This album! I think a person either has to be not into funk music at all or just dull as dishwater to not like this album. It is 38 and a half minutes of pure fun from start to finish. Blasting this in the car yesterday turned a normally frustrating traffic-filled drive into a joyous trip where the usual bad drivers around me couldn't even remotely get under my skin. THAT is the power of funk!

I've noticed that the 1001 albums list seems to comprise of two different types of albums. The first type are those that are those that are timeless, regardless of when they were released and can be enjoyed by multiple generations of music listeners. The other type are those that are historically significant but may not stand the test of time. I feel like this album is in the second category. It might be important to the development of hip-hop and I'm sure that if I grew up with it, the album would hold a special place for me. Listening to it the first time decades after it was released, it only sounds dated. There are some decent ideas on here and it's a pretty upbeat album from start to finish but there's other 80s rap that is far stronger.

I can truly understand why this album is one of the lowest rated albums on this list. It is 80 minutes of audio chaos and I’m sure many listeners aren’t even going to get to the end of “Frownland”, let alone the last track. It’s hard to believe that this charted in the UK the first week that it was out, but it did and I’m sure that it was word of mouth that caused it not to chart the second week. That being said, this album is a masterpiece and totally deserves to be on the list. There’s nothing that sounds like it back in 1969 and unlike the Velvet Underground, which was trying to be different in the most pretentious way possible this album is different in the most unpretentious way. You won't find any Warhol-inspired fashionable music on here nor anything romantic either. It’s as raw as a punk album but with some of the crazy polyrhythms that you would expect to find on an avant-garde classical album. All the while Van Vliet’s lyrics and vocals seem to be taking you somewhere quite different entirely. It seems like Zappa the producer was hearing all of this and instead of producing just sat in the studio smoking his cigarettes and letting the chaos unfold around him. That hands-off approach is probably what made this album what it is and I'm forever thankful for it. Trout Mask Replica is an album that when someone says it's total garbage and unlistenable I can actually see where there coming from and just say that I love it for what it is. It is not an album that I can listen to often. But when I do listen to it, I’m glad that I live in a world where this album was able to be made. I’m also going to give this 5 stars for 2 reasons. The first is that someone had the balls to make this at a time when they had to either know that it was not going to make them any money or had enough faith in the listening public to think that they’d like something as far out there as this. The second is that I don’t think anyone else here has given it 5 stars yet (4 is the highest that I’ve seen so far).

I give 5 stars to anyone who was able to get through this album. This was a tough listen and I usually like the weird shit. I get that it was probably ground-breaking when it came out because I really back in 1977 but I can't see how anyone can get any pleasure from listening to this.

Radio killed Boston for me and their self-titled album is one of those I don't really ever need to hear again after hearing "More than a feeling" hundreds of times. That being said I won't hold that against the band in this review. Boston is an amazing album. Recorded at a home studio against the recorded companies wishes, it is a solid killer rock album from start to finish. I listened to it today and enjoyed it thoroughly even though I'll be putting the album away again for a while. The album is full of great guitar solos especially the one in "Hitch a Ride", a personal favorite. This is probably one of the few 5 star ratings I'll be giving for an album that I don't play a lot but it says a lot that I groaned when this came up on the list but put it on anyway and still enjoyed every moment of it.

The Screaming Trees final album encapsulates the final days of grunge in a positive way. You can hear folk and psych influences also on the track Traveler. A good listen (twice) especially since I wasn't in the mood for grunge when I played it. Favorite tracks : Halo of Ashes, Dying Days, Traveler

My favorite Roxy Music album and Brian Eno's last album with band. Opening with "Do the Strand", the band launch into a crazy dance song (sure to replace the mambo) with and driving instrumental break in the middle. The second track "Beauty Queen" is a slower ballad but still contains an exciting instrumental break between the verses that features Eno and Manzanera. The third track "Strictly Confidential" is an easy one to overlook but after a few careful listens the desperation and guilt in the lyrics come through and show just how brilliant the song is. "Editions of You" is the rocking 4th track. This features a siren solo by Eno during the instrumental break which comes right before the lyric that references sirens. The end of side one and fifth track is one Roxy Music's greatest tracks: "In Every Dream Home A Heartache." A song about a man's love for his blow-up doll, it depressingly depicts a lonely twisted man that appears to live in a paradise but with a deep dark secret. Side two starts with "The Bogus Man", another often overlooked track on the album (mainly due to its length). The song seems to depict the point of view of a serial killer and the instrumental breaks in the song just add to the insanity of it. "Grey Lagoons", the second track on side 2 is probably the weakest track on the album but it's still a great track. Just a fun rocker between two serious and dark tracks. It's placement on the album helps keep the mood shifting and not remaining too dark for long. The final track on the album is the epic title track "For Your Pleasure." The lyrics to me talk of leaving your old life behind, perhaps with a bit of regret, hence the final lyric on the album "Ta-Ra" repeating over and over again as it fades until the Judy Dench voice at the end saying "You don't ask. You don't ask why." Roxy Music found themselves on this album and it is by far their most experimental. The risks paid off however.

Interesting album. One can only hope that he's using his lyrics in a cathartic way. Good beats and song-writing though. Favorite Tracks: Stan, Criminal, The Real Slim Shad

What an amazing debut album. There aren't many bands that made a first impression like this. Not a bad track in the bunch and difficult to pick a favorite. John Paul Jones' organ intro on "You're time is gonna come" that opens side two just showcases how underrated he was as well, overshadowed by the other 3 members.

Good album by a slightly underrated band. Favorite tracks so far: Thorn of Crowns, Killing Moon and My Kingdom.

I only knew one song from this album going in (Song 2) which I'd never really been a fan of but was pleasantly surprised by most of the rest of the album. There seem to be a lot of different ideas going on here. Favorite tracks: M.O.R, Death of a Party, I'm Just a Killer for Your Love, Strange news from Another Star.

Not a bad album for a style that's normally one that I'm not into. I was surprised to see that if came out back in 1990. It definitely sounds like it's from a little later in the 90s to me.

This album was really good. I'm sad to admit that back in my serious prog-snob I days I dismissed George Michael without every giving him a chance. I regret that now and this album is going to send me down that rabbithole to check out more of his solo albums and Wham!

I've never been a big fan Janis Joplin. That being said, this is a pretty good album. I like the raw sound of the recording and "Piece of my Heart" is a classic. Side two was better than side one for me, especially the closing track: "Ball and Chain"

I don't see what this has to do with the George Orwell novel. Just kidding but it's weird that this came after Big Brother and the Holding Co. This is actually the first time I've heard the whole album but of course, like anyone else that grew up in the 80s, I knew "Jump", "Panama" and "Hot for Teacher." Apart from that I wasn't too crazy about the rest of the album. I did enjoy "Top Jimmy" and Eddie is an amazing guitarist to listen to. Not a fan of Alex's drumming at all though. Just an average album overall.

I'm a jazz fan and was excited because I've never heard of this artist or the album. Cool trivia that he played on some early Byrds and Simon and Garfunkel and also toured with Paul Simon on the Graceland tour. This album however is not really an exceptional jazz album. My favorite track was the last one "Ingoo Pow-Pow" and it was a pleasant listen but apart from some historical significance I can't really see why this would be on the list.

One of the good things about researching an album before you listen to it is you that know what the bonus tracks are so that you can skip them. There is a lot of good dance music out there. This just isn't part of that. Not a lot of ideas going on here.

I remember hearing about this band years ago but the album that was suggested was "The Holy Bible." I think I didn't listen to it because of the freaky album cover. I know that makes no sense coming from a guy that loves Aphex Twin. I regret that now. This band is amazing and unlike my last listen I enjoyed it enough to go on to the bonus tracks (although I don't include them in the rating of the album but they're good too). Great use of orchestrion on the album. Some of the guitar also reminded my of Alex Lifeson for some reason (Enola / Alone in particular). This is a definitely a band I'll be exploring more of!

This was a weird album. I liked Koffi's voice and the positive vibe of the music but it wasn't very interesting. One track in particular (Elixer) was 5 minutes of the the exact same riff and you can tell that they didn't even know how to end it because it just faded out. The album also suffered from some bad production. Mainly a little two much high end especially on the fake drums. Or maybe they were just over-produced real drums that sounded fake. Either way, not good. Some of the harmonies were nice, especially on the last 2 tracks but overall not an album or artist I would listen to again.

This was one of the earliest Bowie albums that I bought after getting into his music through his 90s output. Back when I first bought it the album didn't hit me that strongly but as the years went by I fell in love with it. It has such an assortment of different things dong on here that you can almost feel the cocaine-fueled frenzy that was going on in his mind at the time. I didn't realize that Wild is the Wind was a cover (Thank you Aaron) and will have to check out Nina Simone's version too.

This album is a perfect example of the problem of labels. I am not quite sure what I listened to but if you asked I would not have called it jazz. I would have said a beautiful hour of solo piano though. I've only ever listened to Jarrett's work with Miles and the trio of him, Jack DeJohnette and Gary Peacock but this is something completely different. What I also found interesting is that he's done an album of Gurdjieff piano music, which this kind of made me think of a little bit. Last interesting tidbit is that this was recorded at the Cologne opera house at almost midnight after an opera was performed in the same location that night.

This was a good album but I really can't go past that which is why I gave it 3 stars. Favorite tracks: Fast Car, Mountain of things, She's got her ticket

It's funny. I wasn't too excited about the other album from The Undertones but this album was a good solid rocker from start to finish. I can imagine that these guys were a real hit live.

I'm a huge fan of Tom Waits. This is my favorite album by him. It's a crazy trip from the opening chaos of Underground to the final piano of Rainbirds. Lyrically it has some crazy moments (Frank's Wild Years) or just tells a great story (Shore leave) or has a warm and tender touch (Soldier's Things). The music and production are second to none as well and that's what gives each track its unique vibe.

This album! I think a person either has to be not into funk music at all or just dull as dishwater to not like this album. It is 38 and a half minutes of pure fun from start to finish. Blasting this in the car yesterday turned a normally frustrating traffic-filled drive into a joyous trip where the usual bad drivers around me couldn't even remotely get under my skin. THAT is the power of funk!

Really enjoyed the album, even that guy that kept making that clicking noise. Relaxing and beautiful.

The Velvet Underground are one of the most important band of all time, or so I keep hearing. Doesn't help that this album sounds like it was recorded on a boom box because Lou Reed spent all of the recording money on heroin. I actually like some of their material (mostly from their previous album with Nico but also some of Loaded). This album just kind of sucks though. It does get a bonus star because of the Gift though. The feedback cleared my sinuses. Actually the title track is okay.

This is an album that I've heard many times so I tried to do something different when I was listening to it. I really concentrated more on John Paul Jones and Bonzo with my most recent listen. It's so easy to focus on Page's amazing playing that it wasn't easy but the more I listen the more impressed I am, especially by Jones. I like the debut a little bit more than this one because it's a straight out rocker but this definitely had more diversity in the songwriting as the band itself was developing their sound.

I'm not into the nu metal genre and this is the first time I've listened to Sepultura. This album was pretty good at times and I especially like some of the exotic rhythms that the band used on multiple tracks. They seemed to be trying to do something different here which is always a risk because you don't know how fans are going to react. One of my criticism (apart from the growling vocals which isn't my thing) is that the band seemed to do the one thing that a lot of bands in that era did and that is fill up the entire CD. I think they would've benefited a lot by taking at least 2 tracks off and making a better overall album. Dusted and Born stubborn could easily have been bonus tracks or used on an E.P. It would have been a 4 star album but I think it's length makes me drop it down to 3.

I enjoyed this album. Unlike the follow up, this was accessible without being to far our there.

This was a tough one to rate so I gave it a few listens. The first 2 tracks feel incomplete to me. They both fade out right when they seem like they're going to get interesting. I keep hearing this great instrumental break in my head during Richard III that never happens. I originally thought 3 stars because it's a good average album but I've noticed that a lot of the songs have gotten stuck in my head during the day. "Tonight", "Late in the Day" and "Sun Hits the Sky" in particular. The album has really grown on me. Enough for a 4th star (or at least a 3 1/2 rounded up)

There's not much to say about this album that hasn't already been said. I've loved it from the moment I heard it decades ago. Every track is great whether or not your listening to the US or UK version of the album. It's another masterpiece!

I can't believe I've never listened to this album before. I've heard tracks by them on samplers though. This was a great listen. Eclectic but still very approachable. I didn't know that Brian Eno produced it but I did know that they shared a label with King Crimson (which is how I've heard some of their material). I will be checking out more of their albums in the future.

This is probably my 4th or 5th favorite Bjork album but it's still great. A nice variety of style but some of it does sound a little dated. The songs get re-worked a bit live and don't sound that way. "Human Behavior" and "Venus as a Boy" are probably my favorites. I always liked the production in "There's more to life than this" when she leaves the club.

I didn't expect to like this album as much as I did. Garage rock isn't usually me thing and I'm not into bands like the White Stripes all that much. This album was a great listen from start to finish though. I enjoyed their originals just as much as the cover tunes. I can totally see why this one is on the list!

Okay so my review: It's like this and like that and like this, Bow wow wow yippie-yo yippie-yay! It's like this and like that and like this! Fun album.

Man, this is some killing swing! His Orchestra was on fire for this recording. I also like how he brings you back to calm with the closing track Lil' Darlin' I need to check out more of his stuff.

