I don't mean to sound cranky, but if we're concerned that this list might be a little heavy on the WASP entries, we can probably start the cutting here. Why in the world is this on the list? This sounds like something that would be playing in the candle section at a cider mill gift shop.

This is the first CD I ever owned by my first "favorite band." Dad got it for me as part of his 'welcome" to Columbia House membership after he bought his first CD player. That was a big deal in our house because it sort of reinvigorated my dad's music consumption at an age that I was impressionable and interested in music for the first time. When I was 5-6 years old, I LOVED hearing "You Give Love a Bad Name" on the radio. My favorite pizza place at the time had a juke box with "Wanted Dead or Alive" B/W "Livin' on a Prayer." Man. Those were the days. $0.25 for those two songs to go with my 7-Up and pizza. So, obviously there is a lot of nostalgia here. But objectively, I think "Slippery When Wet" is one of the pinnacle moments of the 80s glam/hair rock. It's a well-constructed record, I like the pacing, and there are some big hits here. As far as I know, the members of the band haven't been taken down in any "me too" accusations, which is remarkable given the excesses of the time when they were touring. And, John Bon Jovi has turned out to be a real stand-up dude.

This one is hitting me at the right time. All these vintage synth sounds are right up my alley. Perfect workday listening. And just anytime you want something that can be listened to intently, or ignored. It's good either way. Definitely going to check more out from this band. Wish someone would have showed this record to me when I was REALLY into Radiohead's Kid A and Amnesiac-era records. Since this was out just before those were released.

Really happy to have the opportunity to listen to a full record. Because Bob Marley has existed mostly as a "playlist" or "greatest hits" guy. Turns out, all of his songs are enjoyable and on this cool fall morning, I appreciate the black vibes. We often reach for Bob Marley when driving to a summer vacation/beach spot. Will definitely reach for this one next time that happens. Come for the rhythm, stay for that wondering piccolo snare and the surprisingly great noodley lead guitar.

All I know are the singles. My first voyage into the deep cuts of Aretha World. Man, what a delight. Interesting to be reviewing this right after reviewing Pearl. Because the two have a lot of commonality and I'm sure Pearl never would have existed without the influence of Franklin (and this record's release just two years prior). The ladies are going "five stars" two reviews in a row. Only because there isn't an option for 6 stars.

This is better than anything I’ve heard by The Who. But I don’t think I’ve ever listened to one of their records all the way through. I’m really not interested in the bloated-yet-uninspired theatrics of their more “seminal” works. I guess I’m not a pinball wizard who wants to see windmill guitar strumming. This is just good 60s rock. And always seems to be glossed over in documentaries about The Who. Too bad. Plus, I like Townsend’s Ric tone WAY more than the later Les Paul/Marshall arena rock sound. Cool record. Will listen again! Highlights: I Don’t Mind; The Good’s Gone; My Generation; The Ox

I don’t know anything about this band or record. But I’ll “get down just for the funk of it.” I don’t know this for certain but there have to be people in this band who played with the Talking Heads in the 80s. Yep. Just looked it up. Bernie Worrell. Synth player on Stop Making Sense. This is probably less conducive to listening while working because it deserves to be played loud at 2:30 am, when you’ve really decided to make a real night of it… Highlights: One Nation Under a Groove; the title “Maggot Brain.”

Husky voice singing about dolphins. Interesting. Seriously, though. I'm already realizing that this 1001 list has such great records that even if they're from a genre I'm not interested in, they're a real delight to hear. I want to listen to this again. Highlights: All the songs are great, and I appreciate the non-traditional folk instruments (electric guitars, etc.)

This sounds like the answer to the question that nobody asked: "What if we created a band that bridges the gap between REM and Dave Matthews?" The singer sounds constipated. I get that this was released in 1990 and predated/started the Britpop movement (which I love) BUT as a result I could find a number of records that sound similar but are much better. Also, that bass tone sounds like a fart... Highlights: The call/answer vocals in "I Can't Sleep"; There She Goes is a great song; Feelin' is good too.

Sounds like Tom Waits. Listening while I'm working and picking up a lyric here and there. The record sounds nice. Strange noises created by conventional instruments. I can see how this is in the top 1001. Highlights: The whisperscreams at the end of "Shore Leave." And, as I said, the instrumentation is really relxing and interesting.

Light on vocals, heavy on synthesizers. I can get behind this. I hope I listen to more Kraftwerk. Maybe I will. I probably won't. But it would definitely make me cooler. Great music for chugging away at work. Highlights: The feeling of listening to the same drum beat and synth sounds for 6+ minutes, and how that lures you into a trance.

This is the first record we've come across that I have listened to many times, and own. People love 70s Pink Floyd. And they should, it's really good. I especially like Atom Heart Mother and Animals. But there was a certain 60s pop sensibility that existed on Piper... that disappeared almost entirely after Syd Barrett left/was excused from the band. Arguably, this set the bad up for their great success. But I love Piper... and A Saucerful of Secrets (not to mention Barrett's solo releases). Highlights: I like it all, but "Lucifer Sam" and "Bike" are great. Another non-album single from this period ("See Emily Play") was great as well.

I like this record a lot. It's wonderful to hear a record that was released during the peak of a couple movements (britpop and shoegaze) that I haven't heard. It's like a gift. This band blends gentle with noisy really well. Love it. This came out the same year as Blur's "Modern Life is Rubbish." It's better than that record, but isn't as good as any of the Blur records that came afterward. THERE REALLY AREN'T ANY WEAK POINTS ON THIS RECORD. VERY DESERVING OF ITS PLACE IN THE TOP 1001. Highlights: The controlled feedback on most songs; The refreshingly clean/poppy "Wish I Was Skinny"; "Leaves and Sand"; The fuzzed/phased out guitar at the end of "Butterfly McQueen" and how it segues into "Rodney King - Song for Lenny Bruce."

Great guitar tone. We have this record and listening piqued my interest again. I can't disassociate Fogherty's voice with "Put me in Coach" and that's too bad. But it is also associated with "Lookin' Out MY Back Door" which is such a great song. So it all balances out. Once thing I noticed this time listening is how proficient John Fogherty is on guitar (sorry Tom, not you, and you left the band after this record anyway). CCR has always seemed charmingly sloppy but they're actually really a tight and proficient band - a loose groove. Always amazed when bands can do that. Highlights: "Lookin' Out My Back Door" might be my favorite single. And, I'm sorry, but their version of "Grapevine" might be my favorite ever. Everything else just sort of sits together and doesn't stand out, almost as if it is by design.

I've been getting into R.E.M. for the first time, recently. I have their first record on vinyl and I've listened to that a lot. I watched a documentary on the band and gained a new appreciation. I think Automatic for the People is a good record, but it gets a little less jangly and more produced at this point and I'm not sure that's my favorite side of this band. It's nice music to listen too, though. My relatively low score for this record is in the context of the top 1001. Compared to all records of all time, it would definitely have a higher rating than 2/5 stars. Highlights: Nightswimming is a great song.

I didn't know bands were this sloppy and weird in 1965. Cool.

Ok. So. We have an original pressing of this record, inherited form none other than Mark Authier. That's pretty crazy, in its own right. It's well-played and is noisy and scratched. Which suits the music, sort of. Here's the thing with all these 50s/pre-1964 rock artists: I don't care. I mean, I do. But only insofar as it led to what I consider to be great Rock n Roll. I know that's dumb probably.

I'm sorry Morrissey. I just don't care. Every time I hear you, I just think about how middling The Smiths would have been without Johnny Marr. It was a big hurdle for me to get to the point that I liked the Smiths. Then, I even learned to like them BECAUSE of your voice and lyrics (never thought that would happen). I need more time to be interested in your solo work (and you need to find a better guitarist to replace Marr). Better yet, make amends with Johnny and get the band back together.

This doesn't even deserve the keystrokes. So, I'll just share what my friend Joel (a Southerner from Kentucky) had to say when I texted him: "It's bullshit. There is nothing wrong with your cultural perspective. It's "roots" or "Americana" inspired garbage by dudes who really want to tap that vibe, but just can't. Just because I'm Appalachian doesn't mean I'm worth a shit when it comes to that kind of music. Every asshole in that band looks like they went back in time and bought out the clearance rack at Structure."

This is a record that I've heard many times. I think I might own it. But it's never top on the list of Bowie records that I reach for. The sounds are interesting, but in some ways they all feel like short ideas for things that could have become more fully-fledged songs. Because there isn't a lot of change happening in the songs, I'm thankful they are short. I prefer the record before this "Station to Station" and the record after "Heroes." Since this is the first of the Berlin trilogy, I think it gets lumped in with better records. But I guess in the context of the time its pretty remarkable. Highlights: The lead guitar and quirky synths in "Breaking Glass;" The lightheartedness of "Sound and Vision;" The obvious influence of the intro of "A New Career in a New Town" on Radiohead's Kid A (which has to be on this list somewhere, right?); I love how cinematic "Warszawa" is.

You gotta admire the balls it takes to name a record "New Wave" in 1993, when (hair metal aside) there wasn't a more uncool genre. Funny, it sounds nothing like New Wave music. I actually really like this. Have never heard of this band before. It's very well produced, the songs are solid, and I like the sound of the vocals. Reminds me a little bit of Pulp and The Weakerthans. Cheeky and cutting all at once. Highlights: "American Guitars" has to by a veiled dig at grunge music, right? Funny. "Valet Parking" has some nice subtle harmonies.

Man. Where do I start. The Talking Heads opened me up to a whole world of music that I would have considered too jokey or gimmicky until I took the plunge. They really were an entry point for me to 80s new wave and post-punk music. I came to this record after I had gotten into the live performance "Stop Making Sense" and the studio albums "Speaking in Tongues" and "Remain in Light." There is a live double album called "The Name of this Band is Talking Heads" and that's where I first heard the song "The Book I Read" which is a standout on this record and even better live (like most Talking Heads songs). And, that's one of the many things that makes Talking Heads unique: They're an incredible studio band (thanks Brian Eno!) but are also transcendent live performers. When I listen to this record now, as a Talking Heads fan, it feels very quaint. Like they were all just learning their instruments. It isn't quite "there" yet, and I guess that's charming. But I'd rather listen to most of their other records (which better be on this list, dammit!). Highlights: "Psycho Killer" of course; "The Book I Read" and the opener "Uh-Oh, Love Comes to Town." And, David Byrne was a charismatic frontman even from this first record - love his lyrics and delivery on every song. What an arteeeeest.

For me, Queen has always been a "singles" band. As a result, I don't think I recognize any of the songs on this record. I like how the tracks bleed into each other. The sound is definitely there (it's Freddy and Brian, forgodssake!), but the songs are taking a back seat to the album format, it seems. Highlights: The guitar and vocal harmonies; the bass and drums staying out of the way; The lead guitars (see "Father To Son") rival Richie Blackmore's finest moments in Sabbath (Who am I kidding? They're better).

I couldn't care less about this band. It just isn't interesting to me. 80's shred guitars, played and recorded sloppily. I do think Perry Ferrell's voice cuts in a mix really interestingly. But this is just bloated and boring music to me. Highlights: Nope.

My parents saw MJ on this tour and I remember they brought me a copy of the glossy program as a souvenir. I used to look at that and listen to this record. It's very nostalgic for me. This record also has my favorite MJ single: "Man in the Mirror" which played on the radio during my afternoon commute through the east side of Detroit on the day he died. People were in the streets visibly upset by the news. It was an interesting experience. Highlights: Man in the Mirror; Weird Al's "Fat"; The dancing skills.

I mean. Come on. This record. Hoooooooo boy. I've listened to all the Beatles studio albums so many times that I can hum the pitch of the first note of any song, based on hearing the end of the previous song in the track listing. Not a brag, just an indicator of how well I know these records. The Beatles are my favorite band and a lot of what I like about my other favorite bands can be traced back to something the Beatles did "first." I can't pick a favorite Beatles record (not for a lack of trying) and Revolver is in the group of their best that make the task impossible. This is also the record where their guitar tones got wild. I've always loved how thin and piercing the distorted guitars are on this record, and that continues with Sgt. Pepper and the White Album (not many guitars on Magical Mystery Tour). It took me a long time to get into other great 60s bands (The Kinks, Beach Boys, etc.) because I held them all to the standard that the Beatles set. No band produced such an consistently high level of quality through their entire career. 12 records in 6 years. That's all it was. Highlights: So hard to pick just a few, but...McCartney's lead guitar and noodle-y bass runs on "Taxman;" The story and strings on "Eleanor Rigby;" the perfectly-captured sleepiness on "I'm only sleeping;" the giant leap forward of "Tomorrow Never Knows."

I've never heard this record before but I'll listen again...on acid, mannnnnnn! Seriously though, I'll listen again. The record starts at 100 mph. Vocals within a few seconds of the music starting. And those fuzzy psychedelic leads are my jam. Adding the backdrop of bouncing basslines is so good. I love Neil Young and he makes this band for me. There is a lot of variety too. From psych-rockers to country ballads. I like that. Clear that this band was a super group that helped launch a handful of solo careers. David Crosby has a nice voice but he's insufferable. Highlights: "Mr. Soul" is a great first track; harmonies on "Everydays;" The orchestral arrangements on "Expecting to Fly;" The freeform nature (and heavy/excellent acoustic guitar compression) on "Bluebird;" "Hung Upside Down" has a great drowsy summer feel; I feel like I could write something about every song. So, maybe the whole record is a highlight. Yeah, that sounds great. EXTRA NOTE: So far, this record has been the best pleasant surprise for me.

I listen to jazz while I'm working sometimes. It's the music that I like the most that I can also ignore and focus on work (let's be honest, things like "Revlover" meant a less-than-productive 40ish minutes for me, if I listen while working). I put this on and ignored it. It was pleasant and appealing. I will say that there seems to be more spotlight sharing in this group than other jazz musicians I listen to. Might make me look like a fool but I can't tell you which instrument Dave Brubeck plays after listening to this. That's cool.

I was an early adopter (pre-Vanilla Sky) of Sigur Ros. A real insider, by virtue of the "staff picks" section at Wherehouse Records in Mt. Pleasant. I loved their first couple records and then lost touch. For me, this record was timed perfectly. As Radiohead abandoned their guitars for synths (which I was good with), I did find myself wanting a band that still captured those spacey and cinematic sounds with traditional instruments. Enter: Sigur Ros. A made-up language? Even better. I saw these guys on the tour for their next record ( ) and it was spectacular. There was a rumor floating around in my musical group of friends (before instant-internet vetting was possible) that Sigur Ros and Radiohead were going to score a musical together and perform it in London. I was as good as on the plane. Didn't happen.

