All songs, from most to least favorite): Dig for Fire, Havalina, Rock Music, Down to the Well, Stormy Weather, Blown Away, Velouria, The Happening, Cecilia Ann, Ana, Allison, Hang Wire, All Over the World, Is She Weird

Ahhh, some good old fashioned bare bones, badass garage rock. Sonics are cool as hell, punk before punk even existed. There is an undeniable edgy energy in these songs that is thrilling to hear. The best songs are of course their originals, although "Have Love Will Travel" is one the best songs on the album. The band excels when they lean into their grittiness, which is generally more pronounced in their own songs. Some of the covers are pretty weak by comparison, which is frequently the case when covering songs that were pretty perfect to begin with. The Beatles couldn't touch Chuck Berry, so the Sonics sure aren't going to either. But on the whole, the band's energy is on fire, and they are clearly having a blast playing these songs. Great fun. Fave Songs: Have Love Will Travel, Strychnine, Psycho, The Witch, Boss Hoss

Ooh, spacey, I like it. A trippy, elegant, slightly eerie electronic odyssey. It makes me want to go star gazing. Fave Songs: Oxygène (Part II), Oxygène (Part IV), Oxygène (Part VI)

You have to love yourself some Bob Dylan to really get into this whole album, but it's really lovely, showing off the two sides of Dylan at that pivotal moment in his career. Disk 1 is a really bare bones, slower paced recording that will probably try the patience of your casual listener. Disk 2 is much more to my taste, with Dylan supported by the excellent pre-Band Hawks. Just some really warm, rich performances that I could listen to for hours. Dylan is in excellent voice, singing some of the greatest songs of his career. Sound quality is mixed, with Dylan's vocal fading out quite a bit in "Ballad of a Thin Man," which is unfortunate. Not the album I would recommend as an intro to Dylan, but still pretty great. Fave Songs: Like a Rolling Stone, Just Like Tom Thumb's Blues, One Too Many Mornings, I Don't Believe You (She Acts Like We Never Have Met), Tell Me Momma, Just Like a Woman, Leopard-Skin Pill-Box Hat, Visions of Johanna

This is a great album from Sabbath, intense and often darkly beautiful. On my first pass through the album, I thought it was stylistically a little uneven, but coming at it again I appreciate the band’s efforts to stretch their legs a bit musically. There are some surprising touches here that you don’t really expect to find on a Sabbath album. I don't think Geezer Butler gets enough credit by the way for some pretty great songwriting. The lyrics are plainspoken, but often incisive and eloquent in a way that’s surprising for such heavy music. I think that is a big part of the magic for this band and for why they had such massive appeal. That, and they also freaking rock. Top notch all the way. Fave Songs: Snowblind, Supernaut, Changes, Under the Sun, St. Vitus Dance

Soundgarden was always my favorite of the Seattle bands. They were at the core of the whole alternative scene, but they also were more “musical” than some of their peers. Soundgarden was a band that both alternative and metal fans could appreciate. They were the total package for this kind of music - grinding, searing, wailing guitars, a kickin' rhythm section, a vocalist who could do almost anything he wanted to with his voice. Dark, powerful songwriting that dealt with struggles of the mind and struggles of the spirit. Songs that rocked out heavily, but were still musically gorgeous. This album embodies all of that. The sound is rich, layered, sophisticated, surprisingly melodic. It’s really beautiful to listen to without sounding overly polished or losing a bit or the band’s fire. This is an album that grows on you with repeat listenings, as all great albums do. As I listen to Superunknown now, which I listened to a lot when it came out, I’m struck by how lyrically dark it really was. I mean, a lot of music was at the time, so I didn’t really think much about it then. It’s painful to listen to Chris Cornell’s lyrics now without thinking about where his story would end. Cornell was a once in a lifetime talent, and I miss him. Fave Songs: Fell on Black Days, My Wave, Black Hole Sun, 4th of July, The Day I Tried to Live, Let Me Drown, Spoonman, Like Suicide

Astral Weeks is one of my favorite albums, one I can listen to endlessly on repeat. It's such a pleasure to hear. This is an album very much of its era, but somehow also out of time. I love the intermingling of jazz and folk, the delicate little baroque touches, the use of flute and vibes and that marvelous double bass. The style of the album is distinctive, improvisational, loose and dreamy. Morrison's lyrics are an eloquent stream of consciousness, best enjoyed as impressions of memory and feeling rather than analyzed for their content. The album was a deeply personal expression for Morrison, and it feels intimate to listen to, like we're privy to his deepest memories. I can't think of another album like it. Fave Songs (All songs, from most to least favorite): Astral Weeks, Madame George, Ballerina, The Way Young Lovers Do, Sweet Thing, Cyprus Avenue, Beside You, Slim Slow Slider