I have to admit a bias towards shorter albums (those that clock in under 40 minutes). This album still would have at least gotten 4 stars from me if it was longer and kept the mood going. Such a beautiful album from start to finish and with a wide range of guests. I am just left feeling at ease like I woke up from a good nap on a rainy day when I'm done listening to this.

I first listened to this album around 5 or 6 years ago. I didn't like it and I don't remember why. Perhaps it sounded a little too 'indie' for me. Perhaps I wasn't in the right mindset. I never checked anything else out by them and always thought of them as the bad Deerhunter (as opposed to The Dear Hunter, a band that I love). Today I enjoyed the album from the start and I gave it a few listens. Overall it has a melancholy vibe to it but there are a few upbeat tracks that keep the album interesting. The opening track reminded me of something else that I'd heard before but I couldn't put a finger on what and that really clicked with me for some reason. Memory Boy, Desires Lines and Helicopter also made a strong impression but the closing track, He Would Have Laughed I am on the fence about. There's something about it I love and something that annoys the s*%t out of me I wish it didn't have such an abrupt ending, especially when Spotify likes to get into a related track after the song but that isn't it and I don't blame Deerhunter for that. Maybe I'll figure it out someday. This is one that hovers between a 3 and a 4 and I probably won't decide until I click the button.

It was interesting reading about this album. It was Elvis' first since being discharged from the army. It was also a commercial failure, only selling 300,000 copies. The album fits the "Living Stereo" label, recorded using a Neumann U-47 studio mic. It does sound amazing. Apart from Fever there aren't a lot of hits here but it does have song good solid song-writing from his band and is a great listen. I'm surprised he got away with the lyric: "That's when I'll drag you home with me girl I'm gonna chain you to the wall" Overall a fun rock album I'd put at 3.5 stars and I'll round it up to 4.

Radio killed Boston for me and their self-titled album is one of those I don't really ever need to hear again after hearing "More than a feeling" hundreds of times. That being said I won't hold that against the band in this review. Boston is an amazing album. Recorded at a home studio against the recorded companies wishes, it is a solid killer rock album from start to finish. I listened to it today and enjoyed it thoroughly even though I'll be putting the album away again for a while. The album is full of great guitar solos especially the one in "Hitch a Ride", a personal favorite. This is probably one of the few 5 star ratings I'll be giving for an album that I don't play a lot but it says a lot that I groaned when this came up on the list but put it on anyway and still enjoyed every moment of it.

This album get's 2 stars for the creative song-writing. The vocals however are terrible. Her voice has so much processing and auto-tune applied that maybe she should just considered song-writing for others. If you want to hear an amazing R&B that came out around the time this one did check out Kali Uchis' Isolation. It should replace CTRL in the book.

When I first got into music I was really into synth sounds. Early computer music (Commodore 64) and synthy TV themes from shows like Doctor Who and The Tomorrow People really appealed to young me and started me on a path of musical discovery that still continues today. You can imagine then how excited I was when I first heard Kraftwerk. I think it was even one of their stronger albums that I first heard but it hooked me right away. This album is one of their greats and really pushed the boundaries of synth music at the time. I like side 2 a little more than side one, especially the Trans Europe song cycle.

I wanted to like this more than I did. After all, it started with a loop of Worf from Star Trek:TNG talking about time becoming a loop. I do like electronic dance music and the album did have its moments. But I think Underworld did this better. Strange that some of this sounds a bit more dated than stuff like Kraftwerk from the 70s and 80s.

"Rikki Don't Lose that Number" is a great song. It's main riff comes from Horace Silver's "Song for My Father" (check it out, it is the exact same riff minus the beginning 16th note and Horace is in F while Steely Dan is in E). I love the production on the track. The acoustic guitar in the second verse always makes me smile. The rest of continues to please with a great blend of jazz and rock.

Wow. I'm actually not a huge fan of reggae but this album is amazing. It was clever of Bob Marley to split it the way he did too by putting the spiritual and political songs on side 1 and the songs about sex and relationships on side 2. This is my favorite Wailers album (even though technically they broke up but he kept the name). There was one track (on side 2 I think) where you can hear his influence on some of Sting's singing as well. I also enjoyed this enough to listen to the bonus tracks and bonus live disk and can't help but wonder if Sepultura's "Roots Bloody Roots" was a lyrical homage to Marley's "Roots".

Sometimes an album comes along that you've never heard of (even when you pride yourself on knowing some obscure sh*t) and just knocks you over. This was one of those albums. The energy her was equaled by the musicianship. I looked at the genre tags for this out of curiosity and it's labeled as "post-hardcore." I can definitely hear the punk influence and the Sonic Youth influence. Favorite tracks: All of them. Most Played track: "Do you compute"

I've know the singles off of this album for years and there's no disputing how good they are. This is the first time I've actually given the album a listen. It's a strong pop, new wave album from start to finish. A fun rocker but intelligent with well-written songs. Deborah Harry's voice is really strong from start to finish. Fripp's guitar on "Fade Away and Radiate' does add some nice color to an already interesting ballad although I did find the bass a little too staccato at times on that track. Even "Pretty baby" (which ironically has the least plays off of the album on Spotify) is a great track!.

Maybe, if you give me some ecstasy and get me on a dance floor with a bunch of beautiful scantily clad ladies I'd really enjoy the hell out of this. More likely though, I would just throw up on them and it's more likely to be the music than the drugs. As a disclaimer I do like some DJ music (and am really looking forward to DJ Shadow if he's on this list)

There are a lot of progressive rock fans that hail the Lamb as the high point of the early era of Genesis but I think this album is. I love side one so much that for years I never gave side 2 a proper listen. This was dumb on my part. Side 2 has Cinema Show which might be the best song on the album after Firth of Fifth. Battle of Epping forest is a funny song about 2 rival gangs with some great lyrical wordplay. After the Ordeal is a beautiful instrumental written by Steve Hackett (which both bank Tony Banks and Peter Gabriel didn't want on the album). It was the first time Hackett played a nylon string guitar on a Genesis album and it strongly hints at the sound and style that his future solo albums would have. Aisle of Plenty closes side two and repeats the melody of the album's opening track. A great way to close a great album.

I've always known that Mark Knopfler was a good guitarist from the radio songs but MAN is he good. The fact that he doesn't use a pick impresses me as well. There aren't a lot of famous guitarists that finger-pick everything. This is just a great blues/rock album from start to finish. Right from the beginning we hear his impressive style on Down to the Waterline. Water of Love has a good groove and some great dobro playing. The solo on Sultans of Swing is actually one of my favorite guitar solos too.

I don't think I ever gave this band enough credit. The first 3 tracks are well known hits but then you have the tracks that aren't singles. They may not have the same 'hook' that the singles have but they're all solid songs. This album definitely made me want to check out the rest of the Cars' discography

I can appreciate the contribution that this band has made to modern music in how they've influenced multiple artists including some of my favorites but even after several listens this album really doesn't do anything for me.

This was a fun album but nothing that blew my mind. I wasn't crazy about the vocals the first time listening but they grew on me the second time around. Not really much more to say about this. Average.

This is an undisputed classic of hip-hop. I'm amazed when I read about how this album was recorded that it even came together the way that it did. Usually too many cooks spoil the meal but with this it just worked and MAN did it work. I would say that this is one of the most influential albums of the 90s.

Great debut album. The singles are classics but tracks like Kings, Midnite Cruiser, Turn That Heartbreak over Again are strong songs as well.

Never heard of the Jungle Brothers before and after listening to this I can't figure out why they aren't more well known. This album came out the same year as De La Soul's "3 Feet High and Rising" and is every bit as good. Fun playful lyrics and great jazz-inspired beats throughout the whole album make this a fun and joyful listen. Favorite tracks: Feelin' Alright, Sunshine, Black Woman, Done by the Forces of Nature.

There are some bands and musicians that I highly respect although there's no emotional connection with the music for me. The Foo Fighters and Dave Grohl are a good example of that. For me it's just average but I'm sure that I'm in the minority here.

This has been one of my favorite Neil Young albums for a while now. Every time I listen to it I can't believe that it was out of print for nearly 2 decades. Walk On sets the tone for the rest of the album. Even though it's really the only upbeat sounding track here, the song is a criticism of the southerners that still refused to embrace or even acknowledge the civil rights era. See the Sky About to Rain seems to explore fate and the possibility of difficult times ahead. Revolution Blues is a song about the Manson family and the militant beat of the track kind of drives that point home. For the turnstiles uses the metaphor of baseball to convey the message that fame has a high price. I always felt this was in response to the overwhelming success of Neil's last couple of albums as well as the success of Deja Vu. Vampire Blues sounds like it's about the oil industry, with the line "I'm a vampire babe, suckin' blood from the Earth". Side two has a very introspective vibe on all of the tracks. On the Beach is another track about fame. This time it's from a much more personal perspective than For the Turnstiles. Motion Pictures has that line in it: "Well, all those headlines, they just bore me now I'm deep inside myself, but I'll get out somehow". Both tracks seem to indicate that fame doesn't make a person happy, but it can have the opposite effect. The last track, Ambulance Blues, seems to be a trip down memory lane for Neil. Perhaps this is taking him to simpler times before he started to get famous and living there is how he coped with it. All in all, the personal nature of this album is what makes it one of my favorites by him.

Shuggie is a recent discovery for me. A music podcast that came out during the early days of the COVID pandemic was discussing albums of 1974 and Inspiration Information was one of the albums that was talked about. I immediately fell in love with it and also discovered that I knew the title track as well as Shuggie's famous Strawberry Letter 23. What I didn't know was that he played bass on Zappa's "Peaches en Regalia" and that he was only 16 when he did. In fact this album came out when he was only 21. Everything written by him. The album is a soulful and psychedelic musical journey that deserves to be better known than it is. This is an easy 5 stars!

A good solid, rocker. I almost took a star off of the rating for the intro to Bit Part though (annoys me every time I hear it). Great cover of Mrs. Robinson at the end too. Always loved the chords at the intro to Rudderless. A few tracks that I'm not crazy about (Turnpike Down, Bit Part and the Ceiling Fan in my Spoon song) but I'd say a solid 3.5 rounded down to 3. (it was that intro!)

This album didn't do that much for me. Elvis Costello is another one of those artist that I really respect but am just not that in to.

This was a good listen. A lot of interesting guitar textures going on throughout the album. Favorite tracks: Roadrunner, Astral Plane, Pablo Picasso (I still can't figure out if he's really and asshole or not), Hospital and I'm Straight.

Grizzly Bear is a band that I already knew (slightly) through their album Shields that I listened to a few years back. I liked the album but it was part of a bunch of albums that I was in the middle of checking out and for some reason I never delved deeper into their music. I'm regretting that now. This album's instrumentation and the way that the songs were structured really blew me away, especially on the first track. They have a very unique sound that's all their own and I don't think there was a track on here that I didn't like.

Oh man, I can't believe how bad this actually is. I'm tempted to give it one star but I'll give it 2 because I think I actually like Livin' on a Prayer when I was kid.

I have to admit that I've never given Jay-Z a proper listen until now. This is a great album. Amazing grooves throughout and the lyrics are awesome. I'm going to have to check out the sequels to this when I have more time to listen.

The Divine Comedy is a very recent discovery for me. I actually just heard one of their (his) albums, "Fin De Siecle", right before starting the top 1001 albums list and immediately fell in love with it. This album just as good and a little different. There are hints of early Scott Walker here as well as early pre-disco Bee-Gees and bunch of other influences. Great lyrics that are sometimes tongue-in-cheek. Can't wait to dive further into other albums by them.

When I was a teenager I used to dismiss Frank's music as the stuff old people listen to and never really gave it a listen. Boy was I wrong. This stuff is timeless and I could listen to it all day. I love Frank's voice, the arrangements are amazing and both create a great vibe that just stays with you long after the album is over. I was listening to this on the way to work a few days ago and found myself humming the tunes throughout the whole day.

I used to think of Creedence as just a greatest hits band. While I was listening to this album though I really enjoyed the tracks that I didn't know. They really rock on here. I especially like the longer bluesy Graveyard Train and Keep on Chooglin'. Easy 5 stars again.

I've actually never listened to Megadeth before this album. I wasn't that much into metal in my teens although I liked some. This album was intense. I loved the riffs in most of the songs, especially Holy Wars, Hanger 18 and Tornado of Souls. Can definitely hear their influence in some of the modern metal that I know.

This is the most solid of the Steely Dan albums that are on this list. The album has a good balance between jazz and rock never letting the rock aspect get too overtaken by the jazz. Amazing guitar work like usual and solid song-writing. I think they peaked on this album although I still enjoy their later work especially Gaucho.

Strange, for some reason I always thought that they were an Irish band. Turns out they're Swedish. Anyway, this was a solid album. Good lyrics, with some nice wordplay on some of the tracks. I'm probably in the minority but I also enjoyed the cover of Iron Man because it's so different than the original. Lovefool is a classic the I still enjoy. My only real criticism is that the drums on Heartbreaker sounds like it was recorded back in the 70s. Maybe that's the sound they were going for.

My favorite Stones album with my favorite Stones song opening it. I recommend the mono box set version. The mix has a much stronger rhythm section and piano. No Expectations is a sentimental ballad and the perfect choice for the track that comes after. The slide guitar the Brian Jones adds to the track is what takes the song from ordinary to extraordinary. I could go on for paragraphs but I'll just highlight a few more things that make this album great. Jigsaw Puzzle has some great bass playing by Bill Wyman and the coloring that mellotron adds at the end is great (Brian Jones again!). Street fighting man is another stones classic. The Sitar makes this song stand out by being just being in the right spot in the mix so that you know it's there but not dominating the track. Stray cat blues has that great instrumental in the last minute and a half of the song. Love the fiddle in Factory Girl. Salt of the Earth is one of those rare moments that feature Keith on lead vocals (if only for a bit) and the song is a fine tribute to the common man and makes a great closer to the album. Easy easy easy 5 stars here!