I have listened to this record a handful of times. I enjoyed it more than ever this time. But Rush is still a little nerdy for me. I think I feel the same way about Rush that people feel about Genesis. If I love Genesis, I should also love Rush, probably.

This is a pretty record. Vocals and guitar. He was a true talent. I learned about Jeff Buckley from my friend Nick, who started playing guitar at the same time I did (Jr High) and he really liked him. I wasn't able to have an open mind about Christian music at that time. I probably still don't. At this point, I care about that almost not at all...ha. But the sticking point for me is the perfection of this record. It almost seems bleached it's so pure and clean. But I wouldn't complain about Steely Dan for that, and you could say the same thing about them. Double standard.

I was a groomsman in a wedding where a song by Faces was played as we walked down the aisle. That's the first time I heard Faces and Rod Stewart's rockier side. It's great. Love it. He's such a great singer. This record is cool but listening while working it just sort of blends together. Nothing stands out. But it's excellent.

Seriously thought this was a Hot Topic "mallpunk" band based on the name. Like a band that would open for My Chemical Romance. Nope. This is old and good. But I can see this band having influenced a lot of those bands. This was a totally unexpected treat and I'll definitely listen again and explore their discography.

I bought this CD the week that Annie and I got married. I brought it with us when we stayed up north that weekend. We laughed at the song "Rent." It was at a time when I was first (re)opening my mind to this era of music. Listening back I love it more than ever. I'm impressed with the perfection of sound. And all the programming that takes. Vocals are good too.

Never listened to Muddy Waters before. It's shameful, given how many guitarists (that I love) cite him as an influence. In the end, though, this is blues. And it gets old fast to me. Unless I'm at a dive bar 2-3 pitchers into the night...

Another band name that I've heard, but couldn't tell you a single song title. But that Scobby Snacks guitar part was sampled or used in movies a lot, I think. This band's rap/rock mix might've been cool in 1996 when this record was recorded. And there is a soul to this you wouldn't find in late-90s and early-00s rap rock. But I still don't really like the mix, and it's harder to stomach knowing what came immediately afterward. Thanks, Fred Durst and Kid Rock.

I'm not sure, in all of the iconic rock riffs created in the wake of this record (by Sabbath and everyone that followed), if any are more iconic than on the opening track "Black Sabbath." Ozzy's vocal is perfect for the song. I can't imagine being a Beatles fan and thinking "Man, Helter Skelter really rocks" in 1968 and then having my mind blown by this less than two years later. I love Black Sabbath. The band, the record, and the song. But Black Sabbath, ultimately, sits middle of the pack among their other records. For me.

My first time listening to anything beyond the theme song. It's impossible not to like this, right? The musicianship/swagger combo is almost unparalleled. It takes its time with each song building endlessly into such a masterpiece. Layers add at the end of each bar. No tambourine yet? Just wait 16 beats, or so...

I love this record. It's super psychedelic. I bought a reissued vinyl of this last year. I got into them when a current band I like (Chicano Batman) name-dropped them. It's really pretty music with some crazy production. I think this is a group of artists - not really a traditional band. Which is also cool.

I have a couple sonic youth CDs, bought used well after they were in their prime. I've listened to them here and there but nothing has ever grabbed me. I think this record is consistent with that. This is a band that people assume I love because I'm in FAWNN. Not true. But there are moments. I see this record was made in 1988. That's impressive and refreshing. In the context of all the shit rock music being made in 1988, I'm thankful.

Have never heard of Joan Armatrading. But man, she's great! Her voice and backing band are excellent. Pedal steel in "Down to Zero" is haunting.

I believe this is our first double-LP. I love double LPs. People hate on them. I think they usually represent a band's peak, regardless of critical or commercial agreement. And, based on the fact that this was one of three Fairport Convention releases in 1969, I'd proffer they were at a peak of sorts...ha. Gotta say, I was surprised to hear a female vocal first. I expected nerdy prog music with dudes singing about elves and moonbeams (which I also love). Not sure why I assumed this was a prog band. Have never heard. But this is another one that I really loved and was surprised by. I think it's cool that this band prioritizes arrangements and proficiency over psychedelic theatrics. I also like "discovering" a band that seems to have a huge catalog. Very excited to listen to more...

Metallica's black album, right? That's what this one is referred to? I have no personal relationship with the music of this band. And, I honestly didn't know anything about them until their subsequent Load/Re-Load albums. And, from what I understand, those records are reviled by "true" Metallica fans. That's fine. I hated those records too. All that being said, this is a good record. It sounds dated. Like, in a bad way. Heavy bands just sound heavier now. I hate Lars Ulrich - not for the Napster thing. Because he's a tool that thinks he's a good drummer. Ha. Ringo could have played this shit. And his Ludwigs would have sounded like actual drums. It's hard to imagine anyone would have ever thought this kick drum sound is good. But, let's get to some positives. I really like the guitars (great use of harmonics) and the vocals are still interesting (none of that OOH! WOW! UGH! WUOAHAH! BOOM! horseshit). People I know say that "Master of Puppets" and"Kill 'em All" and the other early Metallica records are good. I hope they are, because this shit fucking sucks.

Annie bought me this record for Christmas a couple years ago. It's enjoyable. That's the only criteria I really put on jazz music. I often put it on when we have guests and want something that will melt into the background. Still love the chanting of "A love supreme!" Never gets old.

The only PS record I had heard before listening to this was "XTRMNTR" and I remember thinking it was ok but fans were disappointed. After listeining to Screamadelica, I can understand why. Not only is it an objectively better record, it doesn't even sound like the same band. A lot of this record has the loose and fun feeling of late-60s, early 70s Rolling Stones. Not sure if that's be design, but I love it. It also has some modern elements (electronic drum and piano loops and sitar in the same song!) that in 1991 probably seemed very ahead of their time. I like that. Still, some of it sounds like music I'd hear in the dressing room at Express or H&M. Meh. But I'm sure in the early 90s, it was very cool.

When was this list made? I can't imagine if it was updated now, this record making the cut. Don't get me wrong, its a very solid record. But it also seems unremarkable in the grand picture of all recorded music. White privilege? Haha. The production is great and I like when singer/songwriters are ok with weird sounds and instrumental interludes. I also really like the honesty of her voice. It sounds sweet but she also isn't over-trying.

No frame of reference going into this one. Which is refreshing. There probably isn't a popular American genre of music that I have less experience with than hip hop/rap. I've been listening to most of these records on days that I have time to listen while working (outside of meetings). Not sure it's a good way to pick up all the things happening here. Since the lyrics are everything. All I'm left with are the samples and rhythm. Still, those aspects of this sound great. I liked this more than I thought I could. I just don't feel qualified to evaluate this. But I enjoyed the record so I'm giving it 3/5. Just above average among the other records on the list. Highlight: GO! This had to be a single, right?

At the time, this was considered Paul McCartney's first great record since the Beatles broke up. There are a couple great ones post-Beatles but pre-BOTR, in my opinion. But this record is truly great. And the story of all the band quitting except Paul, Linda, and the other guy - that's cool too. Oh! And his lyrics/arrangements book was stolen pretty much as soon as they arrived in the place (can't remember the exotic locale) where it was recorded. So, as much as Paul McCartney could experience adversity at this point in his career, I like to imagine that helped create this masterpiece.

Too much sex for me. But sure, this is a good record. The single is better in George's hands than it was in the hands of those shitheads in Limp Bizkit. Actually, it's a great song. I always laughed at it but its so catchy.

Random Access Memories is my only frame of reference. This sounds similar but less fully realized. Makes sense since I think this is their first record. What I like about RAM is that it feels like pop songs. Less drawn-out electronica than what is happening here. Still, though, it's good "up the pace while you're working" music - which is what happened when I listened to it. Isaac's sitter must wonder what's happening in here, with me listening the George Michael and Daft Punk back-to-back.

This one is hitting me at the right time. All these vintage synth sounds are right up my alley. Perfect workday listening. And just anytime you want something that can be listened to intently, or ignored. It's good either way. Definitely going to check more out from this band. Wish someone would have showed this record to me when I was REALLY into Radiohead's Kid A and Amnesiac-era records. Since this was out just before those were released.

I don't like this. All the Neil Young touchstones that I love are here: fizzy guitars, weird lead parts, his unique voice. But there is reverb on the snare. And the songs just aren't there. It all just sort of blended together when I listened. I'll stick to pre-1980 NY. I mean "It's only someone else's potato chip" should never be a lyric, right?

I've never listened to this. But I've seen the cover so many times. I remember seeing it around during high school. One thing I really love about rap records is how everything bleeds from one track to the next. That's really cool. The mixing process must be so great for these records. Regarding the intro, I don't really know what's happening there. Must be a concept thing. Is it his life before the record? I don't know, but when that first sample starts on "Things Done Changed" I'm hooked. I can't really evaluate the quality but this seems like a certainty on the 1001 list. I liked it more than I thought I would.

It took me a long time to get into the Stones. Because I'm a Beatles fan and I assumed their peak was at the same time (mid-late 60s). But that's not correct. In fact, if you go year-for-year comparing the two bands, the beatles win all the years. Ha. But that's missing the point (and the peak) of the Stones. I realize that now. When the Beatles were largely floundering as solo project in the early 70s, the Stones were renting French Chateaus and shooting smack while making their best records. Aftermath isn't one of those records. It's one that still features Brian Jones (who cares about that guy?). Which means they're still trying to fit a square peg (blues rock) into a round hole (the desire/market to be psychedelic). All that being said, there are some incredible moments here that rank among the Stones best songs. "Under My Thumb" is so great.

I "got into" this band after Evil Empire was released. 1992 was a couple years before I started playing guitar and paying attention to music that wasn't Boys II Men. The "first record" of so many great 90s bands was lost on me as a result. Nirvana, Pearl Jam, STP, Rage, you name it. That being said, I liked listening to this. The blend of funk and rock was novel at the time and I loved it. And, rapping over rock hadn't been bastardized by Durst & Co. So, in the context, I like this record. But I would never listen to it in 2021. So, 2.

Really happy to have the opportunity to listen to a full record. Because Bob Marley has existed mostly as a "playlist" or "greatest hits" guy. Turns out, all of his songs are enjoyable and on this cool fall morning, I appreciate the black vibes. We often reach for Bob Marley when driving to a summer vacation/beach spot. Will definitely reach for this one next time that happens. Come for the rhythm, stay for that wondering piccolo snare and the surprisingly great noodley lead guitar.

This is a HEAVY ROTATION album in the Spence house. Her voice. Jesus. And the band is so damn good. I remember one time an 80's hair band shredder that I worked with at a guitar shop said something like "Yes, Janis is a great singer. You'd think she would've had a decent band that was at least proficient..." F-f-f-f-f-f-f-f-uck you! This band has it all. Technical chops, feel, groove, psychedelia. I love this record and it really bums me out that Janis was in a better place when this record was made and had plans to be on the up-and-up, given her past addictions. It's a sad story. She was treated horribly as a kid in Texas. Lots of self medicating happening. Which is interesting because her voice and songs are like medicine, in a way.

All I know are the singles. My first voyage into the deep cuts of Aretha World. Man, what a delight. Interesting to be reviewing this right after reviewing Pearl. Because the two have a lot of commonality and I'm sure Pearl never would have existed without the influence of Franklin (and this record's release just two years prior). The ladies are going "five stars" two reviews in a row. Only because there isn't an option for 6 stars.

The title track is great. My mom used to sing it every last day of the school. It was a great thing to hear. Past that, I think this kinda sucks. I mean, it's fine. But ever since I took the plunge on The Stooges, there really isn't a way for me to think this record is "edgy." This is edgy in the same way that buying a Rancid T-shit at Hot Topic, is. So, even in 1972, you didn't have to look very hard to find darker, more interesting, rebellious music. Sorry Alice. Your cameo in Wayne's World is still one of my favorites.

Really looking forward to this. I don't know anything about her music. There is no way the "ay-ay-ay-ay-ay" in "Gloria" wasn't an influence for the vocals in Talking Heads's "Psycho Killer" a couple years later. Right? Anyway, I like Patti's vocal delivery. It's always braver for a female singer to not be "good." She did this really well. I mean, she's a good singer. But before her, "good" meant "angelic or soulful or both." She rewrote those rules. I also like the sound of this record. Like a band with mics in front of everything. That's all. Also appreciate the reggae elements happening here. I'd like to learn more about how reggae rhythms ended up in NYC punk music.

Trying to find a way to care about this. Hmmm... I should know what this band's famous song(s) is/are. I don't think any of them are on this record. Ok, yeah. "Don't Dream its over" is a great song. Not on this record.

Still during the early period where half the songs were original, the others were covers. This record doesn't really stand out for me. It's better than the stagnant "For Sale," but I like Please Please Me and A Hard Day's Night better. So, this one is great but it's sandwiched between better records. What I like about these early records is that you can hear Lennon's talent and leadership. He was the frontman in the early years. "All I've Got To Do" is one of my favorite Beatles harmonies from the early years. I can't wait to rate A Hard Day's Night. Assuming it's on the list. Ha. Rating this one as it compares in the Beatles catalog (catalogue?).

If you don't like this, you don't have a pulse. Also, when you realize that it basically launched the rap genre, then you have to give it a 5.

Everybody loves Kid A. And, in the grand scheme of things I guess I do too. But I think it's in the middle-third of Radiohead records. At the time of its release it was so important for me to see a guitar-based band eschew all that for a completely electronic sound. Because they had hooked me with OK Computer and The Bends and there was no turning back for me. So they pried open my mind. They pried open a lot of minds at the end of the 90s, a decade that saw rock music go from the fresh/raw grunge revolution to the gaping yawn of new-metal and Nickleback. Radiohead made it feel like there had been a fork in the road and a lot of bands chose the wrong path so far back that they'd never be able to backtrack and catch up. If that makes sense. I love this record for that. There are beautiful sounds that I find calming but Annie has confirmed that this record actually sounds like anxiety. She's probably right. One other important note: this was recorded at the same time as Amensiac. Kid A is an objectively better record, but I prefer Amnesiac more. They could have been a double LP together. But instead were released about a year apart. Interesting choice and one that honestly gave people the ability to digest the monumental change without feeling overwhelmed or glossing over tracks that would've seemed like filler on a double LP.

Finally, Brian Jones is sidelining himself and the true talent of this band can come forward. I wanted the Stones to be a great 60s band for a long time, and then I realized, they were at their best starting with this record and carrying through the 70s. For me, the peak starts here. They had great songs before this, but this starts the great run of records for this band, IMO.