Oh, these twisted, wonderful weirdos. Rockabilly always had a dark and dangerous side, but by the 1970s, it was fast headed into the territory of "oldies but goodies." Along come Lux/Ivy and the Cramps, who had a vision. They took the music of the 1950s (with a strong assist from 60s surf and garage rock) and flipped it over so you could see all the little nasties and creepy crawlies hiding underneath. The result was the genesis of psychobilly, punk meets rockabilly and pulp horror. It's dark, grinding, noisy, kitschy, trashy, hilarious. Above all, Songs The Lord Taught Us totally rocks. Great noisy guitars, pounding drums, high energy, attitude for miles. What a blast. Fave Songs: I Was a Teenage Werewolf, I'm Cramped, Mystery Plane, Sunglasses After Dark, TV Set, The Mad Daddy, Fever, Strychnine

III isn’t necessarily one of the first albums I think of when I think of Led Zeppelin, but it's an outstanding album. It's interesting in that song for song, it probably has fewer classic rock staples on it than any other Zeppelin album, except for Presence. But as deep cuts go, the songs on this album are fantastic. Stylistically, III is more diverse than Zeppelin's first two albums, which is what makes it so exciting to listen to. The introduction of more acoustic, folk-based influences reveals so much more depth in the band's abilities. They don't have to be so heavy or hit you over the head with their sound. But man, when they want to be heavy, look out. You want bombast, here's "Immigrant Song." Need some cool pedal steel guitar, try "Tangerine." Looking for a lovely pastoral sounding acoustic number, here's "That's the Way." You want a slow burning blues odyssey, go for "Since I've Been Loving You." Practically every song is an excursion into a different musical territory, but everything comes together so organically. Nothing feels out of place. You can also tell the band is having a blast making this album. I absolutely love it. Fave Songs (All songs, from most to least favorite): Since I've Been Loving You, That's the Way, Friends, Immigrant Song, Bron-Y-Aur Stomp, Tangerine, Gallows Pole, Hats Off to (Roy) Harper, Celebration Day, Out on the Tiles

I have owned this album on cassette, vinyl, CD and mp3. For years I had the cover of this album hanging on my office wall. This is one of my favorite, favorite, favorite albums. There is an exuberance and joy to these songs that has held a really special place in my heart for 40 years now. There's a reason the B's are so beloved by such a diverse group of fans. On a basic level, they make catchy party songs that are easy to sing and dance to. Musically, they have always done what they wanted, whether it's on trend or not, and people love them for that. There's something about the B's that resonates then with misfits, nerds and outsiders. The B-52's are having a big party in their big tent, and everyone is invited. As for the album itself, come on. The band came out swinging (okay, frugging, probably) with their very first album. I love all their stuff, but this album really is the best thing the B-52's ever did. Musically it's purposefully bare bones, but the songs are crisp, energetic, quirky, F-U-N. No filler at all, just 9 perfect songs perfectly arranged in 39 minutes. The B's took all the cool things about surf, garage rock and girl groups, artfully rearranging them for the post punk era, and somehow it works! The lyrics are cleverer than people give the band credit for, kitschy and silly for sure, but also with warmth and sly humor. Held up against the musical excesses of stadium rock, the anger of punk and the coldness of new wave, the B-52's are a breath of fresh air. It's such an unusual, singular sound, but there’s nothing not to love about it. Fave Songs (All songs, from most to least favorite): Rock Lobster, Lava, 52 Girls, Planet Claire, Dance This Mess Around, Hero Worship, Downtown, There's a Moon in the Sky (Called the Moon), 6060-842

An interesting, creative, sonically diverse album. Trippy, quirky, psychedelic, with moments of surprising beauty. I liked this a lot. Fave Songs: Damaged, Higher than the Sun/Dub, Movin' On Up, I'm Comin' Down, Come Together, Loaded, Shine Like Stars

Musically, this is really well done, just about as good as anything Neil Young and Crazy Horse ever did together. It has a fun, rough edged, garage-y vibe and Young's guitar is blistering as ever. As good as it sounds, the lyrics are fairly toothless and mostly forgettable. I know I'm officially turning into your most annoying teacher when I say this, but I know Neil Young can write better songs than this. I guess he has other albums for that. Fave Songs: White Line, Love and Only Love, Country Home, Love to Burn, Over and Over This album was not available on Spotify, but can be found in full on YouTube. 4 4 3 3 4 3 3 3 5 3

Stylish, soulfully smooth, musically flawless, timeless album. I love every song on it. Fave Songs (All songs, from most to least favorite): Your Love Is King, Hang On to Your Love, Smooth Operator, Cherry Pie, I Will Be Your Friend, Why Can't We Live Together, When Am I Going to Make a Living, Sally, Frankie's First Affair