The mighty Fela! You have to admire a man who can marry 27 women and still survive another two decades after that. This album is one of a bunch of classic releases by him in the 70s. The original only have two pieces on it, each slightly under 13 minutes but both having such an impact both politically and musically. If you ever wondered where the Talking Heads got a major influence from. Even McCartney talked about seeing Fela play when flew to Lagos to record Band on the Run. I usually try to rate just the original album but that would already have received 5 stars. The bonus tracks I think add to the original release and the album still maintains it's original vibe with them added. If you're looking to get into more of his music checkout out Roforofo Fight, Gentleman, Sorrow Tears & Blood, or Expensive Shit. All of these along with Zombie are probably his strongest releases.

God damn! I've known about Rage since the 90s of course but I never listened to any one their albums. This is some angry energetic stuff. Not a dull moment anywhere on this album. I feel like going outside and smashing a printer!

Elton and Bernie at their best! Side one is especially good with such a variety of moods that it could stand on its own even if the over three sides were crap. They aren't though. The rest of the album flows amazingly well for a double album with the non-single tracks all having some good hooks in them to keep a listener's attention throughout. Songs like All the Girls Love Alice and Harmony could have been hits themselves if they were put out as singles.

This album took a few listens to get but there's a lot more going on here than the first impression that it made. I like the three guitar thing and the fact that most songs were quite short, clocking in at under 3 minutes and one clocking in at under a minute. Unfortunately, there's something to be said for bands whose first album are their best album. But I think after a few listens the songs are well-crafter enough to give this 4 stars. It's a strong album with some good payout for multiple listens.

This album came up on the list as I was discovering Little Simz through her newest album, "Sometimes I Might Be Introvert." I already knew from repeated listens of that album that I liked her as an artist. GREY Area grooves just as well. It's perhaps a little more aggressive than its follow-up. It does stay strong from start to finish though. Boss has an amazing beat and I love the keyboards at the end of the track. She has amazing wordplay on all of the tracks and both the words and the beats stay with you long after the album is over. Apart from Boss I'd say my favorites are Wounds, Venom, Therapy and Sherbet Sunset.

I gave this one two listens because I thought maybe it just didn't hit me the first time I heard it. Nope, just not for me. I enjoyed the King Crimson cover and N.Y. and Pounding but the rest of it sounds a bit monotonous and I can't get into the guys vocals. The mastering is also very loud but I know that's more a consequence of when it was released so I try not to hold it against the album. 2.5 rounded up to 3.

This was some fun dance music. It was well-orchestrated and well-recorded. Mambo's not really my sort of thing. I mean this music was written to be danced to and well... I'm not much of a dancer. Still I can hear the talent on these tracks.

Sufjan Stevens' Illinois(e) is an interesting musical journey through the core of a songwriter's beliefs. The Christian undertones are there without ever being in your face. Chicago is an amazing tune (a masterpiece perhaps) and the highlight of the album but certainly not the only song worth mentioning. The opening track sets the mood for the album. A beautiful ballad all played by Sufjan containing the haunting line "history involved itself" which for some reason gets me every time I hear it. Come on feel the Illinoise picks up the mood. It seems to be about the 1893 worlds fair in Colombia. Also could be about the divide between art and commerce. I could go on about the rest of the album but this would be a long winded review and the treasures on hear should be explored by the listener. This album needs multiple listens to fully sink in.

I give 5 stars to anyone who was able to get through this album. This was a tough listen and I usually like the weird shit. I get that it was probably ground-breaking when it came out because I really back in 1977 but I can't see how anyone can get any pleasure from listening to this.

The original king of rock and roll! This album was a really fun listen. Fats has a warmth to his voice that can lift your spirits even when he's singing a sad ballad. His backing band could swing too! "You done me Wrong" is a great example of that. I enjoyed the back and forth between his voice and the band. "Blueberry Hill" of course is a classic and one of his most famous songs along with "Walking to new Orleans" which would be written and released a few years later. Fats' piano playing is great on the whole album too. The instrumental track "The Fat Man's Hop" really showing off just how skilled he is.

Exit Planet Dust was an interesting listen. It did sound like it came from the 90s electronic scene. The tracks which all bled into one another had that gritty sound that seem related to the Achtung Baby through Pop U2 albums. It kept my attention throughout though with its every changes collages of sounds and beats. I enjoyed the second half more than the first from Chico's Groove to the last track, Alive Alone.

What's to say about this album that hasn't already been said? A great trip from start to finish. I think when I was younger I wasn't a big fan of Planet Caravan but I love the trippy groove of that track now and it makes a good bridge from Paranoid to Iron Man. On side two It feel like Electric Funeral pays an homage to early Pink Floyd with the vocal melody at the beginning.

This took a few listens to sink in. There's a lot going on here that's subtle and easy to miss at at first. Had a rated it on my first impression it might have gotten 2 or 3 stars but this album grows on you. Take the simplicity of Elegia, for example. There's a Philip Glass vibe to the track and I can hear how it might even have influenced the Hogarth era Marillion sound. Side one is the stronger side though with the final track on the side, Sunrise being the high point with ag good mix of new-wave and post-punk infused in one track.

I'll preface this writeup by stating that I'm not a Nu Metal fan. There were some moments on this album that made me go damn though. The playing is intense as well as the vocals and I can definitely see the draw that this album had towards anyone with some anger inside that needed to get released.

A fun album. I can see this totally making an impact when it came out. You can hear a Beatles influence here which is mostly subtle except for the obvious nod to Taxman on the track Start. Even as a prog rock fan I can admire a band that can write a good song that's under 2 minutes long. This album has 2. The first is followed by the 5 minute Set the House Ablaze, which might be my favorite on the album. Enjoyed the harmonies on That's Entertainment. This is definitely a band that I want to check out more of.

Prince had some good albums before this one with Dirty mind and Controversy, but this album is the first where his genius as a songwriter, multi-instrumentalist, and producer is really put on display for the world. Opening with the back-to-back hits “1999” and “Little Red Corvette”, the album propels you into his world of funk and sexuality. “Let’s pretend we’re married” is one of my favorite tracks with its driving synth and descending vocal line melody. “Automatic” feels like an instrumental even with the repeating vocal line. It also has a great guitar solo around the 8-minute mark. “Lady Cab Driver” has another great keyboard lead with a driving funky groove and another classic prince guitar solo. For a double album, listening to 1999 never felt like it was taking forever, or I was waiting for it to end. It’s also an album that totally rewards multiple listens. There is a lot going on here to listen out for.

The Blues are a hit or miss thing for me. When it’s done right it’s awesome music and takes you along with it in a cathartic way. When it’s not it is just boring and monotonous. B.B. King can certainly do the blues right! I can totally see why this is a primer for other blues musicians to listen to before they go out and play their own version of the blues.

Last week I did a listen of Music From the Big Pink. Although it wasn’t a bad album, to me it sounded like they were still Dylan’s backup band and hadn’t quite found their sound yet. I think they’ve arrived with their second album. The songs sound less forced and more original. There are no covers on this, with all the songs written or cowritten by Robertson. The lead vocals are mostly evenly divided between Helm, Danko, and Manuel. I enjoyed the guest Tuba on “Rag Mama Rag.” “The Night They Drove Old Dixie Down” and “Up on Cripple Creek” are classics. Rest of the album was good too. I loved the mandolin on “Unfaithful Servant.”

I find it strange that the book has chosen this album and their debut Blue Lines as the two albums to feature from Massive Attack. The aggressive Mezzanine and spiritual 100th Window are both masterpieces. This is a good album but not a great album. The title track holds a special place for me. I’ve probably played the song hundreds of times and never get bored with it in the slightest. Tracy Thorn’s vocals are beautiful on it and the track itself is as emotional as it is hypnotic. Karmacoma keeps the momentum going and is a triphop classic. It was redone twice, once by Massive Attack without Tricky and once by Tricky for his solo album Maxinquaye. “Three” is an okay track but “Weather Storm” sounds like the music you used to hear on the Weather Channel when they would show their weather on the 8s local forecast. “Spyglass” had a good groove. but the vocals are a little weird. “Better Things” is another great Thorn vocal track. “Euro Child” hints at what’s to come with mezzanine and is probably the darkest track on the whole album. “Sly” and “Heat Miser” (with Darth Vader on vocals) are solid tracks and then there’s “Light My Fire.” I file this under what were they thinking? This track almost made me give the album a 3 but I like most of the rest of the album so a 4 it is.

I haven’t listened to this album in a couple of years, mainly because I played it so much that I had to let it rest for a while. Putting it on today I’m still blown away by so many aspects of it. First there’s Buckley’s voice. If it doesn’t send shivers down your spine, you should check your pulse ‘cause you’re probably dead. Next there’s the songwriting. The songs are well-crafted and complex without being too complex as to push listeners away. Lastly there’s the production. Andy Wallace didn’t force anything onto this album that would draw attention from Buckley’s voice. He realized that the album would be centered around it and that the choices made in the studio would be all focused on keeping the listener’s attention on it. There are a lot of great albums out there but this one is in a league by itself. There’s so much that I love on here about every track and when I listen to it. I’m actually sad when it’s over, wishing there was more. I would give this album 6 stars if that were possible.

So many things come to mind when hearing this album. It sounds like a party gone mad. It sounds like the music is ready to fall apart at any moment but somehow still holds together. It sounds like it could be the soundtrack to some bawdy film noir. Then throughout there's moments of utter peace and beauty. I would say there isn't a jazz album like it but that's too obvious. Is it even a jazz album? There's the problem with labels. It has to be categorized somehow so that it can be placed in the appropriate section in the record bins. Very few jazz albums also feature both a Tuba and a Classical Guitar (that would be bonus points if it already didn't deserve its 5 stars but the music already accomplished that) This review could go on for a while if I went into everything that went through my mind when listening to it instead of just touching on the broad ideas in the first paragraph. It's been a few years since I put this on and I had to listen to it twice and want to put it on yet again. Thank you Mingus!

I've been listening to this album for a few days now trying to put into words what I feel when I hear it. The whole package is a very ambitious release by the duo. I love the mix of mild psychedelia with what I assume are some traditional sounds. I've read tat Brazilian music takes more of its influence from European and African sounds than what we attribute to a Latin American sound and I think I agree. This is one of those albums that I've seen on lists of albums worth checking out for a few years now but it wasn't until last week when I finally heard it for the first time. I've fallen in love with it. Even the short tracks that seem like they could be developed more seem right after a few listens. I'm not sure if I could pick a favorite yet, although lyrically (yes I looked up tranlations) I'd say it was O Trem Azel (The Blue Train). I will be listening to this a lot more in the future. I feel like I could keep exploring this for months and still discover more to love about it.

This list seems to contain albums that were quite influential at the time of their release as one of the criterion for their selection. Some of these albums are really exciting to todays ears although they do contain some redeeming qualities. Penthouse and Pavement seems like one of those choices. Reading the Wikipedia article about the album, I can surmise that it was an important release at the time and had I bought it back in '81 I might have thought of it as quite groundbreaking. Today though it does sound dated. Its interesting how some albums can come across that way and some that are decades older can still sound fresh and relevant. I did enjoyed the tongue and cheek lyrics of Fascist Groove Thing. The bass playing throughout was quite good but the album itself sound quite average. 3 stars it is!

Based on the makeup of the band and the unique folk sound that they have I should like this a lot more than I do but this album doesn't really hit me. I tried to give it a few listens and although I can really appreciate the musicianship and the complex writing I find that I can't connect with the songs on any emotional level. There were a few moments on side 2 that really impressed me. That instrument that sounds like a cartoon spring is annoying as hell though and made side 1 more challenging than it should have been. I would give this 2 and a 1/2 stars but the playing is quite good even if the vocals are not so I'll round this up to a 3.

A fun swing album from start to finish. This is the first time I've listened to Louis and can definitely hear the influence on David Lee Roth. Favorite tracks: Just A Gigolo, Oh Marie, Buono Sera.

This is not only one of my favorite Jazz albums but is up there as one of my favorite albums of all time. The mood that is created from the opening organ to the final notes on side two takes me somewhere that I cannot put into words. I say Jazz album because that's how it is categorized (or as fusion) but it's a different entity altogether. I find it unfortunate that this album is usually shadowed by Bitches Brew which follows mainly because it's more experimental and is generally regarded as a landmark in fusion but this album seems to have come from another world or another time. You don't know if it's the future or the distant past because at the same time it sounds timeless. I think 10, 100, 500 years this album continue to amaze people with it's beauty, subtly, and gentleness.

I didn't know much about this album except for the singles going in to this. The two hits ("Love is a Stranger" and "Sweet Dreams") are great tracks and I love the mix of Annie's voice and Dave Stewart's synth work. I was pleasantly surprised by the rest of the album. "I've got an Angel", "Jennifer" and "This City Never Sleeps" being the standout tracks for me. Looking forward to listening to more of their 80s music.

I tried giving this two listens to see if it would connect with me but It really didn't. She's obviously a talented songwriter and a few of the tracks appealed to me but overall it's not my thing.

