This one took me back. I listened to it a bunch on a road trip to Florida 20 years ago. I'm not huge on rap but I've always said Eminem is a brilliant lyricist. Here is living proof. The Steve Berman interlude is one I still paraphrase when talking about differences in rap styles. I'd rate the album a 5 if the back half didn't drag a bit. Still, it's a wonder to me how someone like lil Nas X ever came out as gay in the rap world with so much homophobia and false male bravado. Some of the lyrics are instant cringe material. I appreciate how he puts his words and thoughts together even if I disagree with the message.

Somber. Honestly, I was expecting more soaring vocals but it feels like he was trying to be restrained so as not to be one-dimensional. That's not to say his incredible vocals aren't on display but it's not like a Celine Dion album where every song is rising to a climax. Sometimes it's just even, intense vocals throughout a song. You've got to respect his decision to put his vocals and lyrics front and center. I guess with vocals like his that's an easy choice. I think his lyrics got better over time - he hadn't quite found it yet. But you can see the potential in Mother's Pride, Cowboys and Angels, and Praying for Time. Soul Free was a disappointment - like the record producers got their way with a track. Too cheesy. Fortunately Waiting takes it out on a big high note. From a pure enjoyment perspective I probably give the album a 4. But from a concept perspective and what he was trying to accomplish and the raw emotion, it's a 5.

Funktastic voyage for sure. I now get why George Clinton is an oft-cited musical influence. I can hear everything from the Commodores to Bruno Mars in this album. A little too decadent at times but some cool stuff. I found myself laughing at the storyline and personas within P-Funk (like listening to the Ladies Man narrate a song). Sometimes that got annoying later in the album. The underlying beats on both Mothership Connection and Unfunky UFO were super cool. Sometimes it felt like the album blended together too much, but I wonder if he/they were going for seamless.

This is not the best selling debut album of all time (well, for a time) for no reason. If you love classic rock this is an essential. But what would I tell someone who hasn't listened to it 1000 times? Equally pounding vs. deft guitar playing, great harmonies, impressive guitar solos. And yes, some cheesy lyrics or hitting of high notes and added studio effects that likely aren't needed but that defined this era (Queen) or foreshadowed the next (Van Halen). The transition from Foreplay to Long Time is a classic music suspense moment. The last minute of Let me Take you Home Tonight is classic rock excess at its best. Essentially every song has an infectious musical intro (Peace of Mind) or verse (More Than a Feeling) or both (Smokin) that you can't help but rock out to. And if you just want to rock out, you'd be hard pressed to find a better, more fun album.

I knew that Genesis had changed their style throughout the years but I didn't realize how much they were prog rock early on. Gabriel's lyrics are strange (they always are) but refreshing - they force you to listen and think. The musical arrangements are at times sweet and serene and then other times heavy and pulsating (maybe too electro piano/synth heavy). I enjoyed Dancing with the Moonlit Knight but I didn't get the popularity of Firth of Fifth - it's a fine song and I enjoyed the piano and flute work, beyond that I wasn't all that fired up. Of the long songs, I liked the Battle of Epping Forest a lot more (weird and wonderful). And I loved the Cinema Show - just a unique, magical 10+ minute musical journey. More Fool Me isn't bad but feels like it belongs on a different album (start of it blends nicely into Firth of Fifth then lyrics and music go a slightly different direction). It doesn't have the same seamless fit as After the Ordeal and Aisle of Plenty, and I realize the former wasn't wanted on the album at first. I think that says something about the former (it is beautiful). Prog rock isn't my scene but this album is quite good. I wonder what it was like listening to it on a good acid trip.

Eclectic. I really only knew about a couple of their 80's songs, which after reading up on I discovered was after one of the key founders/members left. The opening track got me hooked a bit, but I wouldn't say the rest of the album kept me there. There is a lot of stuff going on the arrangements, I'll give them that even if I didn't always love the sound.

This one took me back. I listened to it a bunch on a road trip to Florida 20 years ago. I'm not huge on rap but I've always said Eminem is a brilliant lyricist. Here is living proof. The Steve Berman interlude is one I still paraphrase when talking about differences in rap styles. I'd rate the album a 5 if the back half didn't drag a bit. Still, it's a wonder to me how someone like lil Nas X ever came out as gay in the rap world with so much homophobia and false male bravado. Some of the lyrics are instant cringe material. I appreciate how he puts his words and thoughts together even if I disagree with the message.

It almost seems unfair or obvious to give this album 5 stars. How would you not rate one of the top 3 rock bands of all time as a 5? But some bands grow into their best stuff. Led Zeppelin was amazing from the get go. Some straight ahead pounding and feet-stomping tunes (Good times bad times and Communication breakdown), some soaring ballads (Babe I'm gonna leave you), some trippy complex arrangements (is there any better example than Dazed and Confused?), and everything in between. Probably not even my favorite Led Zeppelin album and I'm not a super fan or anything. But you've got to respect their talent.