I didn't immediately connect with this album on the first listen, but it grows on you. Some really lush, sophisticated arrangements, leagues beyond what Talk Talk's peers were doing at that time. Much of the album has a lingering pace, so you do really need to be in the right mood for it. Fave Songs: Time It's Time, Living in Another World, Life's What You Make It, I Don't Believe in You, Chameleon Day

Love this album, it's crisp, punchy and energetic. It's such a fun listen, and I enjoy it more each time I listen to it. The mix of the angular guitar with that insanely good foregrounded bass is a delight to listen to. The Jam had this ability to infuse the anger and energy of punk with a strong pop sensibility that none of their peers have. They remind me a lot of the early Who, more than pretty much any other band I can think of. There are maybe a couple of tracks I like less than the others, but on balance this is an outstanding album. Rounding up to a 5, then going back to listen again. As a side note, if you aren't familiar with Paul Weller, I strongly recommend checking out his post-Jam work. The man has been working practically non-stop for over 40 years and everything he does is interesting. Fave Songs (All songs, from most to least favorite): That's Entertainment, Start!, Set the House Ablaze, Man in the Corner Shop, Scrape Away, Pretty Green, Boy About Town, Music for the Last Couple, But I'm Different Now, Monday, Dream Time

Holy cow, I don't even know how to talk about this album. You'll never catch me driving down the road, Smile blaring from my windows, but it's really cool. It feels a little like a hodgepodge mess initially, but every inch of this is deliberate and kind of wonderful. Beautiful arrangements, wild sonic experiments, and a sense of humor on top. The symphonic elements are gorgeous, and I love the musical threads that wind through multiple songs, which is really brilliant. This actually did make me smile. Fave Songs: Heroes and Villains, Good Vibrations, In Blue Hawaii, Vega-Tables, On a Holiday, Wind Chimes, Child Is Father of the Man

This was a fun listen, full of energetic, punchy rockers. Enjoyed it, but I'm unlikely to come back to it. Fave Songs: Y Control, Modern Romance, Maps, No No No, Date with the Night

Moondance is about as perfect a rock album as you will ever hear. It's probably the album I would first recommend to anyone who is new to Morrison's music. The songs are warm, soulful, intimate and endlessly catchy, a perfect summer day in musical form. This is an album built for repeat listenings, full of songs that will stay with you for a long time. I don't have a bad thing to say about it. Fave Songs (All songs, from most to least favorite): Into the Mystic, Everyone, Moondance, Caravan, Brand New Day, And It Stoned Me, These Dreams of You, Glad Tidings, Come Running, Crazy Love

This was a well made album, musically really tight. Harvey's vocals are fantastic and Thom Yorke was a welcome surprise. Fave Songs: This Mess We're In, A Place Called Home, The Whores Hustle and the Hustlers Whore, Horses in My Dreams

I'm going to start off by saying some good things about this album. Two of the best pop songs ever recorded reside on this album ("California Dreamin'"/"Monday, Monday"), and across the board, the harmonies that came out of this band are astounding. The Mamas and the Papas are still synonymous with the idea of perfect vocal harmony, over 50 years after this album came out. They sound so great here. That said, time hasn't been kind to all of the songs on the album, some of which come off as hokey and dated. The covers are rather bland, lovely vocals notwithstanding. On balance though, when the Mamas & the Papas nail it, they really nail it. It's sunshine in a bottle with a little melancholy on the side, which is still pretty charming. Fave Songs: California Dreamin'; Monday, Monday; Go Where You Wanna Go; I Call Your Name; Spanish Harlem

Years ago I went to the Rock and Roll Hall of Fame. A couple of things I saw on that trip are burned in my memory: John Lennon's glasses, and two rumpled remnants of a H18 Beechcraft airplane. Otis Reddding's name was painted on the pieces. I think about that plane frequently when I hear his music, and listening to him is always a bit of a bittersweet experience. Otis Blue isn't a perfect album, but there are several songs on here that are so exceptional that they elevate the whole thing leagues beyond other soul albums. It's silly to quibble over 4 or 5 stars when the music is this good. Otis Redding is a titan among vocalists. He has an ability to exude such earnest sorrow and joy in a way very few singers can. You feel these songs in your bones. Now, most of the songs on this album are covers, but Redding was brilliant as a cover artist. He really makes these songs his own, even songs as iconic as "Satisfaction" or "Change Gonna Come." The star track of course is one Redding wrote with Jerry Butler, the achingly beautiful "I've Been Loving You Too Long." It's arguably the best song Redding ever recorded and possibly the best soul song ever. Fave Songs (All songs, from most to least favorite): I've Been Loving You Too Long, Change Gonna Come, You Don't Miss Your Water, Satisfaction, Shake, Ole Man Trouble, Down in the Valley, Respect, My Girl, Rock Me Baby, Wonderful World