Not a big Indie person but this album was really good. I think the only song that I wasn't a big fan of (but that might change) was the opening track "Terrible Love." I think it was just the wall of sound that percussion created. The second half of the album from "Bloodbuzz Ohio" to the end really struck a chord though. I've had a few people recommend the National to me in the past but this is the first time I've heard any of their albums. Looking forward to checking out Alligator and Boxer as well.

This album is still hard to listen too, even six years after Bowie's death. His death hit me hardest out of all of the musician's that we've lost these past few years. It's hard to fathom knowing that you're going to die soon and turning that death into a work of art. He did it brilliantly though. I don't know if I'd say it is his best album but it is way up there and one Blackstar is worth 5 stars here. Favorite tracks: All of them!

1969 Was such an amazing year for albums and this surely one the greats. Just about anyone who's ever turned on a rock station knows the famous opening and closing tracks but the rest of the albums has some real gems on it. The album is full of great guest musicians as well. Ry Cooder plays some killer mandolin on the second track "Love in Vain" and Byron Berline's fiddle adds the perfect coloring to "Country Honk" just to name a few. This album is another easy 5 star record.

I totally get why this album is on the 1001 albums list. The historical significance of it cannot be disputed. There are also some great session musicians on here including Chet Atkins and Floyd Cramer. The songs are catchy and pleasant enough. With all that being said this album doesn't really do much for me with the exception of the two blue songs: "Blue Suede Shoes" and "Blue Moon". I found the songwriting on Elvis is Back which came out a few years later to be a bit more interesting.

ZZ Top are a great blues power trio and this is the album that brought them into the limelight. I give them credit for having such a full sound too. Take a track like "Shiek". Once you get passed the fact that it isn't spelled correctly ( I blame the Texas school system), the guitar and bass work together to sound like 3 instruments. There's the classic track "La Grange." For those who don't listen to classic rock radio, they probably heard it on guitar hero. The whole album does rock from start to finish and did make me want to check out more of their stuff.

Oh man, I forgot just how amazing this album is. There's so much depth here that it would take dozens of listens to take it all in. For starters there's a hidden message at the beginning of "Goodbye Blue Skies" that you can only hear by playing that portion of the track backwards. I still always get a kick out of the "oopmf" that's in the background after the lyric: "There were certain teachers who would hurt the children in any way they could." It's been about 5 years since I put on this album. Even a masterpiece can get overplayed and I certainly played this at least 50 times previously. After revisiting it for this review, I regret waiting so long. Animals is my favorite Floyd album, (shame on the 1001 list-maker for not putting Floyd's best and deepest album on there) but this album is still great in a different way. I think while Animals felt more like Floyd was still a "band" in the sense that everyone contributed to the decision making process, The Wall feels like a Waters album with the rest of the band as the guest musicians. That being said, it has some of Gilmour's best solos on it.

I first discovered Thundercat when a friend shared the video for "Them Changes" with me a couple of years ago. I loved the song and the video and honestly have no idea why I never went on to check out the rest of the album that it's from. The album has a good balance of modern and classic sounds. I love the synth and Thundercat's bass playing is really good. The theme seems to be about life's distractions and the subject matter is handled humorously on some tracks and a little less so on others. The McDonald / Loggins track was a nice surprise and the Kendrick Lamar track after was great also. Overall the album has a lot of music packed into just over 50 minutes with most of the tracks clocking in at less than 3 but none of them sounding partially finished. A great album and I look forward to hearing more of his music.

Riding on the coattails of the other successful rap/rock/metal combinations coming out in the late 90s, this album is an unoriginal boring mess of songs. The title tracks "Bawitdaba" that propelled him into the bigtime is like "MMMBop" for rebellious teens. Don't even get me started on the cheese of "Only God Knows Why", a track that has some abysmal auto-tune. I know there's some bad music from the 80s that I grew up with and have a soft side for and maybe if I were a decade or more younger this might have hit me in high school and I might be a little more generous with my review but to me there's nothing here that hasn't been done already by Korn or Rage Against the Machine except for perhaps "Cowboy" which has kind of a country rap thing going.

With their second album you can already hear the Beatles developing into the great band that they'll become. The harmonies are killer even if the songs are quite simple. Apart from the harmonies Paul's bass playing on here is the highlight for me with the walking bass on "All My Loving" being a standout. Their arrangements of the six cover songs are quite good too, especially "Money." They aren't quite there yet though but you can tell it's coming.

This album was a real treat to listen to. Although my favorite songs on the album were all written by Robbins the arrangements of traditional songs and covers were done really well. The musicianship on here is excellent and the lyrics really do take you back to the fairytale image of what the old west was. I listened to a few other albums of his after this and enjoyed them as well.

I have a love/apathetic relationship with Bob Dylan. There's no disputing that he's an amazing poet and quite a good songwriter. The songs that I love, I really love and the rest doesn't really do much for me. This concert was a mix of both but I preferred the studio versions over the live stuff. Great playing by the band on disk 2. I listened for the guy in the audience that was supposed to call him Judas before "Like a Rolling Stone" but either I missed it or it was taken out.

Another great Waits album. This one seems a lot more percussive than some of the previous ones on the list. It gives it a raw mechanical sound and that mixes well with his voice. We still get those Waits ballads like “A little Rain” and “Who Are you” in between them. This gives the album a strange light/heavy vibe. “Goin’ Out West” is just insane and probably my favorite track on here. This album doesn’t hit me a strongly as Rain Dogs or Swordfish Trombones but it’s still a solid album.

A had heard of k.d lang but didn't know much about her before listening to this album. It was a nice mix of country and jazz vocals. If you'd have asked me beforehand I would have thought that this couldn't work but she pulls it of rather well. Enjoyed the whole album quite a bit but the opening track, "Western Stars" was the real standout for me. I could see me putting this on again as just something to relax to with a good book.

Well, this was a surprise. I really enjoyed this album much more than I thought I would. I barely remember the songs on here making an impression on me back in the '80s when the were hits. Listening to the today I really appreciate the lyrics and overall mood of the album. I also didn't realize how many songs I knew on here and that he did a cover of Tom Waits' "Downtown Train." I also don't think that I every really understood the meaning of the title track as a child.

I've noticed that the 1001 albums list seems to comprise of two different types of albums. The first type are those that are those that are timeless, regardless of when they were released and can be enjoyed by multiple generations of music listeners. The other type are those that are historically significant but may not stand the test of time. I feel like this album is in the second category. It might be important to the development of hip-hop and I'm sure that if I grew up with it, the album would hold a special place for me. Listening to it the first time decades after it was released, it only sounds dated. There are some decent ideas on here and it's a pretty upbeat album from start to finish but there's other 80s rap that is far stronger.

I bought this album back in the 90s after getting into Godspeed and wanting to explore a bit more of the post-rock genre. It's been a long time since I put this on to listen to. My impressions today are similar to those I had when I first got it. There's a lot of good ideas here and some interesting experimentation. The band is definitely trying to do something new here. The opening track Djed seems a bit disjointed to me though. I like most of what by brain calls "side 2" which is tracks 2 - 6. "Glass Museum" and "Along the Banks of Rivers" being the high points for me.

This is one of the most enjoyable new albums that I've heard in a while. I guess if I had to categorize it, I'd call it psychedelic soul. You can definitely hear influences of Pink Floyd alongside Marvin Gaye and the Beatles here. Kiwanika's voice is beautiful on this album and the songwriting is strong as well as the production. This album has been on repeat for a few days now and I can't wait to check out the rest of his discography.

I think we all have one or two of those bands that a lot of other people like that for some reason just won't connect with you. This band is one of those for me. Not a fan of R.E.M at all. I bought this album decades ago mainly for the strength of the 3 singles thinking that I would enjoy the rest of it but most of the rest of the album except for the last track just bores me. "Oddfellows Local 151" is pretty solid song though. Based on these four songs I think I can round up a 2.5 to a 3.

Lorde's sophomore album Melodrama is a decent follow up to Pure Heroine. The lyrics seem personal and the song-writing isn't bad. The album didn't connect that much with me though. Maybe I'm getting old ("Get off my lawn, you damn kids!") I still think "Royals" is one of the catchiest pop songs written in the past 10 years though and have a lot of respect for her as an artist. This is just an album that I thought was average and with all of the great music out there probably wouldn't find myself coming back to since it didn't connect with me.

Kind of happy that this album was only 33 minutes. Maybe if I was more into punk I would have found this exciting but apart from a few moments where I thought that the riff wasn't bad it was as dull as dish water.

Damn, what a fun live album! You can feel the energy in the place, especially on the reprise of "San Quentin." The version of "Folsom City Blues" on here is rocking as well. I'd normally say I'd love to have been in the audience but considering the circumstances needed to get there I can just live the experience through the recording.

SAULT is a band that I got into back in 2020 when they released their two big albums: Untitled(Black Is) which was released on Juneteenth and a few months later Untitled(Rise). The group is an enigma. Apart from the the Producer Inflo, most of the musicians on their albums are anonymous. They've never done interviews or released any videos. Their album Nine only came out for 99 days on Bandcamp and streaming services making it a "true" limited edition. The music is great and explores many style throughout their releases. This album and Rise is full of songs about positivity, struggle and protest. The production and musicianship and strong throughout and the theme of the album stays consistent from start to finish.

I think it was a reviewer from the Rolling Stone who said that Tom Waits can find more beauty in the gutter than most people would find in the Garden of Eden. That is a perfect description of his sound. He is definitely one of the greatest lyricists of the past 50 years. There’s so many clever lines on this album alone. ' Don’t you know there ain’t no devil, there’s just god when he’s drunk' from the title track is the first one that comes to mind. ' you got to tell me brave captain, why are the wicked so strong, how do the angels get to sleep, when the devil leaves the porchlight on' from “Mr. Seigal” is just another. I always see a good deal of criticism about Tom Wait’s voice but it’s perfect for the subject matter that he writes about. Can you imagine these lyrics having the same kind of impact being sung by someone like Robert Plant or Roger Daltrey. His arrangements on here are spot on too. There’s a unique sound to them as well which fits in perfectly with the subject matter and his voice. I knew a few of his albums on this list but this one was new to me. I can totally see why it's included.

I’ve always enjoyed Credence’s ‘raw’ sound. They are a quintessential rock band, and this album is a great example of their swamp-rock sound. It’s easy to just point out the famous tracks (“Green “River” and “Bad Moon Rising”) but take a good listen to the opening guitar on “Commotion” followed by that riff that drives the song. That riff takes you the whole way through. Credit to the rhythm section as well for being able to support both Fogerty brothers on each of the tracks. The Ray Charles cover that closes the album gets that Creedence treatment and although not as raw and raunchy as the original still pulls off a great rendition of it. The whole album is a fun 40-minute romp through the swamp, and I’ll glad that I took the trip.

Sometimes timing is everything. I put this album on a few hours before dawn on a quiet Saturday morning and was taken on a journey through the backroads of America by Nelson’s voice and music. The first side tells the story of a man who murdered his wife after discovering that she was cheating on him. Side two has him finding love again along with redemption. This might be the first country concept album. Nelson’s voice has a sense of longing to it and carries the story so well that you feel for the character throughout even knowing that he murdered his wife. All in all, this was an enjoyable way to spend the wee early hours of a Saturday morning.

“Don’t Judge a Book by its cover” is a common saying and one thing that I have learned is that the same saying can be applied to albums as well. This album was a lot better than I expected although I admit I set the bar down to the Poison / Warrant level (based of course on the cover). It’s not a great album but it was a fun listen, and the songs and musicianship were better than I expected. The style was sort of a glam-punk thing. Not my type of music normally so I probably won't revisit it and I don’t see why it is considered important enough to be on the list. Maybe because they were a Finnish band? I’d say a solid 2.5 rounded up to 3 because I found the Wikipedia story about the lead singer getting spit on in Israel because they thought he was an improperly dressed woman kind of funny.

Well, this was different! I’ve heard the name Lauro Nyro before, but today was the first time that I’ve listened to any of her albums. There’s some really imaginative songwriting on here. “Poverty Train” was a stand out and my favorite track the first time through. It had a great intro, interesting tempo changes throughout the song and a complex song structure. The mood shift at the end “Eli’s Comin’ ” was a good hook as well. The rest of the songs on here are well crafted and well thought-out and the lyrics are quite good. This is the kind of album that will take a few listens to really get to know well due to the depth of the songwriting, but it was enjoyable enough the first time through to make that journey again.

I’m almost afraid to write this review. What can I write about one of the greatest albums of all time that hasn’t already been written and written by much better writers than myself? It’s been decades since I first heard the album, and it still sounds fresh every time I listen to it. I just took a Beatles class this summer (yes, they have those now) and you would think I’d be tired of them after a 6-week deep dive but I’m not. The song “Tomorrow Never Knows” still blows my mind. It’s one of my favorite Beatles songs and I can’t for the life of me figure out how this song it was recorded in 1966 on such primitive equipment by today’s standards. I am fortunate enough to have both the mono and stereo version of this album and they’re both interesting in their own way, but I like the mono mix for most of the tracks (except “Tomorrow Never Knows”). The stereo at the time was simplistically done and some of the instruments that should be further up in the mix (such as the guitar in Taxman) gets a little buried in the stereo version. I could go on about each of the tracks and bore the living hell out of all of you who are reading this, but I’ll just say that both versions get 5 stars.