This is a Blur-adjacent britpop band that I was never aware of at the time, but I appreciate their tongue-in-cheek delivery. This record feels like it is one past their peak (Different Class) though. It just seems a little boring and less charming than DC and His N Hers.

Awe, man. Do I really have to? This just sounds like producers have finally mastered ProTools and want to make everything sound like an AI robot wrote it. Whereas MIDI allowed 80s/90s bands to perfect polyrhythms and live layering, this era of 00s records just made everything lifeless and bland. Madonna has great records from the MIDI-era. I'm sure this is considered a "return to form" in terms of commercial sales, but it has none of her early charm. And, it came out at a time where I never ever ever ever could have given it a chance. I had officially checked out on main stream pop (have since returned) and considered it an example of what good music was not. Can I give this single star to Janis Joplin's Pearl?

Just pressed play. Don't know anything about this record. Not sure I've heard anything on it. I generally like hip-hop/rap when it feels chill. So, I dig this. He's got a great voice. That falsetto is really great. I love it. The production sounds like there is a blanket over the speakers (see the snare sound in "Sierra Leone") and I really like that. Feels like a warm summer night.

Ok, acoustic singer/songwriter. Try not to be boring. Thank your band for helping you. The lyrics (which I'm sure at the point) are charming and entertaining. But, that's the trouble with listening while working. I think I miss that charm. But, I can definitely see myself returning to this when I am driving sometime and need something chill. That's the place where I can focus on music the most - at least the singer/songwriter variety.

I like this record. Had never heard Elastica. The only thing I knew about this band before listening was that the singer dated Damon Albarn (Blur, Gorillaz) in the mid-late 90s and they did a lot of heroin together. The heroin and their breakup helped create the environment where Blur's most interesting music was written. This 1995 record is great. It actually has some similarities to Blur's work from 94-95, which isn't a big surprise I guess. I really like the opener "Line Up," and I think the intro to "Connection" has been sampled a lot. That song is really great and it bumps this record from a 3 to a 4 for me.

I simultaneously think that there should be more rap/hip-hop on this list and then, every time a record from the genre comes up, I don't really want to listen. After that, one of two things happens. I am pleasantly surprised and end up really liking it (see Frank Ocean from a few days ago), or I just want it to be over. Cypress Hill falls into the second category.

Huh. Todd Rundgren. Like him. It's like the lighter side of 70s music, but with the proficiency of the 70s music I like. The "Intro" track (half way through the record) was a strange choice. And that synth line into "Breathless" is really great. I like this record and will definitely return to it. 4 but it really should be 3.5.

A band that is constantly referenced when talking about bands that I like (most notably, My Bloody Valentine). But I don't get the connection. Because this is mostly slacker rock, not shoegaze like MBV. Putting that aside, I did enjoy this. Some really great Fender clean guitar tones on the verge of breakup. I also like the doubled crappy vocals (in the choruses) and how they contrast with the single-take verses. Adds the thinnest veneer of polish and takes this record from sounding like it was recorded 100% live. Still, though, I'm not sure this sold me on the Dino Jr.

I like the rock/blues vocals over the Lawrence Welk arrangements. Ha. I really mean that as a compliment. How can a person hear this and not love it. I'm giving it a 4/5 because being a teen in 1959 would have been awful without music like this. Hold on kids, 1964 is just a few short years away and you'll be in college, better understood, and very stoned soon...

I know every nook and crannie of this record. It was something that was played heavily in the tour van when Those Transatlantics were traversing the Eastern U.S. 2004-2006. We used to play the song about Chicago when we pulled into town for a show. It's a record with a lot of emotional weight on its own. Add the nostalgia for those times and it feels almost inappropriate to listen now. Like I'm an outsider to my own memories. Musically, this is so interesting. And his voice is beautiful and sweet. Sad he only made it through a couple states in his quest to write a record for each in the Union. But I'm happy Michigan was one of them (it's good, but this is his peak in my opinion).

So, this is pretty cool, eh? Had never heard of this band. I'm definitely going to keep this in mind for instances when upbeat and funky instrumental music is needed. I just kept thinking while listening that this would be a) good music for a backyard BBQ and b) good music for a Quentin Tarantino film. Wherein a skinny, attractive female lead brutally murders >100 people.

Wait. Blister in the Sun is from 1983? Whaaaaaaat? I would've said 1993. Anyway, that song is great but since I kinda consider it a novelty song I never looked into the band. Now I have, because of this 1,001 Albums list. Amy I happy I did? Hmm. Not really. It's kinda just like more songs that are similar but not quite as charming and radio-friendly. I just can't take this "I don't give a shit about being a bad singer, isn't it funny!" for more than a single and B-side. Also, I HATE THE SOUND OF ACOUSTIC BASS.

Ok. Right. A double album. Here we go... First repeat appearance on this list by an artist I had never heard before we started. Again, I like The Fall. Is this a live album? Because it sounds like it but I also noticed that most of their records on Spotify are "Live from..." and I don't think "The Witch Trials" is an actual place, let alone venue. By "sounds like it" I mean that the drums sound kinda shitty. Like they are EQ'd to cut through a live mix but not to sound appealing when listening back. God, this record is long. Ok. This was recorded in a single day. Had to look it up. And it wasn't originally a double LP. So, I've already listened through the original LP and I'm in the bonus tracks from a reissue now. Overall, I like this record but also can't imagine when/what setting it would make sense to revisit this.

Excited about this one. And it doesn't disappoint. Like 60s psychedelic pop with more edge/proficiency. Takes some of the elements of love from Pink Floyd's first two records and focuses them more concisely. So, the lineup of this band changed a lot, I think. Right? I gotta check out more of their records. Feels like the UK equivalent of Buffalo Springfield. Like, a breeding ground of talent before artists went on to start their Big projects. The build on "Lost Women" with the harmonica and feedback is really great.

I listened to this a couple weeks ago and forgot about it completely. Thought I had rated it but I guess I didn't. Giving it a 3 which seems charitable for a record that doesn't ring a bell...

How does this band have so many records on this list? Did Perry Ferrell have something to do with the list compilation? Because I think Janes Addiction has more records on this list (so far) than either the Beatles or Stones. What is it about this band? Is it the solid state guitar tone made more sally by wah-wah pedal? Is it the same exact production on every record? Is it the complete lack of hooks? It's all way over my head.

So welcome after that Jane's Addiction schlock. I don't even need to speak the same language to have this music speak more clearly to me... This is an interesting mix of tropicalia and funk. The female backup vocals are welcome and excellent. Had never heard this artist but am so glad I did. I read a little about Jorge Ben Jor and it appears he's known for his satirical lyrics. That's cool. Obviously, I have no clue. But I like his voice. I want to be on a tropical beach listening to this. Or driving next to a beach in an old convertible. I'll take either one. I think my internal rating criteria really benefits bands/artists that I've never heard but am pleasantly surprised by. Jorge Ben Jor is definitely in that category. So maybe this is actually a 3.5 but I'm rounding up to 4.

We talked about this at dinner before seeing the Stones. I love this record. I own it. And I have unsuccessfully sought reproduction prints of the cover art, which is by Tom Phillips. Eno's previous two records is also great but the fretless bass factors more prominently here. The prior two records feel much more guitar and synth based. I listen to Eno's music because it's interesting to think about how the sounds I hear factor into his production efforts for bands I love like Bowie, Talking Heads, U2, etc. But at this point, the songs were actually song like. Not long after this record, they just become soundscapes. Which is also cool. But they definitely don't grab you like this one does.

One of my favorite bands of all time. This record is ok but things really take off for me with their subsequent efforts (starting with "Remain in Light"). While Brian Eno is producer on this record, it feels like his impact on the sound is minimal. Almost as if the band had already written and arranged the material and Eno wasn't able to flex as much. That all changes on the next record. This is probably also the last record that features the core founding members, front and center. After this, Byrne starts bringing in aux instrumentalists ad nauseam. which is great. But, as an example of the tight four-piece that Talking Heads had become, this is The Record. The cover of "Take me to the River" is my favorite version of the song. Guitar interplay in "Artists Only" is wonderful. And, the version of "Found a Job" on "Stop Making Sense" is the moment in that film where things really start getting good. So, I appreciate the song for that reason.

Hard for me not to love this record. The cover art is really great. Reminds me a little of Led Zzeppelin's Presence, in that it has this ominous figure (a pyramid instead of an obelisk in this case). Musically, things can get a little repetitive but it's all balanced out by the great synth sounds for me. Sounds like soundtrack music a little bit. But the singles are memorable and nostalgic. In this moment, I want to give this a 4, but in reality, I think it probably only deserves a 3 given the company. Still, if Jane's addiction can secure at least three albums on this list, it seems like this should be rated as a 6.

Starting this record now. It's the first one that I've honestly wondered whether I can make it through the whole thing. I'll just say this - I don't listen to a lot of metal. But I've heard metal that I like way more than this. It just doesn't impress me as that great. Once you bring a double-kick pedal into things, the music degrades quickly. I like super heavy music that is made using more conventional rock tones/instruments/technology. Like, If you need more gain than a Les Paul through a Plexi, you're probably seeking some real dumb guitar tone. And, don't get me started on china crash cymbals. But, this is better than that Metallica record we listened to a few weeks ago.

I'm not sure there are many records that simultaneously exist as a complete thought while also representing the various sides of a musician better than this one. I love it. Every song (well, except for the sorta awkward "A Man Needs a Maid") is superb. The acoustic numbers are sentimental and instrumentally beautiful. The "rockers" are classics and show Young honing his characteristically messy-but-impressive lead playing. The electric guitar tone is vintage but still sounds modern. Neil Young's voice is sweet and what he lacks in pitch control is made up for in sincerity. I'm not sure he has ever made a solo record with as much commercial/pop appeal as this one. Walk into any record store and you can find five copies of this - four original pressings for less than $2 each and a reissue pressed on 180g vinyl for $40. that's the mark of immediate commercial success and staying power. There are other records he made after this one that I think are more interesting. And I hope they're on this list somewhere. "On the Beach" takes all the sounds here and turns them into art pieces with a much more politically-somber tone. And, his record with Crazy Horse "Zuma" is also a great one thatI hope we can listen to as part of this list. All that being said, the song "Words" puts this over the top for me. My favorite Neil Young song and what secures this as an easy 5-star record. I wish I could give it more stars.

What a brilliant idea. Start a record with summer cricket/bird songs. That way, every listener comes into the music with a happy feeling. And then, deliver with some good 80s pop music. I like this music a lot. I'm really pleased with the amount of British pop music on this list. Makes it worth the list's Janes Addition addiction. I have always heard about XTC but the name made me think they were goth or glam or something. Nope! They sort of sit nicely between Psychedelic Furs and the early 90s Britpop movement for me. There are so many sounds on this record that sound like they significantly influenced...wait for it...I say it all the time............Blur! Who cares? I do say it all the time. But, it's true and it feels like I found a new Blur record. "That's Really Super, Supergirl" sounds like it could be on The Great Escape. XTC is a band that will be in rotation for me. For sure.

Never listened to these guys other than the famous songs. It's cool. Guitar tones are excellent. Great riffage. Vocals remind me of Bruce Dickinson-era Iron Maiden. Also a good thing. But the drum beats aren't that interesting. Almost cliche. But, for all I know, Judas Priest's fame and success are the reason why they became common and cliche. Like the Beatles and sitars. Sounds hokey now but at the time it was like "whooooaaaaaaaa maaaaaaaan!" Giving this a three in relation to the other records on this list. It's good. No doubt also influential. But I wish a 2.5 was possible. In its better moments it sounds like Iron Maiden. In its boring moments, like AC/DC. Rounding up to three stars for the soaring vocals.

My grandma liked Leonard Cohen. Described him as "a gypsy singer" and asked me if I could get her a couple CDs. Thought to myself "sure egrandma, I can get you some of this grandma music." Went to New Moon Records in Mt. Pleasant and asked for a couple CDs. The guy behind the counter was super impressed that my grandma liked Leonoard Cohen. Was probably the first time I asked a question about music and got a positive reaction from the Jack Black-esque characters in that store. In hindsight, no wonder they were more interested in requests for Leonard Cohen than the latest Tool/Weezer release. Thanks for making me look cool, Grandma! This record is from the 80s. Sounds cool. The deadpan delivery of singers like Cohen has grown on me in the recent few years. Since seeing Nick Cave live. Sort of an extension of Bob Dylan's approach to barking/speaking important information atop interesting music. This delivers in that regard. But will I listen again? Not likely. At least this record. That's why this is getting a 3 and it seems charitable...

This is an almost perfect record. I'm giving it a 4. It isn't top notch like the handful of records I'll likely be rating as a 5 here. But it represents a moment, after Grunge brought authentic (no gated snare drums) pop-rock back into the collective consciousness. So, records like this and Counting Crows, Gin Blossoms, etc. were able to thrive in all their organic and human glory. I love Sheryl Crow's voice and had a crush on her because of this record. My sister bought the CD. I stole it from her along with No Doubt's Tragic Kingdom. For sure, Sheryl Crow was important for opening my eyes to how much prettier music can be when there is a femal vocalist. Why she had to work with Kid Rock later on, I'll never know. That's too bad. Her song on the Cars soundtrack is good too.

This is weird and fun. And what a change from the Buzzcocks for the singer (read that on Wikipedia). Definitely coming back for another listen. Lots of noise. Lots of pop melodies. But all backed with what feel like live takes in the studio (less synthetic than other similar bands from the same era). I'd put this up there with anything the Talking Heads did, and I don't say that lightly. What's not to love? Four stars because 3.5 isn't possible.

This sounds ground-breaking in its weirdness for the time. But I'm not really compelled to look further into that. The songs aren't timeless like the recent records on this list (XTC, Magazine, for instance). These guys really like to add distortion and tremolo to every instrument. I guess that's cool. Worked on "Crimson and Clover" so why not on every song. If the songs were better, I'd give this a 3. But its a two. Mostly due to the peers on the list. I might be discounting its influence. But David Bowie existed in 1977 too and I promise what he was doing was more interesting and weird.

Well, I love this. Like, really. Makes me think of the westerns my grandpas and dad watch. And also, Quentin Tarrantino. There is a lot of kitsche here. Every song is the same. But it's great. 3.5 but rounding up because I read that he was a pioneer of outlaw country. And, that's a subgenre I truly love.

I 100% know about Prince because of the Authier family. I credit this to Annie, who introduced me, but I understand the credit should actually go the Kris. Good for her. Bringing hyper-sexualized content like this to her youngest sibling at what was almost certainly not an appropriate age. When Annie and I were listening to this a couple years ago, it dawned on me at that time how filthy Prince's lyrics are. It's wild. I was in my mid-30s and felt it wasn't age appropriate for me...ha. Anyway, it doesn't get better than this, in this genre. For me, it's Prince and Madonna. They are the 80s/early 90s pop music champs.