There's a retro '70s pop vibe to this that I'm really enjoying. It's also evocative of some of Beck's more contemplative work. The piano and string arrangements are really beautiful. Grant's vocals are a little lackluster in contrast to what's going on musically, but it's still quite good. Fave Songs: Where Dreams Go to Die, Silver Platter Club, Caramel, Outer Space, Queen of Denmark

This is an outstanding album, one of the best of its genre. I can't really think of another band from that era that sounded like OMD. They were leagues ahead of their peers. I think one of the big differences is that OMD had a talent for balancing the lovely with the dissonant, the melodic/accessible with the experimental/strange. These songs are incredibly elegant, with gorgeous, thoughtfully crafted arrangements, but also with a strategic use of dissonance to keep it all from getting too pretty. A big part of this sound is Andy McCluskey's unusual and compelling vocal style, that ranges from croonerish to almost grating. There's no one else in music who sounds like him. The band headed in more of a (frankly, less interesting) pop direction as the decade progressed, but this album stands out as being some of the most inventive music of that time. It's a historically important collection of songs, but also just such a pleasure to listen to. Fave Songs (All songs, from most to least favorite): Souvenir, The Beginning and the End, She's Leaving, Joan of Arc (Maid of Orleans), Joan of Arc, Sealand, The New Stone Age, Georgia, Architecture and Morality

This is a fun collection of songs, full of absurdity and punk attitude. There is an exuberance and camp aspect to this music that runs contrary to so much of the self-serious post punk music coming out at the same time. I will say this for the band, the Ants sound like pretty much nothing else out there. The foregrounding of multiple drummers with a grinding surf-tinged guitar, performed by a bunch of guys in pirate cosplay? Yes, it was gimmicky, but Adam Ant had more than enough charisma to pull it off. Whatever he was selling, a lot of us bought it. Marco Pirroni's guitar is excellent and deserves a lion's share of the credit for what works on this album. His vibe in "Killer in the Home" is straight out of Link Wray's "Rumble" but he's a surprisingly nimble player who can move pretty effortlessly from jaunty to menacing. Contrast "Don’t Be Square (Be There)" with "Killer in the Home" to see what I mean. The lyrics are frequently silly, but what do you expect from a guy who dresses like that to go to work? Fave Songs: Dog Eat Dog, Antmusic, Killer in the Home, Kings of the Wild Frontier, Feed Me to the Lions, Ants Invasion, Don’t Be Square (Be There)

This album is... many things... musically brilliant, adventurous, groovy, trippy, heart rending, occasionally profound, gleefully weird, and a blast to listen to. There isn't another album like it. Tonally, the album is kind of all over the place, but who cares? The songs are entertaining and riveting to listen to, front to back. The title song is obviously the showpiece of the entire album, worth the price of admission and 5 stars all on its own. It's a darkly beautiful odyssey, an absolute masterpiece. On the flip side, I have a soft spot for the the wackadoo weirdness of "Back in Our Minds" and "Wars of Armageddon," which are both musically clever and just plain fun. "Super Stupid" rocks surprisingly hard, putting a lot of rock bands to shame. That all these songs live together on one album and it somehow works is a marvel. Fave Songs (All songs, from most to least favorite): Maggot Brain; Back in Our Minds; Super Stupid; Can You Get to That; You and Your Folks, Me and My Folks; Hit It and Quit It; Wars of Armageddon

I'm not gonna lie, my heart grew two sizes when this album popped up today, I love it so much. I'm back and forth sometimes between this album and Darkness on the Edge of Town as my favorite Springsteen album, but ultimately Born to Run really is The One. It's a perfect album, perfectly executed, the album I would recommend to any new listener who wants to get into Springsteen. The screen door slams, Mary's dress sways. From that first instance Springsteen pulls you into another world that feels so lived in and real, with riveting stories and characters you can really care about. His songwriting style is earnest, poetic and frequently surprising. His vocal is both sensitive and achingly passionate. And wow, what a big, beautiful sound. Musically this album is a deep bench of everything you could ever want out of a rock record. You can have a soulful, laid back song like "Tenth Avenue Freeze-Out" contrasted with the tension and doom in "Meeting Across the River" or the sonic catharsis of "Born to Run," and they all sound absolutely beautiful together. Bruce is pushing all the buttons here and it's magical to experience as a listener. The band is in top form, in what could arguably be called their best work. Special props for Roy Bittan, who is a genius on the piano. He wrings every bit of joy and pathos out of those keys in ways I didn't think possible. As with Clarence, these songs don't work without him. What an album. Exhilarating to listen to. A masterpiece. Fave Songs (All songs, from most to least favorite): Thunder Road, Backstreets, Born to Run, She's the One, Tenth Avenue Freeze-Out, Jungleland, Meeting Across the River, Night