A pretty good album overall and a hodgepodge of different moods throughout from the somber “Umhome” and “Olilili” to the humorous “The Naughty Little Flea” and “One More Dance.” She has an amazingly rich voice, and the songs were a good listen but not something I could see myself coming back to often.

British Post-punk from Leeds with a fiddle? Yeah, why not. This is my first time listening to the Mekons and the reminded me of a post-punk meets Waterboys sound (at least on this album). A lot of the songs on the album seemed to be about war or the aftermath of war but that was just a first impression, and I could be dead wrong. It was a pleasant enough listen to make me want to come back to the band and check out some of their other stuff so 4 stars for Fear and Whiskey.

I first got into The The through their 2000 album Naked Self (great album BTW). One thing I’ve noticed throughout all their albums that I’ve listened to is Matt Johnson seems to have humorous way of depicting bleak situations. It’s like his lyrics are saying that the world’s shit but what can you do but laugh about it. Infected is no different. It does suffer a bit from that 80s sound but I think the songwriting makes up for the production here. “Sweet Bird of Truth” might be my favorite track on here but the whole album is a solid listen.

The opening track “Lose Control” is a high intensity start to the album. Beginning with the sound of a Tie Fighter flying in the song just has an energy to it that you can’t help but bop up and down to. The song “Girl from Mars” sounded a bit familiar. I like the use of intense distortion in that song I think Wikipedia called it wall of guitars. Really enjoyed the interweaving guitars in “I’d Give you Anything.” The track “Innocent Smile” was the standout for me. Great tribute to Sonic Youth in the buildup there. The rest of the album had some good moments but there were a few forgettable tracks on here as well. I think it’s a solid 3 or maybe 3.5 since the tracks that really stood out makes me want to check out some of their other stuff.

I used to poke fun at the boy bands that use the word baby a lot but now I see where it originated. I was trying to count how many times it was used in the opening track. I think I counted 14. I’ve heard a lot of great things about this album, but I have to say that it was a little underwhelming compared to expectations. I liked the first harmonica track, “Another Man.” “What’d I Say” had a pretty good groove going with a nice drum solo and a riff stolen from Day Tripper. I thought the horns in “Key to Love” were a bit tacky but the guitar solo was pretty killer. “Have You Heard” which has another great solo begins with the question “Have you heard about my baby?” Well yes, quite a bit actually on side 1, Track 1. All joking aside, there are some moments of great blues on here but I don’t think it’s a solid album all the way through and doesn’t really make me want to check out the rest of the John Mayall Blues Breakers albums.

This album’s opener “Johnny is Dead” starts off with a catchy fat groove. I’m loving that bass sound. The rest of the album doesn’t let up either. Every track has a great sound and Q-Tip’s delivery is spot on. His voice has a great rhythm to it that fits in with the groove he’s rapping over. The opener, “Gettin Up” and “Life is Better” are my favorite tracks so far, but I need to listen to this album a few more times to get to know it more. I’m still new to a lot of hip-hop, but it’s great albums like this that get me excited about exploring the genre more.

The first thing I noticed about this album is that it starts with almost the same drum fill that Porcupine Tree’s Fear of a Blank Planet ends with. Solid playing on all the tracks and their sound made me think that they were Rush fans although that’s not listed as an influence on their wiki page. I didn’t think I was going to like this at first, but each track has a good hook that draws you in and takes you along for the whole album and there were quite a few clever moments, both in the production and the writing. I never found myself wondering when it was going to end and enjoyed it even more on subsequent replays.

Right from the start I found myself bopping up and down to this. What a sound these guys have! I like some of the complex rhythms on a lot of these tracks, “Break” in particular. Don’t mistake these guys for some corny ass group (I don’t know where that came from, but it popped in my head.) This list has introduced me to some great rap music that I’ve never heard and it’s refreshing to not get some lyrics that make me cringe (from the violent content) along with the great rap. It’s tough to pick a favorite song or songs because there were so many things I loved about this album. “Thin Line” made a great impression. I love the vocal line and the keyboard melody. To be fair though, there was something on just about every track that blew me away. This album is getting a five!

For some reason I’ve never been able to connect with The Band’s sound. I also had never listened to this album before. I didn’t realize this album was their debut. Not being a fan, I assumed that their self-titled was their debut. “The Weight.” is a classic and I really liked “Chest Fever” and “This Wheel’s on Fire.” The rest of their stuff is a little bit simplistic for my taste. It was a nice listen overall but still a 3.

There are many great singer-songwriters to come out of the 60s, but Joni is on a whole different level. The songs of Court and Spark are both complex and accessible. Folk with hints of Jazz. Her gift for words really comes alive on here. “Free Man in Paris” has some of my favorite Joni lyrics on any of her albums. On the track “Down to You” it sounds like there’s a harp, but nothing is listed in the credits so it’s probably Joni on the Clavinet. I don’t think there’s a weak track on this album and not only does it make me want to go and listen to my other favorite Joni album (they’re coming up eventually on the list, so I’ll wait) , it really makes me want to check out the few albums of hers that I haven’t listened to yet.

Rocking album. One of my favorite things about it is that it came out in the 1980s but doesn’t sound like an 80s album at all except for maybe the Sonic Youth influence on it. Listening to this you can hear just how many albums have been influenced by it. The guitar on “Monkey’s Gone to Heaven” reminds me of a track on The Bends. “No 13 Baby” has some of my favorite guitar and least favorite vocals on the album. I think the dichotomy there actually makes me like the track even more. I tried to listen to this album years back and it didn’t do much for me but this time around I loved it. Looking forward to checking out more of their stuff. Pixies, you get a solid 4!

Another new album for me. Some great grooves on here. “Be Easy” is easily my favorite on here, no pun intended. The skits were funny too but not as funny as the vocal melody in “Jellyfish.” The second half of the album hit me more than the first half and that’s a good sign. On a bad album I’m usually waiting for it to be over at that point especially when the album clocks in at over an hour but I’m grooving the whole way through this one.

The Byrds’ country album was a sweet and mellow listen. It’s a short album and mostly filled with covers. The doesn’t detract from it though. The album is a bit of a rebuilding too after the group fell apart during the Notorious Bird Brothers. It also is probably their last great album and their weakest in that regard. As much as it was a pleasant listen, I don’t think that it needs to be on the list, and I can see this one being set aside for future editions of the book. It gets a solid 3 for some decent tunes but and the Byrds taking a chance by going in a direction their fans didn’t expect but it didn’t really wow me enough make me want to listen again and if I didn’t already know their earlier albums it wouldn’t have motivated me to go and check them out.

“Let’s Start” has says! Well, that was certainly a start. I would love to have seen Fela’s band back in the 70s (with or without Ginger Baker). These concerts feel like they would’ve been one hell of a party if the recordings come anywhere near to what the actual live experience was. I’m sure that I mentioned this before, but you can hear the influence of the Talking Heads’ sound here, especially on albums like Remain in Light and the ones that came after. This album also showed me just how good Ginger Baker was. The drumming on “Yeye De Smell” is out of this world. A very solid 4 for Fela.

This is one my favorite not well-known albums of the 1960s. The songwriting on here is quite complex for a rock album. “Alone Again Or” sets the tone for rest of what’s to come. You can hear right from the opening acoustic guitar intro that this isn’t your typical album. The trumpet solo and strings are a nice touch too. Most of the album is centered around the acoustic guitar and rhythm section with the electric adding color and leads where needed. The first electric guitar that appears on the album is the doubled lead in “A House is not a Motel.” The wordplay is interesting too. The side two opener has the first word of the new verse ending the verse before. “You Set the Scene”, a song in 2 parts, is my favorite on the album apart from the opener. It wraps up the while theme or vibe of the album in a great way.

I channel my inner 1950s teenage girl for this listen. For some reason I don’t play Frank that often. Whenever I do though I absolutely love his music and feel like I could listen to it all day. This album is no exception. His voice just hits home on so many levels. Emotionally, you can connect with the simple subject matter on each song. Usually they’re about love, or lost love but not always. Intellectually, I can appreciate his delivery. Frank’s versions of songs that I already know like “Mood Indigo” and “Can’t we be Friends? ” are so different as to make them totally his own. The arrangements of the orchestration on his music are prefect for his voice too.

This album came out in August of 1974. There’s one thing that I’m pretty sure of. Since then, NO ONE has ever gotten laid to this music. What a depressing album. Luckily Jones was nice enough to give us two somewhat upbeat tracks with “The Weatherman” and “Our Private Life.” Otherwise, I may just have jumped off a bridge after it was all over. I kind of picture this stuff playing from a jukebox in a shot and beer joint, being listened to by a bunch of 40 something men who have either divorced or go home to empty loveless marriages. I like country music but I’m hoping that I never have to listen to another album from George Jones ever again.

I have to admit that I never jumped on the White Stripes bandwagon when they were around. Garage rock isn’t usually my thing so I kind of just ignored them as they kept putting out albums. First (and second) impression is that this is a solid album. I can’t believe it’s only the two of them except for some minimal guest vocals. There’s such a full sound on every track. Looking at the album cover Meg looks sad. I can only imagine that she stepped on some of those peanuts on the floor with her bare feet and it hurts like a mother. This album is a very strong rocking 4 for me, especially since I feel bad for poor Meg’s feet. The music kicked ass too.

Ahh Yeah! This album certainly sounds like a 70s film soundtrack album. The opening theme is classic Isaac Hayes as well as the other two vocal tracks. The soul prog epic, “Do Your Thing” that takes up most of the last side is intense. The rest of the album does sound a bit dated as a whole. “Café Regio’s” and “Early Sunday Morning” sounds like the music that used to pop up television when the station was experiencing technical difficulties (please stand by). A decent album but not anywhere near as strong as his regular solo releases from the same time period. I’d like to give it a 4 for the great stand-out vocal tracks, especially the monster one but there’s just way too much filler on here so down to a 3 it goes. Maybe as a single album with the best of the first 3 sides on side one and Side 4 as Side 2 this might have received a 5. Sorry Isaac.

In the 1970s Stevie Wonder could do no wrong. He started getting widely recognized after his previous album Music of My Mind (released just seven months prior to this). This is his 16th album, and he was only 22 when it was released. Almost everything on here is played by him. To call him a genius would be an understatement. The opening track “You are the Sunshine of My Life” is a classic and great choice to open the album. It sets the vibe for what’s to come with its smooth production. “Maybe Your Baby” has a strong groove played on the Moog. The track creates a beautiful wall of sound with the use of synth and layered vocals and features Ray Parker Jr (Who else are you gonna call?) on electric guitar. The rest of side one is great but I’m skipping ahead to Superstition before this becomes a book. God Damn, what a song, and the entire track is just him on everything except for the horns! I always wondered what he came up with first for this song. Was it the opening drum part, or the clavinet melody? Whatever it is, he puts it all together to make a timeless classic. The rest of the tracks on this side flows nicely into each other and the album ends with another classic, “I Believe (When I Fall in Love It Will Be Forever).” A perfect album from Stevie.

I love a good live album, and this is the first time I’ve listened to a James Brown album, live or otherwise. The Live at the Apollo show rocks. I can see why he’s called the godfather of soul and is one of the most sampled artists on hip hop albums. This guy just radiates cool out of his voice. He’s working the audience right from the opening vocals of “I’ll go Crazy” and doesn’t let up. His backup band, a mix of horns, guitar, bass, and drums, supports him with fiery playing the whole way through. Looking forward to hearing more of music after this listen.

So far this book hasn’t done a good job at picking electronic music that I need to hear before I die. I read the wiki stuff about this album and I’m assuming that this was picked because it was Mylo’s debut album, and it was all written on his computer at home. Some of the tracks were okay. I liked “Valley of the Dolls”, “Paris Four Hundred” Most of this stuff was so repetitive that there was a point where I thought my CD was skipping but then I remembered that I was listening on Spotify. I don’t think this album succeeded in it’s attempt at destroying rock & roll, but it certainly hurt electronic music. This came out the same year as Squarepusher’s Ultravisitor album. One of the best electronic albums ever made and neither that album nor any of Squarepusher’s albums are on the list. Go figure. This gets a 2 since I was just waiting for it to end through most of my listen.

This may sound crazy, but I prefer this to Unknown Pleasures. Don’t get me wrong, Unknown Pleasures is a classic but there’s something about the dark edge of this album that appeals to me more. It’s haunting yet hypnotic at the same time. I heard this album long before I knew the story about Ian Curtis’ suicide and without connecting it with this album, I could feel the darkness that just permeates every track. I mean just listen to that guitar on “Heart and Soul” and tell me this album isn’t haunted. It’s tough to say whether or not I would give this album 4 or 5 stars. I love this album, but I can’t listen to it all the time. When I am in the mood for it I’ll usually listen to it more than once. I think that warrants a 5 also because this album has influenced so many others.

I think this is the first album in the electronic genre apart from Kraftwerk that the list has generated so far that I actually liked. No surprise that it’s a Warp release. The tracks on this album sounded composed and organic which is rare for an album in this genre. I didn’t feel like the songwriter was just looping shit repeatedly and adjusting levels to create the track. Looking forward to checking out more of their / his stuff.

I remember hearing "Cult of Personality" back when the single was released and rushing out to buy the album. That song has to be one of best singles released in 1988. The rest of the album is good, including a great cover of the Talking Heads' "Memories can Wait." The only thing that detracts from it a little is the production. The mix of songwriting and musicianship on this debut album are so strong though that you can easily forgive that. A sure 5 star album from start to finish!