[Rubs hands together in aniticipation] Ohhhhhh man. This record. I love it. It's one of my favorite records from one of my favorite bands. Before I go any further, let me just say its a five. No question. The single "My Old School" is one of my faves from the Dan's greatest hits. But the real gem here is "King of the World" which might be my favorite song by the band. The concept of the song is great - last many on earth is king of the world. The western-style but totally weird guitar on "Razor Boy" is a highlight too. This record is the band at an early stage before everything in the studio became pristine and perfect. Still feels like a band of humans playing totally live, instead of a bunch of androids playing live like on Aja. Also want to talk about the cover art. Front cover is a really interesting water color that looks like it is water damaged, which has a cool effect on a record sleeve. Looks broken in already....ha. And the back cover photo of the band in the studio...who wouldn't want to be there!!?? I don't think this record is particularly loved so I'm optimistic that we'll see more Steely Dan on this list. All of their records (sans Pretzel Logic) deserve a place on this list.

Definitely never heard this and I don't feel culturally-literate enough to understand it's importance. At the risk of seeming like I'm lumping black/brown people music together, I will say that I love the polyrhythms and they remind me of a stripped down version of Fela Kuti. Eeek. Hope that's ok to say. I can't tell if I wish there were more instruments or if I like the simple arrangements. The real highlight other than the rhythms is the vocals. Lots of back-and-forth. Cool. It's good. I feel like I'm not a good judge. Giving it a three.

Well, they sure got the title correct. Sounds like a record that a few sixteen-year-olds made after they pooled their resources, headed down to Guitar Center, and bought a Big Muff pedal. I mean, I guess it's cool. But I also think it feels like "you had to be there." I wasn't. In 1988 I wasn't thinking about any music that wasn't on the radio or being played at home by my dad. Mudhoney didn't exist in either of those realms.

The first time I heard The Verve's "Bittersweet Symphony" was Halloween 1997 at the Pontiac Silver Dome. It was U2's walk-on music and my dad and I were there because we won tickets. I think I had another social engagement in podunk Mid-Michigan that I cared more about and was bummed that I had to see U2 with my dad. That was dumb but I was 14 and was really figuring out how to be a dick for the most insignificant reasons. Today, this concert is one of my top 10 and a great memory I share with my dad. Anyway, U2 entered the arena from the end zone opposite the stage and proceeded to walk through the crowd while this song played. They were all dressed in costumes for Halloween. Bono was a boxer and sang along with this song. I'll bet he wished he wrote that song. It sounds like "Beautiful Day," which would come out just a couple years later. 1997 wasn't the year that I was interested in hearing British dudes sound like updated versions of The Beatles. That's what The Verve sounded like to me. But I held on to the positive memory from the U2 concert. In the mid 2000s, my Uncle Rick (Godfather) turned me on to Richard Ashcroft's solo records. I really got into "Alone with Everybody." Listening back to "Urban Hymns" was a nice experience. The Verve are a great band and much more mature than the bands they were grouped with at the time (looking at you, Oasis). I'd take this music over Oasis any time. I will listen to this record again if I can remember to. Hopefully "following" the Verve on Spotify will be the catalyst I need... ha. And, strangely, I'll think about U2 every time I do.

I saw Bob Dylan at the Breslin Center in 2004. It was bad. His voice was like gargling gravel. Ok, it was never excellent. But whatever. The real problem is seeing Bob Dylan play his electric songs with a bunch of studio musicians. The pristine approach that pros take to performing music has a way of sucking the life out, IMO, when you see a legacy artist. Nobody will ever sound as good backing Dylan than "The Hawks" back in the late 60s. You had to be there. Most of us weren't, at this point. I'd never listening to "Time out of Mind." I understand after reading about it that it's considered one of his best. It's definitely the best of his records that I've heard outside his 60s peak. It sounds like a band playing together. Not studio robots. That's all I ask, Bob. Also, I like how they added chorus to his voice - or whatever that effect is. This record had me from its staccato opening on "Love Sick."

Preamble: I don't know anything about Dwight Yoakam. Gonna try to be open-minded about this listen. The Telecaster tones are superb on this record. Reading on this, it sounds like the producer and utility man for this record (and much of Yoakum's career) is a guy named Pete Anderson. That's cool. This record sounds like a honkey tonk band playing through a ten foot tall rack of compressors, limiters, exciters, EQ, and plate reverb. I guess that's ok. But I'd prefer a more 70s production style for this type of music. But of course, I'm missing the point. The lyrics. They're good. This was a time when country lyrics were heartfelt and universally applicable - both at the same time. That's hard to do. And new popular country music lyrics are...well...awful. At least the stuff I hear coming out of the radio. But, of course, I'm missing the point. Dwight Yoakam's hips and dancing. At least, that's a big thing for Annie - who loves him. Ok. That's fine. There should probably be more country on this list than there has been. I mean, at least as much country as Britpop, right? Objectively, yes. But after listening to this, I'm glad it isn't so. Sorry Dwight['s hips]. Honestly, I have no idea how this stacks up against other country albums likely to be on this list. But I didn't like it as much as Garth Brooks and I'm sure I'll only be able to stomach a 4 star rating for his best work. Which makes me feel better about giving this a strong 2 stars.

When I was a teenager I worked a Ric's Food Center in Mt. Pleasant. Aside from bagging groceries and making sure my cash drawer balanced at the end of the night, I spent a lot of time trying to be cool (not be lame) in front of all the college students I worked with. It was a real point of pride when "Smooth Operator" would come on the Muzak and my coworkers would refer to it as my them song. As far as I know, they weren't being tongue-and-cheek. As far as I know. And that wouldn't be a smooth move, so I'm sure I was interpreting this correctly. When I was 17 I went on a legit date with my 21 year old coworker. That didn't seem weird or illegal to me at the time. Not sure it was illegal. But it was weird. And I was definitely not a smooth operator on that date. Ok, that's enough cringing for me this morning... Getting past that song on this record, it feels like a list of 8 potential b-sides. All are equally smooth, pretty, proficient, and well-crafted. But they lack the hook of Smooth Operator. Music like this makes me think "why not just listen to Joni Mitchell's far-superior mid-late 70s albums?" I'm not sure I have an answer to that question.

I'm gonna put aside the credible allegations against Ryan Adams by Mandy Moore and other women. Those allegations are credible because it wasn't long after learning of Ryan Adams's music that I learned of his self-aggrandizing ego. He's a real dick. But when I first heard Ryan Adams in 2001ish, this record had just come out. A drunken Brian Siers played and sang "New York" at my parents' 25th wedding anniversary party. That was a sight. He must've been drunk because he wasn't a singer and he knew it. I played guitar along with him just so I could have a front row seat to that train wreck. A lot of people don't like him (Ryan Adams) because he seems to hop genres a lot. He has made folk, Americana, country, rock, metal, etc. records. Not all of them are great (haven't listened to everything) but they are all convincing. I think he's a truly talented person who never really found an identity he wanted to settle on. I'm not sure the genre-hopping bothers me. At least until it got extreme in the early 2010s. Gold is a great record with a lot of diversity. I'll bet he had to really keep a lid on how opportune it was to release a record with a song paying tribute to New York just a couple weeks after 9/11. Other than that song (which is fine), the record has a few real gems (Answering Bell, When the Stars go Blue, Sylvia Plath, Harder Now that its Over). It's a great record and he should be proud of making something that immediately felt like a classic. My dad owns and loves this record, and that came at a time when I think he was pretty reluctant to listen to a new record by a non-legacy artist. So, there's that. Just want to give a shout out to Adams' best record (the double LP Cold Roses) in case it doesn't make this list. That record has a more defined sound throughout the entire track list and his band was top notch at that time. Ryan, why did you have to turn out to be an even bigger dick than we thought you were? That was no small feat!

I love Joni Mitchell. This is supposed to be her best record and one of the best pop records of all time. I can't dispute that. And for that reason I'm giving it 4 stars. Why not 5? Because I think she made better records that are also deserving of "best record of all time" consideration. Those include "Court and Spark" which is the follow-up to this record, and "Hissing of Summer Lawns" which is right in the middle of her very interesting 70s jazz/folk output.

Before all of this really overblown reverse-gated reverb, there was the Def Leppard that made "On Through The Night." Back when they had an even-number of arms. This isn't my way of disparaging Hysteria. Rather, I think Def Leppard's pre-fame records buttress the feeble pure pop-metal sheen of a record like Hysteria. Like, Metallica made three shred records and then they made the Black Album. You can hate on the black album (which I think I did earlier in this list), but where does a band go when they've mastered one genre. Hopefully somewhere. In the case of Def Leppard, that place was the top of the charts. There are worse places to be. But I think "Pour Some Sugar on Me" is a stupid song. I don't like that the 80s metal movement ended in a bunch of songs that had funny punchline choruses. Really tough to pick a rating for this record. I guess I'll be charitable and pick 3 instead of two. Really rounding up there. But I am because of the aforementioned history of this band, as well as the fact that this record seems to have taken the genre as far is it would ever go before Nirvana came and killed this bullshit. Also, Bon Jovi is better.

All hail Beyonce. Is she the best pop singer ever? Not sure but she's in the running. I never seek out her music but I never turn it down or off if I'm in control of the playlist/radio. She's so talented and such a babe. Crazy in Love is still one of my favorite pop songs ever. That song isn't on this record. I can't say that this record has any of the bangers that I know/love from her. But it still has her voice on it, so that sets a baseline of 3 stars. Her baseline is better than Janes Addiction will ever rate in this group (you hear me 1001 album generator!? No more Jane's Addiction!). There are such innovative sounds on this record. When the drums come in on "Haunted" its really great. And "XO" is a really great single. In the context of her other records, this is a 3. A solid 3. Look forward to reviewing Lemonade and Sasha Fierce. Hope they're on here too.

I bought this record on vinyl when it was reissued in 2010ish. Because everyone said it was a great shoegaze record. Ok. It's ok. Ride isn't my favorite shoegaze band and I think "Nowhere" is just fine. I mean, I'm never gonna tell a band to use less noise and less guitar pedals. I'm glad I'm listening again because I haven't listened to this record since I bought the reissue. If you asked me to rate before re-listening, I would have given this a weak 2. Now I'm giving it a weak 3. There is better shoegaze and I hope its on this list because I want to talk about My Bloody Valentine and Cocteau Twins. Like, real bad.

Holy shit. The opening to this record is not at all what I expected. Sounds like Willie Nelson and his band are backing such a beautiful voice. I love this and I'm truly surprised. I mean, I knew that I liked what I know of K.D. Lang ("Constant Craving" and that's it). Her voice, the surprise that she's actually a country artist, the lack of Southern baggage she carries as a Canadian, and my excitement to listen to this in the summer when I want to nap in a hammock...all lead to a surprising 4 stars. If this wasn't her debut, it might be a 3. Because it's not super original. But to come out of the gates so strong, is just incredible. I look forward to listening more to this record and her other music.

I never listen to ZZ Top but I like them. This record - from what I understand having watched a documentary a while back - was the crossoever that this band desperately needed after years of middling chart performance. They paid a lot of dues before recording this record. I don't need to say more than that. This record deserves to be on this list and it is a strong showing.

I love the sound of this record. Love those synths. I can hear the influence of the arpeggiated piano chords on The Smashing Pumpkins' "Eye" and the record's broader influence on the Pumpkins' subsequent (to "Eye") Adore LP. I'm thankful for that influence. I think the influence here on another band I love - The Cocteau Twins - can't be understated. It is what made CT more than another guitar-based shoegaze band (see Ride's "Nowhere.") On its own, and forgetting the influence it had, this record is great as well. Within it's relatively narrow scope of sounds, it has a lot of diversity from song to song. I especially like "The Things You Said." Giving this a solid 4. It brings together the great sounds from Kraftwerk, adds a pop sheen, and I like that a lot.

Another band I've heard about a lot from smart hipsters "in the know." I know they are Krautrock but I never knew they were this organic sounding. Because I associate Kraftwerk with that genre even more - or, I should say, they are my sole entry point into the genre. So, by comparison this doesn't sound like the Krautrock I know. But that's totally ok. I like the human element here. And it's truly crazy to think this was released in 1973. Given it's timing and influence, it's getting a 4 as well. And because I genuinely enjoyed listening to it. I'm like Oprah today "You get a 4! You get a 4! You get a 4!" Oh well.

I love the sound of this record. Great example of one of my favorite guitar tones. Fender clean pushed to the point of breakup. Lots of tambourine. A band that understands how to create a mood in the quiet spots, but can also build a wall of psychedelic sound. Lots of reverb too. Really cool. Now, about the songs. They're all pretty solid. But "Somebody to Love" and "White Rabbit" are so ubiquitous that they cast a huge shadow over the others. That has been a barrier to listening to this record in the past. I expect all the songs to be that immediate and catchy. But, they aren't. And that's ok. There are other songs that have a greater depth and more interesting arrangements. The songs "Today" and "Comin' back to Me" stand out in that way. Really happy I had the chance to revisit this record. I appreciate it more after this listen and don't think it's just a drug record that has been used in every documentary about the 60s when it's time to talk about the hippy movement. Is Grace Slick a great singer? No. But that's important too. Because it established the fact that women didn't have to sound pretty all the time to be fronting a band.

Have never heard of this. Can't think of a better example of why I like going through this list so much. What a pleasant surprise. I'm dancing in my office chair right now. Who doesn't love a band with a rhythm section this good. Especially that bass. Damn. And Kiwanuka's sense of melody (especially in the background vocals) is great. I feel like my criteria for rating these albums changes so much. So, I'm inclined to rate it a 5, but I'm also holding that for the truly superb records. So, I'll just say this is a strong 4. That's five "4" ratings in a row. Am I growing soft in my old age? We'll see...

This is where being a week or so behind on this list really bites you in the ass. Because I don't really want to listen to Christmas music on January 6th. Though, it's a good way to boost the mood on a day when we get to remember the Capitol Insurrection. Fuck those MAGA assholes. I'm rating this record (which I've never heard) in comparison to other Christmas records. As a result, I'm giving it a 5 and I'm going to try remembering it exists for the next 50 weeks, so I can listen to it at an appropriate time of year. One more thing: Phil Spector is a creep and a murderer.