Dark, intense, gritty, throttling, deeply cool. The energy of these songs is pretty great. I could see listening to it to power through a project. That said, I get that this is meant to be clubby, but I as an old lady do not find breaking glass on a loop to be particularly entertaining. I also agree with the assessments that the album is simply too long. This is an interesting place to visit, but I wouldn't want to live here. Fave Songs: Voodoo People, Speedway, No Good (Start the Dance), Full Throttle, The Heat (The Energy)

Great songs, with lush, bubbly arrangements. Nice mix of the torchy and the danceable. Love that cover of "Go West." I always found the Pet Shop Boys' songwriting to be clever in a way a lot of their peers' work was not. On Very, there's more than a hint of emotional honesty as well, which I really like. Fave Songs: Can You Forgive Her?; Go West; I Wouldn't Normally Do This Kind of Thing; Yesterday; When I Was Mad; The Theatre

Fantastic album. If you weren't there when this came out in 1989, it was such a huge deal. People lost their minds over this music, it was so fresh and powerful. It's not as fun as Control, but I think that's intentional. The album has its share of bubbly love songs, but Janet also wants to make a statement here. And she is in perfect voice. As a concept album, it's a bit of a fail, with less than half the songs addressing social issues, the only connecting thread being that series of vague interludes. I don't know if this album is specifically to blame for the trend of putting interludes on albums, but I suspect it. I'll give Janet a pass because it's kind of wrapped up in her style, but the interludes don't add a thing to this album, with the exception of the final one ("Livin'...In Complete Darkness" - minor quibble as well, it's not an interlude if nothing comes after it). Thankfully, she kept them brief. I feel like the album would have been tighter and more effective if they had limited the number of ballads, but it's a small complaint. I really enjoyed listening to this. Fave Songs: Alright, Rhythm Nation, The Knowledge, Lonely, State of the World

Brilliant album. Punk energy with a splash of pop sensibility and a generous helping of the surreal. Robyn Hitchcock's clever, wonderfully warped songwriting is a delight. There's nobody else like him in music. This is an extremely high 4 for me. Fave Songs (All songs, from most to least favorite): I Wanna Destroy You, Positive Vibrations, Tonight, Queen of Eyes, Kingdom of Love, You'll Have to Go Sideways, Underwater Moonlight, Insanely Jealous, Old Pervert, I Got the Hots

It's been a while since I've been served up a good old rock and roll album on here, and this was such a refreshing change. This album is vintage Rod, laid back, warm and bluesy. It's a joy to listen to. Stewart is in perfect voice and has an outstanding band backing him up, including all of his mates from the Faces. I mean really, this sounds like a Faces album. No complaints here. Gorgeous sound, with some top notch guitar and mandolin work. Fave Songs: Gasoline Alley, It's All Over Now, Jo's Lament, My Way of Giving, You're My Girl (I Don't Want to Discuss It), Cut Across Shorty

What an odd little album. The highs and lows on this are amazing. I mean, "Disney Girls" is a really terrific, but the less we say about "Take a Load Off Your Feet," the better. I appreciate the willingness to try something different. It doesn't always land, but there are some lovely surprises on here. Fave Songs: Disney Girls (1957), Lookin' at Tomorrow (A Welfare Song), Feel Flows, A Day in the Life of a Tree

This was an enjoyable listen. It's the kind of music you can exist with while doing other things, but it also has a lot of nuances you can discover if you pay attention. As a collection of songs written over an extended period of time, obviously the album lacks a certain cohesiveness or point of view. It also could stand to be a few songs shorter. Not a bad song on here though. Fave Songs: Heliosphan, Tha, Delphium, Actium, Green Calx, Xtal

I enjoyed getting the opportunity to listen to this. The album has great energy, with bright, fun arrangements and an interesting fusion of styles. Khaled also has a very engaging voice. The run time is a little long, but it moves along pretty crisply. Fave Songs: Gouloulha-Dji, Trigue Lycee, Melha, Aâlach Tloumouni, Raba-Raba

I'm surprised more people haven't taken the time to review this album, for good or for bad. Thumbs up to anyone who gave it a shot. Yes, it's a difficult listen, but it's also pretty fascinating. I doubt I would listen to this again in its entirety, but it was interesting. You'd be hard pressed to find many musical acts as adventurous as Throbbing Gristle is on this album. They really push the boundaries of what you can call music, and also for our tolerance as listeners. Their palette is noise - blips, feedback, guitar distortion, fragments of conversations. Sometimes the effect is oddly musical, sometimes it's aggressively grating. The lyrics, if you care to look them up, can get disturbing. The general vibe is definitely creepy, but in the middle, a bright, synth-y song like "AB/7A." Go figure. There are some interesting ideas here, but I think the arrangement of the songs could have been a little more precise, like ordering the the songs so they flow better. The way they're organized now, they come off as tonally a little haphazard. I also think they could have dropped a couple of tracks and had a much tighter album. As for my review, I've been back and forth between 2 and 3 stars. That's not because I think it's bad necessarily, but because it's really challenging (and I like challenging stuff). Intellectually I appreciate it, but it's also unsettling in a way I didn't enjoy. Fave Songs: AB/7A, Dead on Arrival, Weeping