I’m trying, I’m trying, I’m trying, I’m trying, I’m trying, I’m trying, I’m trying, I’m trying, I’m trying, to get into this album. I want to say that the album had its moments but even on the second listen I just couldn’t connect with the album at all. The guy’s voice sounded like a bad impression of Lou Reed on the track “Here” until he started taking it up an octave. That didn’t help much though. I’m sure there’s a type of indie music lover whose favorite album I just insulted and I’m sorry for that so feel free to insult my favorite Rush album to feel better.

Man, whenever I hear this album, I still think of all of the great music that Amy could have made. She’s channeling all of the great soul and jazz singers here but at the same time putting her own stamp on the songs. I don’t think there’s a weak track on here except for perhaps “Rehab” and maybe that’s only because I’ve heard it so much. One of the things that I love about this record is how each time I hear it a different song stands out and because my favorite for the listen. Last time it was probably “Addicted”. As I am writing this (on my third consecutive listen) it’s the title track. I should give credit to the production as well. It’s a great sounding album from start to finish as well.

I bought this album when it came out back in late 2000 based on a recommendation from someone at a favorite music store. I had no idea what it was even going to sound like. Music was kind of exciting like that back then when you took chances on an album without even hearing a single clip from it. I remember putting it on in the car and as soon as it started with that weird siren like sound I was like “Oh no, what the hell did I just buy?” But then the whistling at the beginning of “Lovely Head” starts and next the keyboard bass kicks in with the drums and harpsichord fill and finally Allison’s voice. I was sucked into an ethereal listen which pretty much lasted the whole ride home. The mix of electronic and natural instruments on this album with the added effect of Allison’s processed vocals taking the place of the keyboard at times was a great idea. I totally fell in love with it that first listen. Some tracks, like “Deer Stop” and “Oompa Radar” took a little longer but like any great album it becomes an indispensable part of the flow. Like “On the Run” from Dark Side of the Moon, you can’t imagine the album without it. Tracks like “Human”, “Pilots”, and “Utopia” are songs that have been favorites for years. It was great to revisit this album again for the top 1001 albums list and I can totally see why it should be on here. Even if you don’t like it, you have to admit that there aren’t many albums that sound like this.

The White Stripes third album is a strong guitar driven release that shows that sometimes the simple ways are best. Pretty much driven by Jack’s guitar / vocal combination and Meg’s drums every song on here is direct and to the point with nothing clocking in over 3 minutes and 40 seconds. I’m not even a huge garage rock fan but still really dug this album. Favorite tracks: “Hotel Zorba”, “The Union Forever”, “We’re Going to Be Friends”, “I Can’t Wait” and “I Think I Smell a Rat.”

When I looked up the info on this album as I was rocking out to it, I noticed that it had a similar setup to the White Stripes. I am talking about the guitar driven rock aspect with just one guitar and drums and no bass (and here a separate vocalist in Karen O). They don’t sound anything like them though. This album has a great hard rocking edge. I love the guitar-driven edge that is has on most of the tracks and was tempted to listen to some tracks over again right after I finished them (“Black Tongue” especially). The musicianship on here is quite good and there were parts on the whole album where one of them stood out and made me think “Man, what a great drum part” or “I love what she did with her voice there.” I’m not a huge fan of garage rock but this doesn’t sound like typical garage rock to be. This album really hit home hard and I’m looking forward to checking out more of their stuff.

My first impression here after the opening track started was “hey Pixies, 1973 called and they want their drum sound back.” Apart from that “Cecilia Ann“ was a pretty cool opening instrumental. This is the first Pixies album that I’ve listened to. I’ve read that it’s not their best, but it impressed me enough to want to check out more of their stuff. Interesting song writing on here overall. I’d give it a 3.5 but I’ll round up because it’s on 4 AD and I like that label

Some pretty good garage rock here. I like their overall sound, especially the use of the slide guitar. This style is normally not my thing so I wouldn’t rush out and buy their entire discography, but I can certainly see why this on the list. The last track album “Whisky Woman” was my favorite and stood out from the rest. The bonus tracks afterwards I enjoyed as well although I tend not to count bonus tracks towards my reviews. A solid 3 stars for a fun rocker that I’m glad I heard but don’t really need to listen to again.

My first thought when listening to this was that this album is way too long. There were a few moments that caught my attention the first time through, and the second listen was more enjoyable. She has a great voice, and I did like most of the tracks on here. I think “Doo Wop” and “Final Hour” (ironically the most and least played tracks on Spotify respectively) were my favorites. I still stand by the statement that this would have made 2 great separate releases. I’m guessing that the album is an early victim of the “fill the 80-minute cd” mentality that plagued a lot of artists in the 90s. This feels like a 3.5 but I’ll bump it up to a 4 since the second listen was much better than the first.

It’s been a while since I listened to an album where I was praying that each track was the last one. First the good: His guitar playing is impressive and I really liked the instrumental track with the pretentious hipster name “Tit Smoking in the Temple of Artesan Mimicry.” Now the bad: This is the annoying kind of artsy shit that makes you want to listen to a Kiss album after it's over, even you don’t like Kiss. It's the bad kind of pretentious, not the good kind. That warble he kept adding to his voice just got more annoying as each track passed. The only thing that brought this up to 2 stars was the good mentioned above. I didn’t even give this one a second listen because I knew that the at best it would stay 2 stars but I might have just been annoyed enough to drop it down to 1.

This listen came after I listened to Cyndi Lauper’s 1983 album, She’s So Unusual from the list. One thing I can say is that pop music has changed a lot in 30 years and I didn’t expect to like this album as much as I did. Beyonce definitely came into her own with this release. Her voice is amazing. Tracks like “Haunted”, “Blow”, “Partition” and “Rocket” made a strong impression with "Haunted" being my favorite on the album (great video too) . There were moments on the album that didn’t click with me though. I don’t know what Jay-Z was thinking on “Drunk in Love,” but his appearance on the track took away more than it added to the song and “Flawless” kind of just annoyed me. Overall though I though it was a great album and I look forward to checking out Lemonade and Renaissance as well.

I can’t believe that this is the first time I’ve listened to this album. Especially considering that I met Cyndi Lauper as a kid when she came to the town that I grew up in to film parts of the “Time after Time” video. Of course, growing up in the 80s, I knew the singles from the album. The rest of the album is pretty good but has a bit of a dated 80s production sound. My favorite track that I didn’t know was the Price written “When you were mine.” The only track that I didn’t like was “Witness.” It sounded a little too over-produced and forced. I can see what she was going for with the dub sound but to me it didn’t work on the album. It might come across better live. Overall, the album is a solid 3.5 but I’ll give her a 4 since she was so sweet when she came to town.

I really like the Cure, so I wanted to like this album more but even on a second listen it seems like that they weren’t quite there yet. You can see the potential of what’s to come here on a few of the songs. The standout track is “A Forest” which also happened to be the single from the album. “Secrets” was good also but the rest of the album seems to fit into you had to be there at the right age to for this to hook you in category although modern goth fans might still get into today.

This album really wasn’t my thing, but I can see how it would have a big impact on the early punk movement. I put this on twice, hoping that it hit me a little more the second time around but no such luck. I kind of liked “Redondo Beach” and “Free Money” so I’ll be generous and give this a 3-star rating since there wasn’t anything I really hated about the record.

Rush is a band that pretty much shaped my musical identity for years to come. Funny enough, I think Moving Pictures was the 6th Rush album that I bought, with Hold Your Fire being the first (it was their newest album at the time). I already knew I was a fan before hearing the album but if there was even the slightest doubt (there wasn’t!) this sealed the deal. Every track is a classic. “The Camera Eye” has my favorite Alex Lifeson solo on it. I think he called it his Holdsworth solo in some interview I read from the past. Neil’s lyrics have evolved from the fantasy-based stories of previous releases and only continue to get better on each subsequent release after this. I could go on about how awesome each track is but for anyone reading this if Rush is your thing you already love it and if not, nothing I write about how awesome it is will sway any opinions. 5 stars isn't enough for how much I love this.

What an odd album. I enjoyed it but I have to admit that it didn’t really hit me until my second listen. The guitar style on here is what sold it for me. The riffs are hypnotic with a wide-open sound that keeps the mood going for the entire album. One of the descriptions I read talked about 70s King Crimson going emo. That might be one way to describe it. The vocals on here do sound a little whiny at times (the emo bit!) which does take away from the spooky vibe being brought in by the guitars. “Washer” was the standout track, especially when the guitars let loose later in the song. “For Dinner…”, and instrumental, was another great listen. The use of dynamics in the song created an underlying tension that stays with the listener long after the song is over. Not a masterpiece to me but definitely something I’ll be putting on again in the future.

I have mixed feelings about this album. There’s some classic stuff on here like “The Magic Number”, “Ghetto Thang”, “Potholes in my Lawn” and “Plug Tunin” but some of the tracks haven’t aged as well. The gameshow skit is funny and does add a nice bridge in between a few of the songs. Also, some interesting samples from Schoolhouse Rock to Steely Dan to Hall and Oates. After two listens though it doesn’t grab my attention enough to give it more than 3 stars. I think this album is a great example of one of those albums that if you got into it when it came out and it was part of your life for years, you might be inclined to call it a classic. For a new listener though I can't say the same. Maybe if I come back to it more often I might end up giving it a 4 or more.

I have a love for synth and electronic music that I developed at an early age through music that came from early Commodore 64 games and Kraftwerk’s 7th album, The Man-Machine doesn’t disappoint. I usually listen to albums at least twice before I write a review, so I chose to listen to the German and English version (not that there’s much difference except in the words). Reviews for this album will probably be all over the place. If you aren’t into this sort of thing it might get under your skin quite quickly. Personally, I love every track on here with “Neon Lights” being my favorite (and probably my favorite Kraftwerk track overall). The Robots definitely influenced an LCD Soundsystem track, but I can’t think of which one it sounds like. “The Model” might be their most famous track. I think I even remember hearing it either in a movie or TV show. This is a 5 star album for me but I’m sure I’m in the minority.

This is a tough album to review. On the one hand, Kanye is a tool (to put it nicely) and that makes me want to not even review it. On the other hand, when he keeps his mouth shut and just sticks to making albums, he is really good at what he does. Yeezus though, isn’t as good as his previous release, My Beautiful Dark Twisted Fantasy, but it does have some great stuff on it. The album has a more industrial feel to it than MBDTF and that comes out right at the opening notes. “Black Skinhead”, and “I am a God” (no Kanye..you’re not) are great tracks. I don’t know what the hell he was thinking in how he used the Nina Simone samples on “Blood on the Leaves”, but that track is almost unlistenable. It has interesting how a pitchfork magazine reader’s poll had this album listed as both the most underrated and overrated album of 2013. Overall, Yeezus made a strong first impression but that didn’t grow with a subsequent listen while MBDTF seems to have more to offer each time I put it on.

Ahh… my first Metallica album. Well, the first one I bought at least. A friend had their earlier three albums and I had just started liking them when this came out. I never really got into the opening track “Blackend”, and it still doesn’t do much for me. The title track however is an awesome metal epic. I always like the fade-in of “Eye of the Beholder” and the enjoyed the flange-driven riff that drives the song. Then we get to “One”. Between the music, lyrics and that haunting music video this was and still is one of the best anti-war songs that I’ve ever heard. The rest of the album is some classic metal as well. “Harvester Of Sorrow” and “The Frayed Ends of Sanity” still hold up even to today’s more extreme metal. “To Live is To Die” kind of reminds of “The Unforgiven” a little at around the middle of the song. Metallica was good at writing intense album closers and “Dyers Eve” is no exception. I enjoyed revisiting this album after what’s been at least a decade. Not a perfect album but still one of Metallica's best.

I remember the first time I heard this album. I bought the CD and put it on a boom box in my bedroom, hanging out with my girlfriend. It was the first Yes album I bought, and I only knew the 80s Yes sound that was played on MTV and pop radio when I was a kid. I already knew that I liked progressive music from the Pink Floyd and Rush albums that I was into, but this took it to a whole new level. Steve Howe became one of my favorite guitarists and that was mainly due to the impact of this album. It is and always had been my favorite Yes album. Chris Squire's bass line on “Yours is No Disgrace” still fills me with awe even decades after I’ve first heard it. The intense solo that keeps switching channels at the end of “Starship Trooper” used to get blasted in the car almost daily as well as the crazy speaker shifting solo in "Yours is No Disgrace" . This is another easy 5-star album. I probably didn’t even need to listen to it again because it’s etched in my brain but of course I did.

I got this album back in 2011 and maybe played it once, which normally doesn’t bode well. Listening to it again I feel that it isn’t the best Neil Young album that I’ve heard but it’s not as bad as I feared it was going to be. His voice on here seems strained and forced. I read that a good deal of it was recorded on just one day in August so maybe that had something to do with it. The album also felt like a leftovers album of a bunch of songs that didn’t make it onto others. There were some tracks that I enjoyed a lot. The title track (both parts), “Speakin’ Out” ,especially the solo in it, and “Borrowed Tune” stood out but the rest of it was somewhat forgettable for me. I see that this is a highly rated album among Neil Young fans so maybe it’s one of those that would grow on me through multiple listens. We’ll see how it does if there’s ever a revisit review but for now it’s just a 3 star Neil album.