Have genuinely never listened to this record. So, here we go... Man, that drum sound is H-U-G-E! Guitar tone is pretty killer too. I love how the Beastie Boys (and rap from this era, in general) always seems like such a team effort. Especially with the Beastie Boys. They always know when to underscore a punch line by screaming the lyric in unison. All that said, I just don't really care. I wasn't there and I feel like you had to be there. Or, at least, you really aren't in a position to "get there" when you're a 39-year-old dude from Grosse Pointe.

I know the name Marianne Faithfull but haven't knowingly heard her before. I know that she sang backup vocals on Neil Young's Harvest record. And I think she's more "of that era" but then I start listening to this record... This is so dang rad! Such synthy goodness. I'm really into it. Another record that BUT - Her voice sounds weak and strange. Again, haven't heard other things from her, so I don't know if that's an anomaly here, or that's what she sounds like. I think it works well for this style of music (which isn't necessarily known for great vocals). Just not what I expected for a person that *I think" is known for a great voice. [Note: After writing this, I looked the record up on Wikipedia and saw this, which may explain the voice: "The album marked a major comeback for Faithfull after years of drug abuse, homelessness, and suffering from anorexia."] I need to see what other great female songwriters were up to in the mid-late 70s. Between this record and Joni Mitchell's output, it seems like the ladies of the 60s were much more interesting after their careers peaked. I mean, does anyone want to hear what CSNY were doing in 1979? Didn't think so... This is a great record and I'll definitely listen again. Man, so many 4's in the new year. Need so shitty records to break this trend.

Well, that's some 90s graphic design on the cover. Wish I would have heard this in the mid-90s when I couldn't get enough music that sounded loud, melodic and nerdy. Not really sure why this is on the list. It's fine, but it doesn't hold up well against time or the other albums on this list. Oh, I looked it up. This is Bob Mould's band. That explains it. But my ears don't lie and my mind don't care.

War Pigs is my favorite Sabbath song, I think. This record is excellent. The drums sound so dead. The fuzzed out guitars. Ozzy's vocals are as strong as they'd ever be. I'll always listen to this record. It's heavy but also sort of mellow. I wonder if these guys smoked week? Heh.

I've never listened to this record even though it comes right after my favorite Neil Young record (On the Beach). I've heard it's not great and that Young was in a bad way during this time, after two close friends die of heroin overdose. Compared to most of his previous work, this record feels slight. Good piano work, though. And, the pedal steel that started on Harvest and continued through On the Beach is still here. Haunting things a little. That's cool. Still, it's not his best 4-5/5 star work. So, 2.5 rounded down to 2.

Never heard of Caetano Veloso before, but I recently (in the past couple years) learned about the Tropicalia genre. It's great. I learned about it when I got into a band called Chcano Batman. Of course there isn't a way for this [points to self] dumb American to relate to the lyrics. But this record, like the others I've heard in the genre, is a really nice blend of singer/songwriter, psychedelia, and pop. All good things. And, from what I know, the tropicalia movement was a fusion of art and revolutionary politics, so that's not half bad either. The standouts on the record are the horns and percussion.

Another one that I've never heard of or heard! That's cool. The reason I wanted to embark on this exercise. Read up on this guy and he managed the Sex Pistols and New York Dolls. His music sounds nothing like that. Thankfully. Since I listen to these while working, I have to say I love this record. Sits nicely in the background and creates a nice ambiance in the room. I'd listen to this any time I needed something chill that will fit in the background, but is still interesting enough to pick things out when I'm paying close attention.

Ok. That last record tricked me. I somehow had the first song on repeat. It was atypical for the rest of the record, which included rock and rap elements. I didn't care for it. So I would have given Duck Rock a 1/5 stars. For the record. Now, Strangways, Here We Come... The best Smith's record, IMHO. Enough said. 5/5.

Listening to a full Blondie record (something I've never done) really allows you to get past the weight of their massive hits and appreciate how fun and tight this band was. The guitar playing on this record is really great. I'm always a fan of a guitarist that can be playing melodies behind the vocals without competing with the main attraction: Debbie Harry. She's the bees knees. As far as single go, I love "Hearth of Glass." But "One Way or Another" is take-it-or-leave-it song for me. So, this record is mixed. But, I really would have liked to be alive in the late 70s when this record and so many other great records from Blondie, Talking Heads, and Bowie were happening. What a moment.

ANOTHER band I've never heard of. How in the hell did this end up on the list? Was it like a local battle of the bands to see who gets to open for the 'Stones? I kid. I kid. As rock records go, this sounds cool. There are elements here that remind my of Refused's "The Shape of Punk to Come" and that's great! That record better be on this list if "Scream Dracula Scream" is... All that being said, if I would have heard this in 1995, I would have bought it right away. But the guy's voice kinda sucks. So...2.5 rounded down to 2.

A record that I love and consider one of the best of the 70s - which is the best decade of music ever. So...

Cool record. It's a hyped band and I'd say they live up to it pretty well. This is the first time I've listened to a whole Joy Division record together. One thing though: What's up with the intentionally "wrong" notes the bass plays in "Disorder?" Yuck. This is a band, based on this record, that I'm glad existed since they insprired a bunch of music that I love. But will I return for another listen? Not bloody likely! https://www.youtube.com/watch?v=cx8jpyM5Vsw

This is a fun record. I really liked it. Another one I've never listened to. The crunchy guitars are cool. The vocals are unique but still listenable and well-arranged (backup harmonies are cool). It's like a really weird record that uses elements of music that are very "normal." And, this was released in 1972. Must have been pretty innovative for the time. And, an influence on Bowie, for sure. Right? I really like the mellotron in "Mystic Lady." It reminds me of the mellotron/synth pads in "Porcelina of the Vast Oceans" by Smashing Pumpkins. Real cool.

This is one of 3-4 Dylan records that I listen to with some regularity. I like the sound of the record. The shrill and clanky guitars, the long, piercing harmonica notes, and Dylan's songwriting, of course. I know this is probably one of his most heralded records. It deserves the accolades. "Rainy day women..." is a brilliantly subversive song. That being said, I'll reserve the 5/5 for "Highway 61 Revisited" and "Bringing it All Back Home."

Ok. I was pretty brutal to Metallica in a previous review, I think. So, clean slate guys. Slay me... The intro to the first song with the overlapping eBow guitars is a great way to lead into the pummeling. Love the guitars. Vocals are perfect for the music. Fuck Lars. Isn't that where 80% of people end up with Metallica? Haha. I don't talk a lot about cover art in these reviews, but it should be noted on this record. This album art hangs with some of Iron Maiden's finest, IMHO. And, that is to say, if you buy what's being sold, it's some great shit. But if you step back and squint your eyes, it also looks like something from "This is Spinal Tap." Both wins. So, I like this much better than the Black album. But it still has some Metallica hang-ups.

"Tiny Dancer" is such a sad song. So many Elton John songs are sad. I don't know what the song is about because I've never paid attention to the lyrics, really. In spite of that, I feel melancholy every time I hear it. It's a perfect song. Not every song on this record is THAT good. And, much like acoustic guitar-based music, it doesn't hold my interest through the whole run time. I think Sir Elton was the first "emo" singer. I'm cool with that. This record is great.

10/5. Oh, that's not possible? Then 5/5. I can't pick a favorite Beatles record, but this one is tied for first with a handful of others. I probably know this record better than any other Beatles record. It represents the band wringing the sponge of every drop of music they could muster, at the tail end of their harmonious/collaborative times. The songs are so varied. Every song on this record could have spawned an entire generation of bands that try to emulate that one 3-4 minute moment in the Beatles catalog. Eric Clapton's finest moment (by 10 miles) is on this record. I thought about listing my favorite songs, but the list basically just became the full record. People say this could have been a single album. They just haven't listened to it enough.

I think this is probably the best-known Kinks record, right? I think it's probably the fullest realization of their records that satirize/celebrate British life. There are some excellent songs here ("Picture Book" and "All of my Friends were There" are my faves). That being said, I prefer the record before ("Something Else by...") and after ("Arthur..."). This is a great record, but assuming both of those records will be on this list, I have to make room for them, so 3/5. But a very strong 3.

I don't know that I've ever listened to Muddy Waters. So, let's see how this goes...! Well, he's cited by pretty much every blues/rock singer/guitarist ever, and with good reason. This sounds like where it all would have come from. I'm not a connoisseur of the blues, but this was a great listen. Things that stood out to me were the quality of the recording, and how trashy (in a good way) the snare/hi-hats sound. And, I love the tinkling piano flourishes in all the right places. In addition to the guitar and harmonica chops. It's all good. And, I'll put this on again.

Well shit, I'm gonna have to remember this one when I'm grilling, hammocking, or otherwise relaxing this summer. I don't know what the lyrics are about, but the music is really fun. I also like the length of this record. It's almost not an LP. Four tracks at a total of 34 minutes. That must barely make the cut. Anyway, these songs need to be longer (liket he 11+ minute "Taaw"). Because they sort of lure you into a groove. And, for me at least, I don't really ever want it to end. Also, I feel like there is a lot of mastering compression happening on this record, and sometimes it has a really cool effect of smooshing everything into a wall of sound that is only driver forward by the hand percussion. Loved it.

Another cheerful (sounding) record that got me moving, albeit more sensually. Haha. Stan Getz. I had literally heard the name before. Nothing more. This is definitely one of the artists that I clicked "follow" on Spotify when I was a couple songs in. I think "O Pato" is what sealed the deal. It's the Flamenco/nylon string guitar. It shuffles. It sorta sounds like something that would be in a Mario Bros. video game. I love this one too. A strong 3.

Bill Corgan helped write a bunch of the songs on this record. It's gotta be one of the most successful "alt-rock" records of the late 90s, right? I remember when this came out, I loved the videos, and I thought this record (at least, the singles I was hearing) was more interesting than the previous Hole record. But, here's the thing: By this time in the late 90s, my msuic tastes had started deviating from the rock that was presented to me on MTV. Radiohead's "Ok Computer" (which was successful on MTV, I realize) started me down my first path of non-commercial guitar-based music. I learned that there was a whole world of indie-rock and electronic music waiting to be discovered. And that the "weirdos" on MTV were actually pretty lame-stream....ha. Some of that was true, some of it was teenage angst. Listening back to this record as an adult that loves a good tambourine track, I really liked it. Probably would have rated the record higher if I had it a more significant impact on music. But really, it was just a late 90s rock record that didn't suck (looking at you Limp Bizkit and Korn).

I've still never intently listed to an entire Pixies record all the way through. Here goes... Yep, still can't stand that guys voice. Which is weird, because I'm totally cool with listening to the slacker vocals of Pavement. The music is cool ("Here comes my man" is great). In fact, when I was first starting my college band (Those Transatlantics), I remember a friend saying my guitars were like the Pixies. Huh. Had definitely never heard them at that point. Then, I joined a band (FAWNN) that arguably sounds like the Pixies in almost every way. Still didn't take the time to listen to the Pixies. Yeah yeah yeah, they're cool. And, I guess in some ways they represent a current of music that fed directly into the previous record (Hole's "Celebrity Skin"). So, for that, I'll give it a strong 3.

I love this record. We own it. I listen to it 3-4 times a year. My favorite time listening was just after new year's in the early moments of a year at a party we were hosting a few years ago. I put this record on and the party that was waning picked up. I saw my friend's Dan and Iris making out in the room by the record player. I guess they like this record too. Elvis Costello has so much spunk. And he fits so many damn lyrics into a single 3-minute song.

Oh god. I probably should be nice. I don't like this record. It's not for me. A lot of the records on this list aren't "for me." I get that. But, the thing is, this record doesn't compel me to even try. I'm sure there are a handful of Emmylou Harris records that I would like. But, I'm sure they don't involve this new-agey production. 2/5 because you don't slight a legend with a 1/5, but that's probably the only reason why.

I couldn't find this record anywhere. The only thing I could find was a Spotify playlist of the Ornette Coleman songs on this record. The playlist is titled "Spy vs Spy: Ornette Coleman Plays the Music of Ornette Coleman That John Zorn Would Later Play Faster." HAHAHAHA! So, taking this music on its merits - It's some great jazz. But I can't really rate Zorn's version, so I'll give it a 2.5, rounded down to 2.0 for not being available. And, for seemingly trying to improve upon something already great.

This is one of the first records that Walden really liked. I haven't listened since he was probably 2-3 years old. So, 5ish years. As soon as I heard the first chords of "Hello" I was struck. This is such a good record and she is an amazing talent. I don't think the production is going to stand the test of time. Which is a shame, because Adele doesn't need any of that shit. Her talent is timeless, but it can't overcome those muted drum sounds for a perfect score.

My first introduction to this was on Tony Hawk's Pro Skater 3. It didn't get annoying listening to it constantly while I perfected a 50/50 grind around a cast of boiling steel. So... This is just boring dumb rock to me, though. So I don't really care. And since this list is already disproportionately filled with upset whiteys, I'm gonna penalize the 'head. Not 1/5 though, because these guys can clearly J-A-M.

Like the Beatles, I don't think I can pick an absolute favorite Neil Young record. It would be between this one, "Harvest," and "Zuma" probably. This record is paced in a really interesting way. The first side is more-or-less the Neil Young we had come to love to-date. The second half is just pure studio stonery. And I like it all. Apparently Young and his band were ingesting the early 70s equivalent of weed gummies (called honey sliders) when they made this record. That may have contributed to the laid back and loose feel of the B-side. All good. It was a proud parenting moment for me when I heard Walden once a couple years ago in his room singing to himself "I'm a vampire, baby. Sucking blood from the earth."

I expected this to be a dude punk band. I was wrong. I loved this record (not just for the record cover, either!). Cool vocals, rhythms, chink-chink-sqwink guitars, and that piccolo snare! It's really just groove music with a lighter hand. I know nothing about this band but I'll revisit this record, for sure. Sounds like something you'd be tapping your foot to in a head shop while buying tapestries and incense.

I like this band. They occupy a space that sits somewhere between the Britpop of bands like Pulp and Blur, and the art-rock of bands like Radiohead and Stereolab. That's really splitting hairs, unless you're a white guy that grew up in the 90s. Then you know that there has always been a niche ripe for the picking between those two subgenres....hahah. Anyway (I guess this two-paragraph review format it here to stay), this record is consistent with what I've heard from Spiritualized. Which is to say, it's pretty, melodic, repetitive, and sorta boring but in a cathartic way. That's fine. There are a lot of effects happening here on the instruments as well as in the studio during the mixing phase. I prefer the former to the latter in this case. But, they all make for a cohesive whole. Other than "Shine a Light" I don't think I had heard this record. I have listened mostly to "Ladies and Gentlemen, we are floating in space." I think this band was in the depths of heroin addiction most of their career. I hope they're better now. I appreciate the lethargic and dreamy nature it imparted on their sound.