This album is pretty close to being perfect, and is a strong contender for best double album ever. It radiates beauty in a way you wish all music could do. Even in its most serious moments, Songs in the Key of Life has a brightness and a warmth that is incredibly engaging. The album showcases Stevie Wonder's unique musical gifts and musical point of view with such depth, but always with an ear toward what is entertaining. The songs are gorgeously crafted, joyful, confident, heartfelt, soulful and affirming. And oh yeah, the album is simply great fun. I absolutely love it. Fave Songs (All songs, from most to least favorite): As, I Wish, Sir Duke, Isn't She Lovely, Love's in Need of Love Today, Another Star, Black Man, Joy Inside My Tears, Ordinary Pain, Knocks Me Off My Feet, All Day Sucker, Pastime Paradise, Saturn, Summer Soft, If It's Magic, Village Ghetto Land, Ngiculela – Es Una Historia – I Am Singing, Ebony Eyes, Contusion, Have a Talk With God, Easy Goin' Evening (My Mama's Call)

Musically lovely, and a very nice listen overall. Not a fan of Stuart Murdoch's affected, Ray Davies-light style of vocal. Fave Songs: Me and the Major; Get Me Away from Here, I'm Dying; Like Dylan in the Movies; The Boy Done Wrong Again; The Stars of Track and Field

Remember how fresh these guys sounded when they came out? The music is as good as it ever was, but 20 years later the Hives come off as less a fully formed band than a fun, but highly derivative punk act. It's a great, entertaining listen, but apparently I'm less easily impressed now. Fave Songs: Die, All Right!; The Hives Are Law, You Are Crime; Here We Go Again; Automatic Schmuck; Hate to Say I Told You So

A classic album, unsettling and grim but darkly lovely in its way. When you hear Joy Division you know them right away, they're such a singular band, but they're also in the bones of so much music that came after them. The lyrics are harrowing, really. They're difficult to hear knowing how this story ends. Fave Songs: Disorder, Shadowplay, She's Lost Control, Interzone, Wilderness, New Dawn Fades

Oh it's the Pogues, my favorite band of rowdy Celtic punks. Love them. I love how they took all the energy and attitude of punk and merged it with traditional music to create something completely new. If this sounds wild to you now, imagine how this music landed in the 1980s. In an era teeming with musical creativity and experimentation, the Pogues managed to stand out with something both old and new, and more than a little badass. If you only have a general idea what the Pogues are all about, this album may come as a bit of a surprise. While it's as fun to listen to as you would expect, there are actually some striking songs, with great musical depth and gorgeous instrumentation. The songwriting is poetic, incisive, grim and occasionally shocking, with stories that stick with you. Delivered in Shane MacGowan's trademark boozy style, it's everything punk wishes it could be, but so much better. Fave Songs: Sally MacLennane, A Pair of Brown Eyes, I'm a Man You Don't Meet Every Day, Dirty Old Town, And the Band Played Waltzing Matilda

How was I not listening to this in '89? These songs are crisp, short and sweet, and just an all around fun listen. A little jangle, a little burn, a little funk, a little twang. Somehow fIREHOSE figured out how to make an album that feels improvisational and jammy in the best way, without actually being jammy at all. I enjoyed it. Fave Songs: What Gets Heard, Más Cojones, Some Things, The Softest Hammer, Time With You, In My Mind

This is really good. Songs are concise and impactful, with a sense of economy that is missing from a lot of English blues. Everything is just spot on, no filler, no unnecessary jams. Musically, it's energetic, playful, such a fun listen. Fave Songs: It Ain't Right, All Your Love, Parchman Farm, Hideaway, Steppin' Out, What'd I Say

Love me some bittersweet Bakersfield-style country. This is a classic country album, with Haggard in perfect voice. Musically, the Strangers are really tight, with some exceptional guitar work. Fave Songs: Drink Up and Be Somebody, Mixed Up Mess of a Heart, All of Me Belongs to You, Someone Told My Story, My Rough and Rowdy Ways

A pleasant listen. Soukous always makes me think of my college days, because the local college radio station played a lot of it. This is such joyful music, you can't help but be in a good mood listening to it. A little repetitive from song to song, but still pretty fun. Fave Songs: Papa bonheur, Qui cherche trouve; Desepoir; Obrigado, Conte de fees

Fabulous album from one of the greatest soul voices of all time. Several of these songs are pure classics, with "Cry to Me" being the standout track. It gets a little weak on much of the back half of the album, but on balance this is a really lovely collection of songs. I enjoyed it. Fave Songs: Cry to Me, If You Need Me, Can't Nobody Love You, Someone to Love Me, He'll Have to Go