I first got into Jane Weaver’s music through her Loops in the Secret Society album which is a kind of a reworking of songs from this and her Silver Globe album with some added music. The electro-folk sound appealed to me so I checked out a few more of her albums. This album really connected with me. It’s kind of an otherworldly album, slightly hippie-ish and optimistic all at the same time. Favorite tracks: “Did You See Butterflies” “Slow Motion”, “The Architect”, and “I Wish.”

This was an enjoyable classic album. It was a treat to hear the studio musicians such as Chet Atkins and Floyd Cramer back up the Everly Brothers. I'm not sure why the wiki page doesn't mention them and the other musicians, considering they're on the back of the record sleeve. The brother's vocals are tight and spot on as well. I can totally hear their influence on the Lennon / McCartney harmonies here. Favorite track overall is probably “Made to Love” (mainly for the guitar though) but I enjoyed every track on here and was surprised that “Cathy’s Clown” was the only single because most of this album sounds like it could have charted. I am looking forward to checking out more of their stuff so a definite 4 stars here.

I’ve always wondered what impression this album made to the Bowie fans at the time it was released. At the time it was only 5 years but 8 albums between this and Ziggy Stardust. Bowie had already reinvented himself a few times since then, but this still had to be a shock to listeners after Station to Station. The songs on side one seem more like ideas than songs. The crazy thing though, is that they work as songs as well and flow seamlessly into each other. As soon as one song is over, the listener is left wanting a little more but then they get hooked into the next song which then starts the cycle all over again until “A New Career in a New Town” brings the listener out of out. Side two , all of which reflects impressions of various locations musically, opens with what is Bowie’s most ambitious track at the time. “Warszawa” is both bleak and beautiful. The track is meant to capture his impressions of a previous visit of his to Warsaw. The final track, “Subterraneans”, is the oldest on the album. It was previously recorded shortly after Station to Station and like the track that came before reflects the mood in Germany surrounding the separation of the country during the cold war. Although this is not my favorite Bowie album it is up there and truly worthy of the 5 star rating.

There are too many things that I love about this album to put into this review, so I’ll focus on just a few. First, there’s the separation of moods between the two sides. Side one overall is more pop-driven and upbeat, while side two (beginning with “Here he Comes” for you CD people) is almost a mix of Eno’s ambient side with his vocal side. One thing that isn’t brought up as much as it should be is Eno the lyricist. His lyrics, rather than being about something concrete, usually paints an image to go along with the music. The absurdity of “Backwater” and the futuristic images in “No One Receiving “ matches the music in such a way that makes you wonder what came first in the writing process. This album has the sense of being more crafted rather than written. Eno himself stated how much of a bad musician he was, technically speaking, to the point where he had to label the keys at times in order to play the right notes. He does have the producer’s gift of having a good ear and a good sense of what fits into a track, however. Another easy 5 stars here!

This was a pleasant enough rocker but there wasn’t too much on here that hooked me in. I enjoyed “Mr. Clean” and the Kinks’ cover “David Watts” which sounded like more like a Rolling Stones song to me but the rest didn't stick out too much. I see that the album title is a play on words with a double entendre which was kind of clever. To be honest, coming from the US, I never understood the whole Mod / Rocker thing. Anyway, the album was an okay listen but it didn’t motivate me to go on and check out more of the Jam’s stuff so it gets 3 shiny stars.

Let’s be honest, this is some crazy shit! I mean that in a good way. Kendrick took some risks musically on this album and to me those risks payed off. The first track, “Wesley’s Theory”, with its fat bass and chirping keyboards in the background lets the listener know that they’re in for one hell of a weird journey. The next track “For Free” has some odd vocal rhythms over some jazz sounds but the third track, “King Kunta” brings you back to the funky hip-hop. It’s my favorite track on the album, with its metronomic guitar, great bass riff and some damn good rapping over it. The rest of the album keeps the attention of the listener with some well-crafted songs that shift between the funk and the jazz or sometimes combining them. The last track, “Mortal Man”, has a clever idea at the end of it but I feel like it’s a little bit long and that idea doesn’t really seem as clever through multiple listens. I feel like I would just turn off the track after the music the next time I put this on (I guess I'll see) . As a whole though I did like the album a lot and it reminded me that I still need to listen to his newest album that came out a few months ago.

For those who don’t know Le Tigre is French for Der Tiger. I really liked this album. It was silly, energetic, fun and had some catchy and crafty tunes. Not sure what my favorite track was. I think I just liked them all. Recommended if you’re in the mood for something fun to lift your sprits after a bad day.

This album didn’t really do anything for me, even on a second listen. That was a surprise considering how much I liked some of his others. The songs were just kind of boring to me. I liked “Candy’s Room” and the title track but that was about it. Sorry Bruce, but this one is a 3.

Billy Bragg was a name that I had either heard about or read about but this is the first time that I listened to one of his albums. His voice on the opening track reminded me a bit of Andy Partridge. It was different on the other tracks so maybe that was what he was going for there. I really enjoyed the folk punk sound of the album. The songs painted some interesting pictures in my mind while I was listening to them. I think there may have been a few lyrics that would have made more sense if I grew up in England but overall I got the general feeling that he trying to convey. I can't help but feel that if I listened to this on the wrong day it wouldn’t have hit me the way that it did but I finished the album wanting to listen to it again and check out more of his stuff.

I remember hearing this band’s name a lot back in the 80s but never listened to them until now. They sound like they’re appealing to a certain demographic that leans towards the goth side. Not really my thing. I gave it two listens but there really wasn’t anything that caught my attention or made me want to go back to it or check out any of their other albums. Moving on.

Peter Gabriel’s final album with Genesis starts off as a wild ride. Side one and two are solid with side one (“The Lamb..” to “The Grand Parade..”) being the strongest. "Back in N.Y.C." and "Carpet Crawlers" are two amazing songs that hold side two together really well. It starts off great but sides three and four always seemed to me like the band just wanted to fill up the space. This would be a 5 star album for me if it were just edited down better. The music, especially on the first LP, is so good though that I can’t give it anything less than a 4.

Rust Never Sleeps might be might my favorite Neil Young Album. Lyrically and musically it certainly is one of his best. I also like how he split the album up into an acoustic and electric side like the live tour that some of the material came from. Each song tells such a good story lyrically that you can almost picture it as you’re listening to it. I'm going to finish this review here and then listen to it again!

I can truly understand why this album is one of the lowest rated albums on this list. It is 80 minutes of audio chaos and I’m sure many listeners aren’t even going to get to the end of “Frownland”, let alone the last track. It’s hard to believe that this charted in the UK the first week that it was out, but it did and I’m sure that it was word of mouth that caused it not to chart the second week. That being said, this album is a masterpiece and totally deserves to be on the list. There’s nothing that sounds like it back in 1969 and unlike the Velvet Underground, which was trying to be different in the most pretentious way possible this album is different in the most unpretentious way. You won't find any Warhol-inspired fashionable music on here nor anything romantic either. It’s as raw as a punk album but with some of the crazy polyrhythms that you would expect to find on an avant-garde classical album. All the while Van Vliet’s lyrics and vocals seem to be taking you somewhere quite different entirely. It seems like Zappa the producer was hearing all of this and instead of producing just sat in the studio smoking his cigarettes and letting the chaos unfold around him. That hands-off approach is probably what made this album what it is and I'm forever thankful for it. Trout Mask Replica is an album that when someone says it's total garbage and unlistenable I can actually see where there coming from and just say that I love it for what it is. It is not an album that I can listen to often. But when I do listen to it, I’m glad that I live in a world where this album was able to be made. I’m also going to give this 5 stars for 2 reasons. The first is that someone had the balls to make this at a time when they had to either know that it was not going to make them any money or had enough faith in the listening public to think that they’d like something as far out there as this. The second is that I don’t think anyone else here has given it 5 stars yet (4 is the highest that I’ve seen so far).

Nick Drake is an artist that I first discovered back in the early 2000s when I bought his debut solo album after hearing a few of his songs covered by another band that I was into. I fell in love with that album right away and bought all the rest of music, including Made to Love Magic compilation. For some reason though I listened to a lot of that first album and Pink Moon but never dived into this one. After listening to it for this review I’m regretting that. This album is beautiful. There’s something about Nick Drake’s songs that are timeless. They could have been written yesterday or a hundred years ago even if the production and arrangement of the songs are indicative of their times. Needless to say, I will be listening to this one a lot more now.

“You know where you are? You’re in the Jungle now baby, You’re gonna dieeeee!” Fourteen-year-old me loved this album. It was (and still is) quite a rocker. I haven’t listened to it in decades, probably because I had the misfortune of seeing them live when they were opening for Metallica during their Black Album tour. They were awful live. Back to the album though. The tracks I remember enjoying most were still pretty cool. Side one is solid throughout with the standout tracks “Welcome to the Jungle”, “Mr. Brownstone”, and “Paradise City”. Side two though is quite forgettable except for the standout “Sweet Child of Mine” which has one of those classic guitar riffs that almost anyone who played guitar during that time tried to learn. I’m not sure if it deserves it but for me this is personally a 4-star album. Partly due to the memories attached to it and partly to the good songwriting on the solid tracks.

I tried to listen to this album a few years ago and didn’t connect with it. This time around it was different. I enjoyed the album. Jeff Tweedy’s songwriting on here is pretty solid although I disagree with one of the reviews that called this America's Kid A. The mood shifts throughout the album kept my interest peaked for the entire 51 minutes. Overall, I liked the more melancholy tracks like the opener and “Radio Cure” but “Heavy Metal Drummer” is great also. This is an album that I could grow to love after a while and look forward to checking out some more of Wilco’s music.

Hey kids, ever wonder why the call it industrial music? Man, this album is brutal. I enjoyed some of it as a one-time listen, but I couldn’t see myself playing it often, except perhaps to drive out houseguest that I think have stayed too long. This is more noise-focused and percussive than the industrial music that I am a fan of, but I can hear this band’s influence in a lot of the music that I love. The percussive rhythm of the first track, “Tanz Debil”, made me think of the guitar in King Crimson’s “Larks’ Tongues in Apsic Pt II”. I see that this band is still around and am actually curious to hear how their sound has changed since 1981. As easy as it is to dismiss this as just useless noise, it is experimental music like this that keeps music fresh and motivates new generations of musicians to add certain sounds to their own. I give it a 3 just for sounding like nothing else in 1981.

It’s been a long time since I listened to this album on headphones. There’s a lot of cool stuff happening here that’s hiding in the mix. I remember first hearing the Gilmour throat clear and sniffle back when I was in high school listening also listening on headphones but today at the end of the album there’s what sounds like an accidental wrong chord as the final part of SOYCD is fading out. It seems like Richard or someone hit the wrong keyboard at 12:21. The note sounds like the opening note of Alabama Song by the doors. It’s also on the left channel. I thought I’d write about my listening experience this time around since there’s nothing about this masterpiece of an album that I could say that hasn’t already been said except for personal observations. 5 stars of course!

The Grateful Dead are famous for their live shows and albums but they did put out some good studio albums and this one is certainly their best. I’ve always thought of them more of a folk-rock band in the studio than a psychedelic band expect perhaps on their earliest albums. The psychedelic side of them showed much more on their live recordings with their extended jams. Most of my favorite dead songs are on this album. “Ripples” has a great melody and the addition of David Grisman’s mandolin playing adds a lot to the track. “Friend of the Devil” is another favorite and of course “Sugar Magnolia” and “Trukin” are classics. I don’t listen to the Dead much but when I do hear them I usually want to hear more.

This band slip under my radar in the 90s. I definitely would have picked this up back then had I heard about it. The guitar in the first track reminds be a bit of Robert Fripp’s Guitar on the track “Disengage” from his Exposure record. Back to Elastica though… I enjoyed this album from start to finish and listened to it a few times. The songs are short and to the point but each one is rocking and memorable as well. Justine Frischmann’s voice is a mix of sarcastic, sexy, and aggressive. The playing on the album is solid too.

One good (and bad) thing about the 60s is that there weren’t a lot of rules in place yet when it came to rock music. This band definitely took advantage of that with the title track taking up the whole of side two. I enjoyed this album more than I though I would but I did come in with low expectations. The 5 songs on side one weren’t bad but weren’t very memorable either. The playing was good. Side two had some rocking moments but the noodling would have been more impressive if the musicians were just a little better at their instruments. A 3 star album but I can understand why I had to hear this.

The Shaman was a band that a friend of mine used to play a lot so I kind of knew what to expect going in. The first 4 or 5 tracks were a good a listen with “Omega Amigo” being a favorite but there is a lot of filler on here too. All in all when you look at what else was coming out in electronic music in 1990 they were somewhat ahead of their time. Cut about 30 minutes off of the album and it would have been awesome.

I love electronic music but this album is just boring and repetitive. Take one idea, make it loud add some sound effects. Okay, next track. Take one idea, make it loud, add some sound effects. Okay, next track. Take one idea, make it loud, add some sound effects. You get the picture. By the time I got to the end of the album where they changed it up a little I was already angry and frustrated for losing an hour of my life to this. I’m going to go listen to some Squarepusher now and try to forget that I ever heard this album.

Like everyone else I knew the title track, “Connected”, going into this. It’s a hypnotic track with a driving beat that even those who have no inclination to dance at all can’t help tapping their foot to at the very least. The rest of the album keeps it up! I hear a Talking Heads influence here on some of the tracks. The music is upbeat, and the lyrics are interesting. They sound like they’re an awesome band to see live. I’m definitely going down the rabbit hole with their music after this.