What a dumb and easy inflammatory band name and album title. I think that's sort of their "thing." I don't care. I dislike this as much as everything else I've heard from the Butthole Surfers. Even when they had that one hit "they were all in love with dying and they were doing it in Texas" or whatever, I wasn't interested. I don't take them seriously, and I think they would probably be happy to hear that. So, I'm sure they're fine with 1/5.

Jesus, what a reprieve after the Butthole Surfers. Every time I hear jazz, I think a few things: "This is really proficient and top-notch musicianship" AND "I have no idea where this slots in with other jazz music" AND "I could listen to this in the background constantly. That being said, I typically prefer non-piano jazz. I mean, I like jazz with pianos. Just not as as the focal point. Except the Charlie Brown Christmas soundtrack. That's my jam. This is fine. 2.5 rounded down for not standing out. Oh wait. 1961. It must've made a splash at that time.

So happy to know that Aerosmith didn't always suck super hard. They were a scrappy and hungry rock band once. Cool! It's like all the things about Aerosmith are here, just toned down and tasteful. Never in my life did I think I'd be throwing a 4/5 down for the 'smith! Also, "Walk this Way" is such a jam. I love it.

That record cover must be iconic because I've seen the flame logo many times before. I thought this was a power pop/punk band solely based on the band name. I was wrong. I think to correctly assess this record it's really important to know that it was released in 1991 and not 2001. Haha. It sounds good and has great grooves. But woof, it's dated now. Still, though, there are some great direct-to-board clean guitar tones sprinkled in here and there. I noticed that "Unfinished Symphony" has a lot more plays on Spotify. I didn't recognize it but its a really cool song. In spite of how dated this record is (in a not-so-good way), I'm giving it a sold 3/5.

Two Simon and Garfunkel in a row. That's two more than I probably want to listen to. So, let's see how this goes... This record came out in 1968. Strange to think what happened to S&G in about five years. They went from being on the cutting edge of the youth counterculture movement. To being left in the dust while their proteges didn't bother looking back. In a bid for relevancy, there are certainly production tricks here. That's interesting guess. But it's still a couple of the least interesting icons I can imagine.

Let me start this review by saying that I forgot to mention in my previous [somewhat crass] review of S&G's Bookends, that the song "America" is absolutely their best. I love that song and it makes me tear up almost every time I hear it. So, I'll be adding a start to this record to bring their team average back up. Now, the "spices" record... It's cool. But it's so safe. It's cozy I guess. It's like sitar in 60s music. When we hear it now, it seems cliche, but at the time it was revolutionary. Likewise, the gentle delivery of quasi-social/political themes by folk singers wasn't always a predictable thing. And I think this record is much better if you listen with that understanding. Which is what I tried to do. There are elements on this record that feel medieval - most obviously the first track. I like that. And I like that it was picked up decades late by one of my favorite bands Fleet Foxes (not that there weren't other folk bands in the interim that did this as well). I should also say that I love the sweetness of the vocals. And, Paul Simon is such a great fingerstyle guitarist.

My grandma loved him. His vocals are mixed so high on this record it feels silly. I know that's the point with Cohen. But, I mean, we get it, man. It's distracting and I honestly didn't get into this record as a result. Hoping for more early-period Cohen on this list. All the instruments sound superb. And the lyrics (especially given his subsequent death) are prescient. It feels like a final farewell.

Over the past year, I've sampled some of LCD Soundsystem's songs. They're pretty good. I like the vintage synth sounds. I like the arrangments. The First song here is an example. It starts as a repetitive drum sample and fades in more and more instruments until...you're dancing. I like the vocals. But, I'm just not sure this is the type of music I want to reach for. I think it's good but rarely suits the mood. But I think James Murphy has done something incredible to make this music so broadly-appealing. I think they played Madison Square Garden on a couple night stand. I mean, that's big.

Those Transatlantics recorded with these hippy dudes in the woods near Mt. Pleasant once. I think it was called Woodshop Studio. Anyway, they were really pushing Supertramp on me. The one guy made me a CD-R containing every Supertramp record in low-quality MP3 format. I never really listened to it. This is a great record. The sound. The grooves. The vocals. I don't know where it fits in their catalog, but it has to be a peak moment, right? I expected a lot more cheese. But this is music deserving of a serious listen. I like how there are delicate and quiet interludes/breaks, broken up by meaty crunched out choruses. A band with a lot of instrumental depth. The first two tracks are paced in a way that makes it clear a serious listen (not while working) is warranted. I'll return for another listen, without a doubt.

This is the first CD I ever owned by my first "favorite band." Dad got it for me as part of his 'welcome" to Columbia House membership after he bought his first CD player. That was a big deal in our house because it sort of reinvigorated my dad's music consumption at an age that I was impressionable and interested in music for the first time. When I was 5-6 years old, I LOVED hearing "You Give Love a Bad Name" on the radio. My favorite pizza place at the time had a juke box with "Wanted Dead or Alive" B/W "Livin' on a Prayer." Man. Those were the days. $0.25 for those two songs to go with my 7-Up and pizza. So, obviously there is a lot of nostalgia here. But objectively, I think "Slippery When Wet" is one of the pinnacle moments of the 80s glam/hair rock. It's a well-constructed record, I like the pacing, and there are some big hits here. As far as I know, the members of the band haven't been taken down in any "me too" accusations, which is remarkable given the excesses of the time when they were touring. And, John Bon Jovi has turned out to be a real stand-up dude.

Noisy in a bad way. I'd rather listen to Devo. There is more melody and dorkiness there. I kind of suffered through this. I'm just not interested in taking a deeper dive after listening through this record. The guitars are really hard to handle. Sounds like a strat on the bridge pickup through a rat pedal. That should be against the law. HA. The bass holds it down though. Gotta hand it to that guy/gal.

Goths. They're cool. I always admire them when I see them walking around in pleather on a hot summer day. They really want to fuck with us non-goths. I'm so happy when I see an old woman clutch her pearls walking past a goth. Or a golf grandpa muttering about "how pretty they could be" if they didn't "dye their hair the color of snot." The singer of this band is the King of the Goths, right. Musically, this is right up my alley. Melodic guitar lines with delay, synths, and some truly emo vocals. Love it. But There are other bands with those traits that at in the 4-5/5 range.

One of the hippy guys that I worked with at Pizza Planet in Mt. Pleasant loved this band. I was always happy he was playing this instead of Phish. But that alone isn't enough to put it on this list...haha. I liked this record. Fuzzed out guitars and great vocal harmonies. What's not to love? I like that the record starts screaming out of the gates. No warm ups here like Supertramp. Which just proves there are a number of ways to effectively start a record. This is another record from the late 90s that I really wish I would have heard at the time. I was searching for something interesting at that point. Beyond the power chords of Nirvana, Bush, and Silverchair. But not so heavy like most main-stream rock at the time. When Weezer shit the bed after Pinkerton (I've since realized there are moments after that, but they aren't the lighting-in-a-bottle that the first two records were), I was really only left with Superdrag. Whereas the 'drag brought American Power Pop influences to my impressionable mind, Super Furry Animals would have brought in the UK pop sensibilities into the mix. There is a lot of Bowie and Eno-esque stuff happening here. And I love that. FAWNN played a show with Gruff Rhys in Pontiac once. He was a very nice dude and it was fun talking to someone from Wales about American Whiskey. He loved it. And weed.

Incubus was a reprieve from the stupid heavy/NuMetal bands of the late 90s and early 00s. They were heavy at times, but they also had a sense of melody. I listened to Fungus Amongus (I think that was the name), S.C.I.E.N.C.E, and this one. After this, the singer got pretty infatuated with himself shirtless. A friend remarked at the time "I'd like to staple a shirt to that guys fucking body." Indeed. But before Incubus were teenage girl and dorm room poster boys, they were a funky and heavy rock band that toured with 311. And this record was a sweet spot. But we're talking about a moment of relatively little musical consequence in the grand scheme of things. So, 2/5 is the best I can muster here. I was happy to find that revisiting this record, I still like "The Warmth" as much as I did in 1999.

People love this guy. I didn't get into it when I should have probably. I always think it sounds so good. This record is great but I don't care. Even though, on paper, it's a record I should love. Why? Because somebody said once that he's basically a one-man Beatles. It doesn't sound like that to me. It's excellent, but don't put that on him. It's like Oasis claiming to be like the Beatles. No they aren't! They're great, but it doesn't sound like the Beatles. And, if I go in expecting that, I'll be disappointed. Or, maybe it just becomes a distraction. Clearly it is, I'm talking more about the Beatles in this review than Elliott Smith's seminal record Figure 8! Anyway, this record. The instrumentation and arrangements are a 5/5. His voice is a 3/5 because it's too woozy and lacks the Charisma I want it to have. 4/5 ain't bad.

I've seen this record cover all over the place but never clued in. So, here goes. Open mind. Clean slate... I have an embarrassingly small frame of reference for music like this. But it seems so goddamned innovative to me and her voice is so pretty. The song "Two Weeks" has more than 80 million plays on Spotify, yet I've just heard it for the first time. It's excellent. The synth sounds on that song and the record, in general, are great. I think the production uses a technique called "ducking" where the various tracks/instruments duck out of the way (in terms of volume) when other instruments are hitting. So, like, the volume of the synth drops when there is a snare hit. It's like the next level in the volume wars that people like Rick Rubin hate. I tend to dislike it when applied to rock music. But when literally everything in a mix besides the vocals are synthetic, it's a beautiful effect.

Weight room music. It's fine. I don't have an opinion. I've heard most of this a bunch of times before. I understand it's an important hip hop record. I wish there was a 2.5 rating for "indifferent and ok with that." Also, why isn't this on Spotify?

I've listened to this record a bunch of times. So, I've returned to it and love it. It's weird to love a jazz record. I remember parts, but would never say anything like "this is the best song." It's just one piece here. Recently, we watched a Miles Davis bio on TV. He was so good and so many in his band went on to be greats. His 60s output was excellent too. I hope to see some of that on this list.

This just sounds quaint. After reviewing the Aerosmith record a few days ago, nice to have Run-DMC here as well. I actually really enjoyed this record and the production. The raps seem so obvious that even this white dude can finish the rhymes before hearing them. People must have lost their minds hearing this. That makes me happy. I was two years old. Totally missed it.

What a potpourri of genres and sounds. But they're all centered around a voice that isn't very interesting to me. Why is this record on the list. Would be a 3/5 in the normal world. But it's a 2/5 on this list - not as egregious as the worst here. But nothing special.

There is so much British music that is legit. This band is yet another cocktail of previous influences, and was clearly influential on what would come later. Another one that makes me think about the Britpop that would flourish 15 years later in the mid-90s. Adam & the Ants also incorporate some of the more ethereal sounds of their time. Which, if I had to differentiate them, would be what I'd say. But that gets to my overall point: Does ANOTHER band like this need to be on the list? I do like it, though.

I want to see this band live. That horn section is only rivaled by that rhythm section. Is this what westerners call "world music" because we don't know how to differentiate music with horns and polyrhythms? I know I'm ignorant on the topic. But I also know that I love it. If I were to criticize this in compraison to the other "world music" I heard (much of it has come from this list), I'd say that there are more drum breaks here and they aren't always interesting for the duration. "Congo Mulence" and "Blues a la Machito" pure groovy goodness though. Did I mention those horns?

Annie loves this one. For good reason. It's a crown jewel of 90s hip hop, right? And, Lauryn Hill is just so cool. Babe too. Sister Act 2 babeliness. Her voice is so great. Raps and melodies. And, just, like, the smoky sound of her voice is so appealing. This record jams. As a musician, I'm inclined to attribute this to her excellent band. But really, it's 80% Hill. She carries everything, including the Fugees. This record makes that clear. Her multi-tracked vocal harmonies are other-worldly. She uses harmony intervals that set her apart from others. Like CSNY and Alice in Chains do. Only with soul and attitude and smokiness. God this is so good.

Never heard of them. This record was important to me as a guitarist because I could "fake" playing all the songs on this when I was just starting out. I learned every song here. But what I realized is that it was more a relationship of convenience. I don't LOVE any Nirvan records. I LOVE some Nirvana songs. But it's hard for me to make it through an entire record, with the exception of their "Unplugged" performance. And, if I had to pick a studio record, I think it would be "In Utero." "Incesticide" is my favorite release though. I really like Bloom and Territorial Pissings from this record. From a pure musical enjoyment standpoint, this is a 2/5. Adjusted for its influence on modern music.

This was my favorite Led Zeppelin record for years before I heard "Presence" and never looked back. "Since I've Been Loving You" is in the running for my favorite song by the band. You want to know what makes me feel like the Beatles were mortals more than anything? The fact that this record was released the same year as the last Beatles record. I like to think I would have thought "F the Beatles, this is the 70s and I'm a Led Zep man" the way Jimmy Page wanted. Not sure I would have. But, this and Black Sabbath drew a line in the sand. Not to mention Pink Floyd's "Atom Heart Mother." 1970 was a passing of the torch in some ways. Even the Stones had to find their way and work their asses off to make records that hung with the new class of insurgent rock bands. What an exciting time in music.

Great band name. Can't believe it took so long for a band to think of that. It might be a sign that I'm reviewing too many records each day to catch up, but this record just sits there for me. I have no idea of the context here. But I would group a lot of other records from the same time period into this "sound" and this one doesn't really rise to the top. It's actually a little too slick - even by the standards of the 80s - for my taste. Take the piano solo on "Uncertain Smile" for instance. It's too perfect. Sounds like studio musicians trying to sound like a hip post-punk band.

[Cracks knuckles in anticipation of a treatise on Radiohead...] This record rescued my musical tastes. I really believe that. I was riding the Smashing Pumpkins wave that crested in 1995-1997, which had rescued me from my early guitar bands boredom (no offense Nirvana and Bush). While most popular rock music just kept huffing its own fumes until Creed's Human Clay was shat upon the world's ears, Radiohead were getting weirder and better. It was phenomenally important for me to hear a NEW band with this sense of melody, technicality, and sense of adventure. It's the first band that was releasing music where I felt "in on it." Like, I was anticipating in real time what might happen next. Also, it can't be overstated how macho rock became in the late 90s. It felt dirty to me even if I wouldn't have articulated that. Thom Yorke and this band were so unconcerned about looking like ballsy rockers. I loved that. "Subterranean Homesick Alien" is one of the best pop/rock songs I've ever heard. Lyrically, musically. As with all my favorite bands, I can't pick a favorite record. But this one, "In Rainbows" and "Amnesiac" are all vying for the spot at the top of the list, for me. Until I got into Steely Dan, this record was my go-to "test the sound of the stereo/PA." Also, it was the first new music I had listened to since the late 80s that my dad and I really agreed on. He heard "Paranoid Android" and was really into that. It made me feel good to have that approval when we had been arguing about music more often than not for the few years before that. I'm sure he was relieved to hear this coming from my speakers rather than Tool.