One of the strongest debut albums I've ever heard, and one of the most influential albums ever made. I don't know if I can really express how special this album was when it came out. Nobody really sounded like this at the time, but countless bands did sound like R.E.M. when all was said and done. It was fresh and exhilarating to hear at the time and that feeling comes back one thousand fold for me listening to it again today. Murmur is a perfect album and remains one of R.E.M.'s best even after a career full of brilliant work. R.E.M. have a musical palette that's really enjoyable to listen to, with swirling melodies and gorgeous jangling guitars. Musically, there may never have been a band more subtly expressive and in sync with each other then Berry-Buck-Mills. On top of that you have Michael Stipe's engaging, bittersweet vocals. I know some people don't dig the lyrics, but you have to get that they were deliberately cryptic and strange, and that was very much part of the band's appeal. R.E.M. weren't trying to be a mainstream band, but the music was so good, they were a success in spite of it. This is really a perfect album, with not a bad song to be found. Hard to pick a favorite. Fave Songs (All songs, from most to least favorite): Talk About the Passion, Radio Free Europe, Sitting Still, Moral Kiosk, Catapult, Shaking Through, Laughing, Perfect Circle, We Walk, West of the Fields, 9–9, Pilgrimage

A really good album, very much of its time, but with a thoughtful, unique musical point of view. This is music that's really smart and well crafted, but also charming and accessible. Some of the songs are overly long, but musically, the album is solid. I liked it a lot more on the second listen and can tell it would improve immensely on repeated listenings. Fave Songs: Crime of the Century, Dreamer, Rudy, Bloody Well Right, If Everyone Was Listening

I'm kind of surprised this album came out as late as it did. It feels like some kind of Latino pop collaboration out of the 90s, with a hip hop twist. Understand me, that's not necessarily a bad thing. This album is really tight musically, with fun grooves. The songs have a great fusion of styles that feels very natural and not pasted together. Great surprise appearance from Eddie Palmieri is all the proof you need that these guys are the real deal. I'm also pleased to hear a little Spanish on 1001 Albums, which has been weirdly absent thus far. It's only the 2nd most spoken language in the world, guys. Enjoyed this quite a bit. Fave Songs: Nadie Te Tira, Te Estoy Buscando, Santiago, (Who Discovered) America?, Love & Hope

If you watch Ken Burns' documentary series on country music (I highly recommend it), you know that the song "Will the Circle Be Unbroken" is used as a trope for the bonds of tradition and musical heritage that get passed from generation to generation. Nitty Gritty Dirt Band gets featured notably in that documentary because of their efforts to keep that bond going, through their collaborations with other artists. This album is a document of that bond, the partnership between the living legends of country/bluegrass with the next generation. Nitty Gritty Dirt Band were viewed somewhat as a group of long-haired interlopers at a time when traditional country music was out of fashion. In playing this music, they were essentially what we might consider to be hipsters today. But the band's musical chops were for real, and their love of roots country and bluegrass was indisputable. Bringing together this group of musicians was an impressive feat and the resulting recordings are a delight to hear. I imagine it's not to everyone's taste, and 2 hours is a lot for any album. But it's as important an album as you will ever hear in roots music. It's also just a lot of fun. I suggest listening to disc 1 and disc 2 separately with a break in between. My goodness, musically this album is so tight. Across the board, everything is effortlessly perfect, from guitars to banjo to fiddle. Some of the best and most revered artists in early country music participated in this effort, including Roy Acuff, Doc Watson, Earl Scruggs and Mother Maybelle Carter. Many of the songs are considered to be standards in the genre today. This music is earthy and joyful, equal parts plucky and heartfelt. The little bits of chatter between songs add a live vibe and sense of community that is foundational to country music. If there was ever an album that belonged on 1001 Albums, it's this one. Fave Songs: Foggy Mountain Breakdown, Nashville Blues, Sunny Side of the Mountain, Wabash Cannonball, Both Sides Now, You Are My Flower, I Saw the Light, Lonesome Fiddle Blues, The End of the World, Black Mountain Rag, Flint Hill Special, Soldier's Joy, Orange Blossom Special, Cannonball Rag, Will the Circle Be Unbroken, Lost Highway

This is a fascinating album. Musically adventurous, but also with just the right amount of restraint. The resulting songs are really listenable, never grating, always a little surprising. I love that there's a more ambient, organic sounding side and then a noisier, more mechanical side. The contrast is mind blowing, but in the best way. Fave Songs (All songs, from most to least favorite): Leb' Wohl, Hero, After Eight, Seeland, E. Musik, Isi