This in an album that I should have listened to long ago. I used to get annoyed when browsing for king crimson CDs at the record store and finding her Tapestry CD there but no KC. That was long time ago. Listening to this, I was surprised that I knew at least half of the album already. There's a hint of folk here with more easy listening and a little soft-rock. She could have given Joni a run for her money if she kept her songwriting up to this caliber but unfortunately this was her high point.

What a way to make a first impression. Eddie Van Halen just says screw the way guitar used to be played. This is how you’re all going to do it now. There is some amazing guitar playing on this album. The album itself is just okay though. The songs all do sound very similar in style except the beginning of “Ice Cream Man” which stands out as something different. I enjoyed the “Running with the Devil” to “Ain’t Talkin ‘bout Love” but the after that it got kind of boring. Maybe Van Halen just isn’t my thing

Ah yeah! After failing to break through with their first two albums, Sister Sledge enlists Chic’s Nile Rodgers and Bernard Edward’s for their third album We Are Family. With their help Sister Sledge ended up creating one of the Disco’s great albums and Singles. I enjoyed the lush orchestrations on here. The strings added a nice coloring to the groove set down by the guitar and bass. The sister’s voices work well together. It’s hard to believe that Kathy recorded the vocal lead for “We are Family” in one long take.

This is Stevie Wonder’s third album in his classic 4 album masterpiece run where he could do no wrong. FFF is my favorite of the four. I’m not sure why this album didn’t do as well as the albums that came before and after. The songs have some great melodies and the track flow on here sends the listener through a wide range of emotions on each side (or every 5 tracks for you digital listeners). Just listen to that segue from “Too Shy to Say” into “Boogie on Reggae Woman.” I didn’t look it up but “You Haven’t Done Nothin’” feels like it’s directed towards Nixon, who resigned around the time of the album’s release. “They Won’t Go When I Go” sounds like it might be the most personal song on here with its Baroque style piano and funeral dirge-like chord progression. The album popped on my feed a few days ago but this review took so long because I couldn’t stop listening to it. Here’s to another easy 5 stars.

So here’s another album from the new edition of the book. This came out in 2020 and not only is it not one of the best pop albums of that year it’s not even Taylor Swift’s best album from that year. She released two albums in 2020, with Evermore being the second album and Folklore coming out earlier in the year. I think Folklore is a much better album but this is what we have to work with so… Lyrically this album is pretty good. I mean most of it is your typical pop love song (and lost love song) stuff, but the world will never run out of those and she does do them well. Favorites are “Champagne Problems”, “’This the Damn Season”, and “No Body, No Crime” but there is some filler on here. I don’t think the album is as strong from “Cowboy Like Me” to the end. This is only a 3-star for me.

Never listened to this before. I loved that transition at the end of “Wake Up Dead.” What a way to start an album! “The Conjuring” kicked ass too. I guess I’m in a metal mood today. “Peace Sells” is a classic and the one song that I knew off of this album. Overall, it’s a good thrash album except for “I Ain’t Superstitious” which doesn’t seem to work as a bluesy thrash song.

This is one of those famous albums that I was exactly in the right age group to become a fan of. For some reason though this album, and Nirvana in general, never clicked with me the same way as other albums or bands from the Grunge era. Listening to it today, I totally get the impact that it had and why so many people love it but it isn’t one that I’m likely to play again anytime soon. I still think it’s worth at least a 3.5 which I’ll round up to a 4 because it is a good album. It’s just not my thing.

Cloud Nine by the Temptations was an interesting listen. You can hear them trying to change their sound on side one with the title track and “Run Away Child, Running Wild” but side two seems like they were fighting that idea and stayed a little closer to what they used to sound like. I enjoyed the title track a lot but wasn’t a fan of their version of “I Heard it Through the Grapevine.” “Run away Child..” felt a little long and forced. Also, the vocal bit where he was crying for mama was just annoying. I enjoyed their classic sound on side two more. This is one of the few older albums that sound like it doesn’t actually belong on this list.

After listening to the Big Brother and the Holding Company’s album Cheap Thrills, I didn’t expect to like this album. Well, I was dead wrong. This album really impressed me. I didn’t realize that Janis died during these sessions, and that the instrumental track on here was supposed to have vocals but she hadn’t gotten to recording them yet. I could only imagine that she would only have grown as singer had she been able to overcome her demons.

This album caught me off guard. I didn’t know much about Solange going in except that she was Beyoncé's sister and was in Destiny’s child. I expected the album to sound like the Beyoncé albums that I had heard but this is completely different. It’s a lot more experimental with elements of jazz, Funkadelic and even Aphex Twin. It felt like a concept album all the way to the end. There wasn’t a moment that bored me or a track that I didn’t like. I love how she used vocal her harmonies to add color to a lot of the tracks rather than instrumentation. This is going to be on constant repeat for a while and I’m looking forward to going down the rabbit hole and checking out more of her music.

This wasn’t a bad album, but it really didn’t do anything for me. I enjoyed “Fat Lip”, mainly for the creative guitar riff. ”Misbeaten” was interesting too. Most of the music sounded like punk with horns. Not much more to say here.

There’s a bit of an inconsistency to Fifth Dimension. Even on their third album the Byrds seem to still be trying to find their sound. The song “Eight Miles High” is a classic though. I prefer some of the cover versions that I’ve heard over this one but those covers wouldn’t have existed without it. Speaking of covers, it seems that a lot of musicians at that time seemed to be covering “Hey Joe.” I did enjoy how different this was to the Love or Hendrix versions. The latter being the “definitive” one that is so well known. “I Come and Stand at Every Door” is one of the darkest songs of the 60s in my opinion. I’d like to rate this album higher but with the combination of this album sounding more like a collection of random songs rather than an album and the poor recording quality this only warrants a 3 or 3.5 at best.

It’s hard to fathom that the opening and closing tracks on this album have over 1 billion plays on Spotify. With that alone I can understand why this is on the list. Even the least played song has 67 million plays. And these stats are from just one streaming platform. The album itself is as dull as dishwater though. I mean it’s pleasant and unoffensive but there’s nothing here that makes me go wow! “He Won’t Go” was my favorite track but even this doesn’t sound like Adele is exploring any new ground in the world of pop music. I guess this is the kind of album for people who don’t really want much from music except for some emotional connection that they can draw parallels from.

Well now, that was a dark album. I think I’m going to go out and buy some black clothes, hang out at the mall and make fun of the emo kids now. Later! Seriously though, this album had some good moments. The first three tracks and “Pornography” were pretty good. This part of the review was written in a word document when the album was first chosen but I forgot to post it. The next paragraph will be my impressions from a recent listen. It's a year later and I still like the album during today's listen and my favorite tracks are pretty much the same. A solid 3.5 star album that I'm rounding up to a 4.

This is a great debut album. The opening track ,which is a rocker, shows just how skilled the guitarist Phil Manzanera is during the split speaker duet with saxophonist Andy Mackay. The most famous track on this album, “Virginia Plain”, was not on the UK version of the album since it was released as a single earlier (A Beatles throwback thing I guess). It’s also funny that my least favorite music critic, Christgau, thought that it was a drag queen on the cover and didn’t realize that it was model Kari-Ann Muller, who was also a bond girl in On her Majesty’s Secret Service. Side two is definitely not as strong as side one and a bit more experimental but still solid enough to give the album 4 stars.

This album is another case of I get why it’s on the list but it’s not my thing. There was some interesting stuff going on rhythmically but John Lydon’s voice was grating throughout the whole album. Based on the final track, “Fodderstopf”, at least they didn’t take themselves too seriously. I really enjoyed that one.

I was hesitant when I saw this one pop up on the list since I was never really a fan of the hit single. It wasn’t as annoying as when I used to hear it often on the radio though. A lot of this album was pretty average to me but the jam on “We’re in Yr Corner” was pretty awesome. I wish there were more tracks like that. I also enjoyed their cover of “Norwegian Wood” but the rest of it didn’t really stand out much, even after a second listen.

I just came into this album really only knowing Oasis’ singles and was not expecting to be too thrilled by it. I have to admit that it’s a pretty solid album though. Liam’s voice can get a little irritating sometimes, but the songwriting is good and I do like the guitar sound on here. “Columbia” was a particular standout for me with its driving rhythm, especially towards the end of the song. “Bring it on Down” was another one that I really enjoyed. I’m starting to think that the non-single tracks off the album are better than the singles. It’s a 3.5 album but should I round up? Definitely maybe.

Right from the opening notes, I could tell that this was going to be a different kind of album. David Ackles’ voice sounds like a mix between Neil Diamond and Scott Walker. The arrangements on the title track are quite odd, which added to the appeal. “Love’s Enough” is a nice ballad. The weirdness came back on “Ballad of the Ship of State.” I can see why this album didn’t make any top forty lists. I am really enjoying the ride though. This guy is definitely committing career suicide here, but he’s got some really cool musical transitions on the track. The rest of the album keeps this Broadway inspired sound going. I’m not a huge fan of musicals but I enjoyed the mood he created on here. It’s different than a lot of the singer-songwriters that I’ve heard and did keep my attention through the whole album. “Family Band” almost took it down a star though, but “Midnight Carousel” brought it back on track.

I didn’t realize this came out in the late 80s. The production doesn’t sound as dated as some of the albums that came out in ’89. Lenny’s guitar playing is solid and it’s cool to see that he plays almost everything else on here but there weren’t too many standout moments. The track “Be” was my favorite track but I also really liked “Let Love Rule” and “Mr. Cab Driver”. This is a good debut album, but it didn’t really make me want to check out any more of his stuff.

I do love a good live album, and this is a really good live album. Sam Cooke and his band put on an entertaining show full of energy and enthusiasm. A perfect album for when you’re feeling a little down and need some positive music to bring your spirits back up.

Not much to say about this. It was a pleasant country album. I liked it but not enough to go exploring his discography afterwards. Favorite tracks were “Boxcars” and “West Texas Waltz”

I'll start with the pros: I liked the message in Lupe's lyrics overall. It was fresh and different for an early 2000's hip-hop album. Some of the track's were catchy with both "Kick Push" tracks and "Hurt me Soul" being my favorites. The cons: There weren't very a lot of memorable hooks on here that made me want to check out more of his music. Also, I'm not sure that we really needed the acknowledgment's section as part of the final 12 minute track to take an already 1 hour long album into 72 minutes.

I went through a period where I dismissed the Chili Peppers. It seemed after Mother's Milk and Blood Sugar Sex Magik that they just seemed to be making the same albums. I've come to accept that even if they aren't going to really take risks with their sound they do have the ability to write entertaining and engaging albums. Californication is one of those albums. It packs a punch right from the start and keeps the listener's attention throughout the whole album. The first four tracks and the title track are my favorites but even the slower, odder tracks like "Porcelain" are good. I am motivated to go check out some of their music after this release if I ever get a break from this countdown.

I've listened to this album a few times over the past 10 or so years. Even not being a fan of Indie music, it really is some creative pop music. There tracks really don't sound like anything else from the era it was recorded in. Overall it has a bit of a melancholy, rainy day sound to it with a few rockers. The strings on the later part of the album are beautiful too. Not an album I'd play all of the time but one I do throw on every so often.

I actually just discovered this album a few weeks ago after it was recommended on a podcast that was covering the releases of 1977. I really like Martyn's voice, even if I can't understand what he's saying most of the time. From the infectious groove of "Dealer" to the dreamy finale of "Small Hours" this album grabbed me right away. "Couldn't Love You More" might be the best track on here and "Big Muff" is a lot of fun as well. This album will be on repeat for the foreseeable future.

The first impression from the opening 30 seconds was "I'm not sure about this, especially his voice." The music felt like the Indie sort of moody that usually doesn't connect with me. That being said, there was some moments on here I liked. The trumpet solo at the end of the opening track. "Like Dylan in the Movies" was great track, as "The Fox in the Snow." The Hamonica in "Me and the Major" felt a little much and killed that track for me. The second half of the album didn't really do much for me either. I can say with confidence that I don't need to hear this one again or check out anymore of their music

These tracks were recorded be Richard D James when he was between the ages of 14 and 21. A lot of it on homemade equipment. It's a new take on the ambient idea that features a beat instead of just a background soundscape. This is also one of the pivitol albums of electronic music. Each track has an organic feel to it and it feels almost otherworldly, paying homage to the electronic pioneers that came before but taking it to a whole new place. My favorite track is Ageispolis. I love the bass melody and the trick beat that almost makes it sound like the track is slowing down when the tone drops. That being said, the whole album is a masterpiece to me without a weak moment on it. Each track is unique enough to keep the interest going and once I start with the opening notes to Xtal, I have to play the whole thing.

Future Days is Can's final album during their "classic" period, before their vocalist decided to leave the band to pursue a life of religious fulfillment. The title track (and album opener) is a spacey trip that basically defines what the genre Krautrock was all about. It, along with most of the album as a whole, relies more on rhythm and texture rather than melody to create the music. Even the vocals are more of a fifth instrument rather than something to lead the melody. Compared to many of the other releases of 1973, they held their own in the way that they pushed boundaries in a different direction than the others. 'Moonshake' sounds like it could be the only single off of here, with the appropriate clock-in time of under 4 minutes. The highlight for me is Bel Air. Taking up the whole of side two, it perfectly balances the great rhythm section Czukay / Liebezeit (whose druming on this track makes him one of my favorite drummers) with the textures created by the other three. The track is also broken up into multiple sections with a return to the first section at around the middle and the end. This album is a perfect bridge between the experimental and the accessible. That makes it my favorite can album and an easy 5 for me.