I hadn't listened to this record. I have heard "The Velvet Underground and Nico" and "White Light/White Heat." Other than that, I've just heard Lou Reed's "Transformer," which remains the best of all the records I just name-dropped. "White Light/White Heat" is a great record, but that's not what we're here to talk about (I hope it is somewhere on this list). This is a much prettier record than the first two VU records. Especially prettier than WL/WH. It makes for a much more listenable recording. And it also presages the success that Lou Reed would have after the VU. I'm happy to have heard this record because it's the only VU record I've heard that I would put on and relax. Their other records are just too jarring to make sense in most situations.

Big. Time. Pop. Record. When it was popular I was oh, so, too, cool. I was a dummy then. But I was also distracted by music like Radiohead's "OK Computer," which I think is a worthwhile endeavor. So, I'm giving this record a 4/5 for the impact it had on the people I know who loved it (almost every girl in my life between the ages of 2-20).

Wow. I really like this record. It's like a more interesting "The Police." Like, I own Police records and put them on occasionally, and often think "that's not as good as I expected." This record suffers from none of that. I really hope I remember this band the next time I think I want to listen to the Police. Reading about this band I see that they are connected to Food Records (a great Britpop label, I believe) and The Smiths. I can hear all that. Great stuff. I'm inclined to rate this as a 3/5, but since they are better than The Police, 4/5.

A more recent band for this list. I bought this record when it was released and still go to it a few times a year. It's nice and chill, but with a lot happening. I'm glad Adam Granduciel made a record that got him a first date with Krysten Ritter, too. I think they're still together. Good job, pal. His guitar rig is incredible. Like so many signal paths routed through several very nice guitar amps. I like that his vocals are a blend of The Boss and Dylan.

This is a ubiquitous record in a way that sets it apart from most on this list. This is a record that music nerds, musicians, casual listeners, and everyone in-between, love. I'm not sure that it's my favorite Fleetwood Mac record, but its up there. Their self-titled record that precedes this has some more interesting songs. But this one is their classic. And it deserves the accolades.

People hated it when Dylan went electric. Dumb. I love seeing retrospective videos with all those squares beating their chests about "folk music isn't ELECTRIC." The Hawks (the Band) could jam so hard. They were simultaneously loose and super tight. That's a tricky combination to pull off. 1966 was Dylan at the pinnacle of his coolness, IMO. "Ballad of a Thin Man" is one of my favorite of his songs. Not sure if it's from this specific concert, but there is such a beautifully shot live video of him playing the song on this tour. I think it was in the Martin Scorcese film "No Direction Home."

Willie Nelson's music is so peaceful. I love his voice and the tone of his amplified nylon string acoustic guitar. I like that this record is stripped down to just him, his voice, a piano, drums, bass, and that's about it. "Blue Eyes Cryin' in the Rain" has always been one of my favorite Willie hits. Though, "Crazy" is his crowning achievement as a songwriter, IMO. It was my grandpa Yuncker's favorite song and we would play it on the jukebox at Weaver's Tavern in Weidman Michigan, when we would go there for hot dogs and Busch Light. For me, Willie's music is honestly less about the songs for me than the laid-back and unassuming vibe. Loved this record and the loose concept happening. I've always just randomly picked a Willie record when I wanted to hear him. Now that I've heard Red Headed Stranger, I'll return to this one when I need a Willie fix. Wow, I made it through that review without mentioning weed!

I don't mean to sound cranky, but if we're concerned that this list might be a little heavy on the WASP entries, we can probably start the cutting here. Why in the world is this on the list? This sounds like something that would be playing in the candle section at a cider mill gift shop.

I've always loved "Tainted Love" but never looked past that into Soft Cell's other music. I really liked this record. Lots of electronic spunk. And, the singer has a voice perfect for the musical style. I like them because they have off-beat rhythms, a great sense of melody, and some wonderful sounding synths. Song title is dumb, but the synths on "Sex Dwarf" are rad.

I think I mentioned this in the RUN-DMC review, but this production style seems cliche now. To the point that I can't really get past it and review objectively. But this is a good record. There is so much pomp and circumstance and these guys obviously are tackling some themes that I'm sure the 1980s moderates thought were "solved." Just like we thought were solved again in the 2010s. Also, I love Flava Flave. Or however that's spelled. Overall, I liked hearing this more than RUN-DMC. Seemed to have more of a point.

The Hives weren't my new favourite band. Weren't my favorite either. The Strokes were (and remain) the best band from the garage-rock revival of the early-mid aughts. The White Stripes have grown on me in the years since. And the Vines, Hives, and all those others are sort of just footnotes in my mind. This record gets off to a big start with the lead-off single. That's a good move, but where do you go from there? In this case, you go into 11 other songs that are maybe sort-of almost as good. But it doesn't take more than a few tracks to realize this is getting old. Also, not to be too picky, but I don't buy the guitar tone. It feels like a studio-applied overdrive. That has to violate some kind of garage rock rule, right? Studio effects? These guys can write charming and catchy wild songs. Good thing because it saved them from a 1/5.

I never reach for this record when I want to listen to the Byrds. I should, but it's always between "Fifth Dimension" and "Sweetheart of the Rodeo." The former never delivers on the promise and sounds liek a band trying too hard. The latter is excellent but I've worn it out a little bit. This record is just what I need. I own it. But I never listen. The Byrds are tricky for me. They have everything I love. 12-string Ric guitars chiming away under gorgeous harmonies. Copious tambourine. But they also feel second-tier for me, in the context of other music of the time. But this record is great. So it's getting a 4/5. I'd probably give the other two records I mentioned the same score or higher. So, maybe they aren't second-tier, after all? We'll see if those other records show up on the list here.

The Beach Boys make it hard to be a fan of hte Beach Boys. The early stuff is easy to like, but the lack of actual substance wears thin quickly. Then, Brian Wilson stops touring and focuses solely on recording while the rest of the band is on the road. This produces their best record "Pet Sounds" which will be a 5/5 when it comes up on this list. With that success, Brian Wilson is emboldened to expand the art further and starts making Smile. The sessions are scrapped because he lost his shit, precipitated by Mike Love's gaslighting and emotional abuse. Then, thorugh the 70s, the band makes spotty records - including Surfs Up. I like the quiet and laid back nature of some of these songs and the production. But the songs aren't good. EXCEPT "Til I Die" and "Surfs Up," the latter of which was a song that escaped the acrimony of the Smile sessions and made it onto this record. They are both beautiful and haunting songs. And they are the only reasons this record gets a 3/5 instead of 1/5.

Wow. Nobody gives a shit about this record. The first track has 161,000 plays on Spotify, but the others have less than half as many. Another critically-acclaimed UK post-punk record on this list. It's a genre I'm inclined to like. But what sets this one apart from the rest? After listening, I'm not sure I know. They are a tight band, and they are less metronomic than other bands from this moment. The drum machines weren't taking over. That's good I guess.

My sister bought this record and I acted too cool for it even though I was intrigued. There were so many singles from the record. And Taylor Hawkins was her touring drummer. He slays in a performance of "You Oughta Know" on Letterman. This record is Morrissette's finest moment, by far.

This is a perfect record. It's the record that made me love the Smashing Pumpkins - and propelled me into their back catalog and caused me to wait with anticipation through the early 2000s when the original lineup ended. I can't wait to review the other records by this band on this list (there better be at least a couple more). The subsequent "Aeroplane Flies High" box set has 30ish more songs that are all good enough to have made it on the single LPs of other bands of the time. The pumpkins weren't grunge but they were the best band of the grunge era. I could type forever about every song here. Every song on this record has had a moment for me. Where it was my favorite song on the record, and I was listening to it on repeat. I scoured the lyric sheets for meaning. And I learned how to play the hardest guitar parts I'd ever played at the time. 10/5.

New heard of this band in my life. Pretty cool stuff! I like the guitar interplay. So many times, when I try to listen to punk/post-punk bands like this, I get two songs into the record and decide it's too one-dimensional. Obviously, this 1001 Records exercise doesn't allow me to abandon ship. But I also don't think I would have bailed if I had the option.

This record was released in 1996, so go easy on it. This record was released in 1996, so go easy on it. This record was released in 1996, so go easy on it. This record was released in 1996, so go easy on it. This record was released in 1996, so go easy on it. This record was released in 1996, so go easy on it. This record was released in 1996, so go easy on it. This record was released in 1996, so go easy on it. This record was released in 1996, so go easy on it. This record was released in 1996, so go easy on it. I couldn't care less about a record that sounds like this in 2022. BUT, this seems pretty innovative for 1996. When you think about it, pop music was transitioning at that time, and even rock bands were incorporating electronic elements to expend their tonal palettes and remain relevant. For those reasons, I can see why this was considered an important record. It's pretty chill, which I can appreciate. But the production style and canned drum beats (I like programmed drums, but they shouldn't sound like a preset rhythm that came with the drum machine out of the box) are a barrier for me. I've given better music two stars, but this is better than a 1.

I've always like Tuina Turner from a nostalgic perspective as an 80s/90s kid, and because I love the Mad Max series. But we watched a documentary on her a year or so ago. She's incredible and I have so much respect for her. This a great 80s record and it has her biggest(?) single ever in "What's Love Got to Do with it." I love that song. And, I appreciate that she provided sample material to Missy Elliot ("I Can't Stand the Rain"). I never knew that's where that sample came from. It's a great song. And, the synth sounds on this record are top notch.

I'm doing my best to care, but I just don't. I read a little about Arrested Development (which I knew nothing about) and it sounds like they tried to be a counterpoint to the gangsta rap happening at the same time. Fine. But some of those more "aggressive" rap/hip hop artists had something valuable to say. This reminds me of DC talk making a different record for every genre to try and steer teens away from the rap, grunge, etc. paths on sin. That is such a cynical move - to assume that people are listening to a specific type of music solely for the sonic touchstones or "image" of the artist. In this case, making "rap" more palatable to the suburban Karen/Ken demographic, which produces these results...

I know a lot of people who were into this band. I wasn't, but at the time this record came out, I don't think I even knew about System of a Down. It wasn't until Toxicity that I heard their music. 1998 was a year when I took a different "fork" in the musical road than the SoaD path. I liked some heavy bands, and my favorite band at the time (Smashing Pumpkins) were getting heavier (with the exception of the Adore record), so my mind was open. But also, Radiohead's "OK Computer" made me realize this tough guy bullshit was unsustainable. If you don't believe me, watch the documentary on Woodstock '99. I want to give this a 1/5 because I'm feeling saucy, but then I have to remind myself how much better this record was than what, say, Cold, or Staind, or Korn, or Limp Bizkit, or Creed was doing at the same time. So, it's punching above its weight at 2/5.

Ambient? Yes, please. I've never listened to an AT record all the way through. While the title suggests this is a compilation, it's actually a debut record. That's clever. I would say I enjoyed this record at face value. It sounds dated, but a lot of stuff on this list does - that's the nature of this list, right? Great music from all eras? Also, given the impact this record (and subsequent AT releases) had on bands that I love like Radiohead, Kent, Wilco, etc., I'm even more into it.

This record was released in 1967 and it was her 10th studio album. Let me get this out of the way and say that its a 5/5. The band is so great, and Aretha sits on top of the mix demanding attention but not being a diva about it. I love that she was a great singer, powerful singer, with something to say, but she wasn't trying to fit 700 notes in each line. The melodies were most important. Love this record. The piano ballads (A Change is Gonna Come) aren't usually my jam, but her voice just cradles you and takes you on a journey. She makes me proud to be from Detroit/Michigan.

Never heard of this band. Saw the name and the year it was released (1984) and thought "here comes another new wave/early Britpop band..." but I was wrong and I'm thankful for that. Then I read about them, and it is Paul Weller's band - which explains the new wave naming conventions - but that he wanted to take a more soul-based approach. Interesting. All of that is good. But, this is not a record I would return to.

If I'm being honest, this is the only Nirvana record that I ever could listen to front-back without stopping. I love how subversive Kurt and the rest of the band was about the performance (not selecting the hits that MTV surely wanted them to play). It's also a great opportunity to hear Kurt's voice and how sweet and delicate it could be. I didn't know that before I heard this record. I love that they paid tribute to other bands they loved with a few covers. The Bowie cover is great. Standouts for me are "about a Girl" (especially the guitar lead), "Pennyroyal Tea," "Something in the Way," and "All Apologies." Great to see/hear Pat Smear's guitar playing included. And, Dave's turtle neck sweater is a real period piece.

Johnny Cash went out on a high note with this record, after a long run on middling records. That's my understanding of the importance of this record. I think its a great record. His voice is obviously shredded by years of abused vocal chords and the fact that he was in and out of hte hospital during the making of the record. I remember hearing the NIN cover and thinking it was cool. But I definitely wasn't paying attention to country music at this time (never really have). I revisited this record when Cash was en-vogue again due to the "Walk the Line" movie. Another subversive musician. Love him. And this is an objectively great record.

Another artist I've never heard about. 3.7% of Kid Rock's persona/style could be traced to this record, I think. But I won't hold that against Dr. John. I'll be honest, spoken word over ramshackle blues music isn't really my thing. But I gave this one a fair shot and I'm glad I did. There is a a tinge of the tropicalia musical style on songs like "Mama Roux." I'm into that.

If I had a dollar for each time I tried to get into The Doors, I'd have about $7 unearned. That's because I don't think I've ever made it more than three tracks into a The Doors record before getting bored and turning it off. People love this band. But are those people music lovers with a critical ear, or hippy poseurs? That question certainly reveals what my answer would be, doesn't it? I mean, the music here is fine. Repetitive but fine. My barrier is Jim Morrison's lyrics. Just dumb repetitive cliches and druggy bullshit. Which I can be fine with, if they are a springboard to thoughts or creative visions or whatever. Still, I'll give it a 3/5, since 2.5 isn't possible. Not sure why. That feels generous.

Ok. Ok. I can't dig this. I like the loud/quiet/loud dynamics. And, this wasn't derivative having been released in 1993. There are things happening on this record that are far more interesting than the more popular rock artists of the time. I saw Adam's review that cited Tool. That makes sense, especially some o the quieter moments. I'd actually tweak that assessment a little bit and offer that it sounds like A Perfect Circle, which obvs has some serious Tool vibes, but with more conventional time signatures. I might've been tempted to give this a 4/5 (rounding up from 3.5) but the reality is that I probably won't remember to listen to this again. It just doesn't stand out enough. And, when am I in the mood for this kind of thing? Rarely.