I kind of stopped paying attention to what Morrissey was up to after his first 2 solo albums. Turns out that was a mistake, because Your Arsenal is pretty fantastic. The album starts off with a surprisingly harder edge than you would expect, which really works for Morrissey. He is more in tune with his band on this album than he had been up to that point and it's probably a more cohesive group of songs as a result. Morrissey's self deprecating yet acidic humor remains, but there's something else as well. There's disappointment and regret, as well as a vulnerability that feels honest, making these some of the most relatable songs I've ever heard from him. The album lacks a strong pop single a la "Suedehead" or "Everyday is Like Sunday," but taken on the whole, this is an excellent collection of songs. This may in fact be his best album. Fave Songs: I Know It's Gonna Happen Someday, You're Gonna Need Someone on Your Side, Glamorous Glue, We'll Let You Know, Certain People I Know, Seasick, Yet Still Docked

This is fun, energetic, little bit of a slick punk vibe. Le Tigre could sound like a hundred other bands, but it's the strident lyrics that really makes them stand out. A little goes a long way though. Fave Songs: Deceptacon, Eau d'Bedroom Dancing, Friendship Station, Phanta, Slideshow at Free University

This is an essential album in every sense of the word, a true masterpiece. It's one of the most beautiful, perfectly realized albums, gorgeously crafted but as warm and effortless sounding as anything I've ever heard. It's an album that would have easily fit in with the great soul albums of the 60s and 70s. But it has a modern attitude and sensibility that has stood the test of time, while a lot of music of that era has aged like milk. Musically, this is just insanely good, brimming with soulful, rich arrangements. Hill's vocals effortlessly run the gambit from velvety to strident, her lyrics full of passion, pain, spirituality and self affirmation. I'll add that this is the only album I can think of that uses interludes correctly and to brilliant effect. Other artists need to need to take note that using more interludes does not equal substance. Fave Songs (All songs, from most to least favorite): Ex-Factor, Doo Wop (That Thing), Lost Ones, To Zion, Tell Him, Nothing Even Matters, Everything Is Everything, I Used to Love Him, Final Hour, Forgive Them Father, Can't Take My Eyes Off You, Every Ghetto, Every City, When It Hurts So Bad, The Miseducation of Lauryn Hill, Superstar, Intro

ELO has such a soaring and monumental sound, full of gorgeous arrangements and infectious, melodic pop hooks. When they're at their best here, this is joyful, exhilarating, perfect music. The album moves along really breezily and avoids most of the pitfalls of double albums. Most of the songs are legitimately listenable for the most part, without much in the way of filler. Sure it has its self indulgent moments, as double albums often do, but we're talking ELO here. Self indulgent is a big part of the brand. Jeff Lynne and band really lean into the musical landscape around them in 1977, resulting in a slicker, pop-ier, spacier, somewhat disco-fied sound. ELO has better albums. But if we're not grading ELO against their own curve, there's still a lot to enjoy here. Several of the band's absolute best songs appear on this album, including "Mr. Blue Sky," and "Turn to Stone." You can't listen to these songs and be in a bad mood. I highly recommend enjoying "Mr. Blue Sky" outside, on a perfect day, preferably near water. Fave Songs: Turn to Stone, Sweet Talkin' Woman, Mr. Blue Sky, It's Over, Wild West Hero, Big Wheels, Sweet Is the Night, Standin' in the Rain, Believe Me Now

The Fall really were the workhorses of post punk, weren't they? They just plowed along, releasing an amazing body of work over decades, while different styles and their flashier peers came and went. The musicianship here is fantastic, with standout performances across the board. The band maintains the looseness and off-the-cuff aspects of punk, but with an ear to moderation that reveals their method to be much more artful than you would expect. Their ability to judiciously use noise as if it's another instrument works great here. They also drift in and out of different genres and moods pretty seamlessly, which makes for an album that's really full of pleasant surprises, beginning to end. Fave Songs (CD and cassette version): Paint Work, Petty Thief Lout, My New House, Barmy, Bombast, I Am Damo Suzuki, Couldn't Get Ahead, Spoilt Victorian Child

Fun, trippy, groovy, very '90s. It's an enjoyable listen and definitely a throwback to my college days. But ultimately, excepting a few stand out tracks, much of this album is still pretty forgettable. Title track is the ultimate ear worm. Fave Songs: Connected, Ground Level, Creation, Chicken Shake, Step it Up, Playing With Fire

I'm surprised how many songs I actually know on here, not having gone out of my way to listen to Green Day in '04. That just goes to show how huge this album was. The blending of power pop and punk has always been strong with Green Day, but it's next level on this album. It's so catchy, but with an undeniable burn. Great mix of the raging, the melodic and the anthemic. The lyrics are a scathing indictment of post-911 politics and American culture. They're pure punk, but more incisive and surprisingly eloquent at times. Great album. Fave Songs: Holiday, Jesus of Suburbia, Give Me Novacaine, Boulevard of Broken Dreams, American Idiot, Whatsername, Wake Me Up When September Ends