I'm back in the saddle after so long. No surprise that a record I don't have a natural affinity for (white cynical dudes with delay) is waiting for me when I return. I'm such a dick. Anyway, here's 100% of my non-MTV/radio exposure to Jay Z: His collabs with Beyonce. But you know what's cool, the undeniable grooves in those collabs are here too. This is what I notice about Jay Z - his samples, arrangements, and instrumentation is all looser and less robotic than other hip hop. I like that. The bass on this record feels real. His raps are also chill, even when aggressive. 4/5, because 3.5 isn't possible. Jay Z benefits from my guilt for abandoning him [and this project] a few months ago.

What were The Temptations like in 1972? Was this the end of the initial wave of Motown? What could they still offer in the 70s when so many other acts were poised to take up the funk/r&b mantle? Well, it sounds pretty great. Wait, is this a live record? I don't think so, but the album start gives that vibe. Cool. I like it when bands do that. Here's the thing, though. This record doesn't really have 'the hits.' Not gonna hold it against The Tempts. Except, they're only getting 3/5 stars, rounded up from 2.5.

Don't recall what I said about The Fall before. But I remember them being on here. This record came out in 1994. I like the odd lo-fi mix of electronic drums, ratty guitars, and don't-give-a-shit vocals. Some of the guitar lines, in particular, are catchy and melodic, which takes up some slack from the vocals. I like that in a band. The guitar tone is cool. It sounds like the earliest iteration of Amplitude (but it's obvs not because Amplitude was just a glimmer in Mr. Amplitube's eyes in 1994). That's a longwinded way of saying the guitar tone is hottt. How can I give this record 3/5 stars when I just gave the same thing to a Temptations record with at least one career-defining hit? Because there are 1001 of these damn records and consistency is out the window at this point. And because we've clearly established by now that my bias toward noisy white dude rock is crippling in an exercise like this...

Never heard this dude but he can play the hell out of a guitar. But I had heard his name a few years ago when Blur's Graham Coxon released a solo record of mostly acoustic music and cited Jansch as a significant influence. Maybe I listened to a song or two then but never followed-up. That's too bad this is great! Infinitely more listenable that American "folk" of the time, IMO. Also, "Chapelle Show...Chapelle Show..." Haha.

I wouldn't say I'm ride or die with U2, but I also end up defending them a lot. I guess I'm just surprised that people aren't more willing to look past the annoying stuff about U2 (Bono; overstated musical innovation/influence; foisting new albums on iPhone users) and consider all that they bring to the table. This record is one of their best, IMO. I never really listen to it. But I honestly wonder how much of that has to do with the audible gasp in the room/car any time U2 comes on...there is never a good time. 4/5 because its one of the most influential records by a seminal 80s band. Their Red Rocks performance from this era would be 5/5. But a lot of their catalog would be in the sub-3/5 realm. Which I'm sure we'll discover through this process. Hell, I might have already said a different version of the above in a previous U2 review. Who knows. Also, The Edge is clearly outclassed by Jack White and Jimmy Page in that "It Might Get Loud" documentary.

I had a moment with The Rat Pack. I was dating a girl in college who loved them and had other musical preferences that I fully endorsed, which opened the door in my narrow mind. I specifically remember a day in Indianapolis driving around to the art museums, downtown, coffee shops, canals. This felt like a fitting soundtrack. Frank Sinatra is great. I prefer Dean Martin even though he isn't as good a singer. But mostly, I'm glad that the early Rock n' Rollers saved us from another couple decades of this stuff. BUT - This stuff has a time/place/setting when its the perfect thing to put on. No idea how important this record is in the Sinatra catalog, but it deserves a 4/5 for the sheer volume and the backing band is so great.

Ah yes, the hipster-preferred Fleetwood Mac record. In spite of that (because of that?), I really like this record. After a couple records woven from a delicate fabric of gold and cocaine, this record feels like a genuine attempt to do something different. I love their self-titled and "Rumors" records - probably more than this one - but I have to reward the effort of branching out artistically in the face of what I imagine was a lot of pressure to make another record the same way. And, I feel like there were personal challenges for the band members at this time too... BWUAHAHAHA. Also, f*** Daisy Jones & The Six.

Movin' Out is one of my favorite Billy Joel songs. I learned about the song in college when I had a roommate who used to play it on his piano. In many ways, it feels like Billy Joel took Paul McCartney's 1965-1975 piano-focused songs and continued to refine into the late-70s and 80s better than Sir Paul ever could have. Good for him. I also know that - also taking McCartney's tactics a step further - Joel was a total jerk to his studio and live bands. Which sucks. For me, Billy Joel is more of a Greatest Hits artist. The album tracks sound just as good but the songs aren't quite there. His talent and worth are never in question, but based on the criteria of competence not artistry - if that makes sense. So, I sorta get 3-4 songs into a record and then I'm bored. As a result, 3/5 ain't bad for BJ.

I love the way this record sounds. You know - like the end of the 90s. It sorta hints that the garage/post-punk revival of the 00s was just around the corner, waiting to rescue discerning listeners (shines fingernails on shirt) from Korn, Creed, Staind, Cold, Slipknot, Limp Bizkit, etc. That's cool. But it's the timing of this record that is key for me. It predates bands that got more credit (and were male-fronted, except Yeah Yeah Yeahs) for doing something similar just a couple years later. I also like that this record blends some non-garage elements (subtle electronics and glitchy samples). Definitely adding this artist in Spotify.

I currently have a trial subscription to Sirius Satellite Radio. I listen to the Bob Marley station more than I'd expect. My favorite is the "classic" recordings that sound old and...smokey. I love this record. It has a couple classics. And it just feels right. The title track is really great and I'd never heard it before. The backing vocals...so good.

I love Talking Heads and this is the band Jerry Harrison was in before joining the 'Heads. I've never listened to them. Sounds like a bridge between conventional 70s rock and the post-punk of Talking Heads. Shocker. This stuff is cool. I dig. Feel like Im giving out a lot of 3/5 lately. But there have been some pretty middling records. And I guess this is one of them.

Breakdown and American Girl on your first record, eh Tom? Not too shabby. The silence and space between the notes in Breakdown are striking. A lot of bands are afraid of the silence and Tom and the HBs use it to their advantage. Everything on this record sounds great. Most of the songs could have been hits and nothing is a "skip." Tom Petty is one of the best and this is such a great debut. The instruments all sound great. His voice is so unique and expertly produced. I really can't say enough. Oh, the Heartbreakers logo with the Flying V is also great. RIP Tom.

This record is in regular (handful of plays a year) rotation in our house thanks to Annie. Before she put it on the first time, I never the greatness of Carole King. Now I know that this record is just the spillover from the hits she was packing into other artists' records. Incredible. The session players on this record walk the line - the perfect balance of looseness with proficiency. I also like that her voice isn't diva-level. It feels more earnest and believable. Personally, I'd rate this record 4/5 for my preferences, but its a 5/5 because I just need to get over myself and admit this is a near-perfect record.

Oh! An 80s British New Wave band I didn't know about! This list is definitely putting me in touch with all the bands that influenced the bands that I thought were the actual influencers. Hah. I will note that there are a lot of great things happening in the music production-wise. Heaven 17 (dumb band name) packs a lot into a single song. But does that make a good song, or an annoying song. Unfortunately, it seems like the latter - at least, on a Wednesday morning when I just want something more chill. But, I'm giving this a 3/5 (probably closer to 3.5) because I can see this being a great curveball record to throw on in the right moment when a gathering needs an infusion of unique energy.

I mean, thanks for the sample. And for the rest of the great songs. This record sounds INCREDIBLE! Perfect production. But, when you come out of the gates with "Good Times," where do you go from there? There are worse answers to that question than "six other totally solid songs that will have you swaying and shaking your white suburban ass, what the fuck else do you want from me? Oh, a sample for one of the most iconic hip hop songs ever? Ok. Boom."

When I see the words "The Who" in a playlist I'm never excited. At least this is from the 60s, before the band became bloated and annoying and was fully embracing a blend of raucous garage and psychedelic influences. I like the cleaner/compressed guitars, the rowdy drums, and the lack of repetitive synth loops. But Roger Daltry (that's his name right?) will be forever "meh" to me, so the best I can muster is 4/5, rounded up generously from 3.5.

Never really listened to this band. Love the record title. Who gives a shit if the Beatles did it already? That's a statement. This record has a lot of charm. When I first started listening, I thought it was just sloppy early 90s music. Then, I realized its deceptively-proficient early 80s music with a singer that blends Springsteen, Petty and Cobain (not yet a glimmer in popular music's eye), into a really compelling front person.

Everybody tells me to listen to Jeff Beck. This is Glenn Burmeister's favorite guitarist and a top pick for my friend/bassist Joe. So, I wonder if bassists have an affinity for him... Adam? The bass is great on this record. What I like is the loose structures and tightness of the rhythm section. Oh, and the amazing guitar tones. I don't want to be constantly handing out compliments by way of backhanded jabs at other artists, but... How TF does Eric Clapton even have a career when people like this are his peers? I''ll definitely be listening to more Jeff Beck. Love the Rod Stewart collar track. Were these guys in the Small Faced together?

I've never heard this band but based on the name, I assumed they were some kind of junk hardcore band. HAHA. Nope. Feeling pretty emo and I'm good with that. The distorted power chords remind me of early Weezer, Pedro the Lion, and Elliot. All bands that I love. But, here's the thing with emo. If it didn't hit me when I was an emo teenager, can I still really immerse myself in it? Not really. So I missed the boat, and as a result this is [perhaps unfairly] getting a 3/5.

Well, isn't this wonderful? Peaceful. Blissed out. Smoke some hash and let it rip... My uneducated analysis of this is that it brings together familiar (by now) elements of Eastern music with contemporary instruments and production. I really like it but have no context for evaluating it further. I will definitely return to this for future listens. Saturday and Sunday morning coffee time.

One of the few rap/hip-hop records that broke through into my indie-rock consciousness during the 2000s. This is a sprawling record that I owned and admittedly only listened to a couple times. "Hey Ya!" was obviously the hook. Even my dad covered that song in his acoustic trio. Wild times.

Other than his hits and "Songs in the Key of Life" I have no experience with Stevie Wonder. So, I recognize a couple songs on this record but I'm hearing the album tracks for the first time. The guitar and electric piano interplay on "Visions" was unanticipated and really enjoyable. Of course, "Living for the City" is a great song. Something I don't talk about enough in these review is album art. I really like the cover art for this record.

I remember the first time I heard Frank Zappa. I was shocked at how cogent it was, given what you always hear about the guy. The instrumentation, songs and arrangements on this record are really elaborate and beautiful at times. I like those moments. But then, there are songs like "Willie the Pimp" and I'm fine never hearing those again. Zappa was a collaborator with Captain Beefheart. I think he might sing on this record too. I recognize his voice. I prefer Captain Beefhearts records.

I hated this shit when i came out and I still hate it today. 1/5 because 0/5 isn't possible.

Note from my last review: I meant to say "I hated this shit when iT came out." Not "...when I came out." Now, on to much better music - Super Furry Animals. This record was a favorite of a guy I worked with at a pizza place in college. He played it often in the kitchen while we were slinging' 'zas, and I always liked it. Very chill. in the late 2000s, FAWNN played with Gruff Rhys (might have spelled that wrong) and he was a real nice guy, increasing my like of this band. I'm a real sucker for chilled out and dreamy music like this, but even considering that, this feels like an important and beautiful record. Love the strings/electronic arrangements. And, I really like when a song like "Rings around the world" comes in with some more fundamental rock guitars and vocals (Beach Boys-esque). It balances things out to have some more tangible tracks among the looser/dreamier ones. Yeah, I love this record.

This is the follow-up to my favorite Joni Mitchell record "Hissing of Summer Lawns." It sounds a lot like that record, only the bass is more prominent (Jaco plays on this one). I'm not a huge fan of the overwrought fretless bass work. But, that's Jaco. And, it isn't enough of a distraction to diminish this record for me. And and, for most people I realize Jaco is an asset here. I just gotta say that Joni's mid-70s run of records is criminally underrated. I could take or leave the early folk stuff (sorry), but this era is her finest.

Here we go again. I don't care but I should care more. On the way to soccer games, the boys like to listen to "pump up" music which usually skews "classic metal." Whenever we try Metallica, it doesn't work out. Is it because Lars is a talentless tool? Maybe. But I think it's because SOME melody is needed for us soft suburban boys...

Even though I prefer the weirdness and abrasion of "Plastic One Band," this is clearly the standout solo record for John Lennon during his inconsistent-at-best post-Beatles run. There is an excellent documentary (Netflix?) on the making of this record. There is a magical scene where all the other [stoned] studio musicians are trying to cling for dear life to a new chord progression John is teaching them. Meanwhile, George Harrison is there [also stoned] following the chords and anticipating them with lead melodies. It's incredible to see George and John seemingly thinking with the same mind. Other than the title track, I really love "Jealous Guy" and "Oh My Love."

Ok. So this is the one with the synth arpeggiator intro. Cool. Now, let me muster some "I care about and I'm open minded about The Who" energy... Here's the deal. You can use a bunch of unconventional instruments on a rock record. But there has to be: A) prodigious playing, and/or B) great songwriting, along with it. Instead, what we have here is the same three chord jabs and sub-par singing. Two stars 100% earned by Keith Moon's drumming.

All my friends who love Cocteau Twins agree that this is their best record. It probably is, but my favorite is the one after this (Four Calendar Cafe). I'm giving this a 5 because its objectively in the top 2-3 shoegaze records of all time. I love this genre and this is one of my favorite bands of all time. There is nothing objective about this review.

Some of these reviews (see the last couple) are based on my memory and a few tracks of "relistening" to reacquaint myself. I know nothing about this band and I couldn't tell you anything about this record except the title track, so I'm going to listen all the way through. Because I should know more about this band's catalog. Impressions: Holy shit, actual musicianship. This isn't programmed MIDI bullshit. This is such a classic record. I like the cover. What was once cool, became dated, and now I can't tell if this record is from 1982 or 2022. What drums are real or triggered live vs. programmed. Hard to tell, but this band does a great job of making synthesized music have a lot of life. It sets them out from their peers who we've already reviewed on this list. The bassist rips. They're the reason why the record has so much life. Great rhythm section. That's something, again, that doesn't get said about a lot of bands from this genre/era.

I. Just. Don't. Care. I've tried. It doesn't work. New Order is better.