The album moved quickly - it was over before I even realized I had been listening. I had to listen again because I couldn't remember what had gone on. Overall, I'd say it's an uneven album. Silver was a nice leadoff and had me thinking I knew that track or other ones - but couldn't quite place it. The Killing Moon is their signature track but I found it a bit boring. Ultimately, it was all a little too similar and without enough buzz. Decent 80's rock and you can see how it fits in with the Cure and the Smiths, just not quite as good.

And this is exactly why I wanted to join this group. Why have I never heard of these guys? And I'm from Canada where we love everything from the UK (apparently). UK music gets plenty of airtime. I've been going through 90's rock recently discovering some of the pioneering UK bands from that era (that are excellent) and I'd put these guys in that mix for 70's-80's punk. Just as good as any Ramones album. Loved it all - and now I've got a band to go listen to more of.

Kind of surprised their 1997 album is on here. To me, if there is an absolute must Blur album to listen to it's 1994's Parklife or 1995's The Great Escape. Still, it's Blur's last great album. Beetlebum is a good opener despite being a little unusual in its sound and mixes. Song 2 obviously brings down the house every time but it's pretty unique for Blur. I guess they have some other pounding rock songs like MOR and Chinese Bombs, but more typical of their style are tracks 3, 5, 6, 11. And no Blur album would be complete without something like Essex Dogs (featuring more Damon Albarn speak than singing) - although I could do without it. You're so Great (track 7) feels more like one the Gallagher brothers would've recorded - but still a good tune.

This seems like a perfect album for the transition from gloomy 80's Brit rock to more upbeat Brit pop. Feels like a direct gateway to Oasis, but even Ned's Atomic Dustbin or Teenage Fanclub before them. There She Goes has been so overplayed that I can't stand listening to it, but the other tracks are quite solid. I Can't Sleep and Timeless Melody are catchy but with enough musical and vocal edge to it. Doledrum reminds me of another British band & song that I can't quite put my finger on, though the guitar work is a bit too poppy for me. But maybe it was intended to be more rockabilly like Feelin' sounds like. Overall, I'd say that even when one song might let me down a bit, the very next song picked me right back up. A very solid album.

Somber. Honestly, I was expecting more soaring vocals but it feels like he was trying to be restrained so as not to be one-dimensional. That's not to say his incredible vocals aren't on display but it's not like a Celine Dion album where every song is rising to a climax. Sometimes it's just even, intense vocals throughout a song. You've got to respect his decision to put his vocals and lyrics front and center. I guess with vocals like his that's an easy choice. I think his lyrics got better over time - he hadn't quite found it yet. But you can see the potential in Mother's Pride, Cowboys and Angels, and Praying for Time. Soul Free was a disappointment - like the record producers got their way with a track. Too cheesy. Fortunately Waiting takes it out on a big high note. From a pure enjoyment perspective I probably give the album a 4. But from a concept perspective and what he was trying to accomplish and the raw emotion, it's a 5.

Well I got an education. Janis Joplin always seemed to get mentioned on her own but she had just as many album with these guys as solo. Man, that voice. One of a kind. Huge plus and makes the song something special on I Need a Man to Love and Turtle Blues. But at times the album was too self-indulgent, like the opener Combination of the Two - aimless guitar work and warbling. Ditto for Oh Sweet Mary. But I didn't mind any of it on the longest track Ball and Chain - 9 minutes wasn't enough and Joplin was electric. I'd put it right up there with Piece of My Heart, which is an all-time great, gives me chills everytime.

You know, the synthesizer is such cheesy 80's fare but the greats did it well. Jump is no exception (though a little much on I'll Wait) - you can't help but get sucked in. Of course there's still room for some vintage Eddie (RIP) on the track. And more amazing guitar work on pretty much every track (listen to House of Pain). And then DLR is at his decadent best on this album. Those two just make the album what it is - Panama and Hot for Teacher are classics but they are really ridiculous songs with nothing to them except for the combo of EVH and DLR (to be fair Alex Van Halen's drum work on Hot for Teacher is awesome too). Drop Dead Legs is the best showcase of all the musicians - AVH does good work and Michael Anthony gets time to shine too. Stellar album for anyone who likes rock and even those who don't.

Slick and cool. Not normally my thing (I know little about jazz) but this was an easy and smooth listen. I quite enjoyed Ingoo-Pow-Pow with some vocals. The album had some touching pieces and some uplifting ones. Grab a scotch and let this album play.

I have not listened to these guys in ages. Great combo of simple beats and electric vocals. The lyrics are simple and unspectacular, but the solos and harmonies are infectious. Well, at least when the women (Caron, Rose, Do'Reen) are the focal point (less enamored when the men are front and center). Both the band and album are so appropriately named - funky soul and you could fill up a night at a club playing these tracks. Everybody knows Keep on Movin and Back to Life (a definite classic) but spend some time with Feel Free, Fairplay, Happiness or African Dance.

Tough one to rate. First off, if you've never or barely heard of them, they're better than you think. This album is quintessential MSP - a more adult alternative rock with lyrics a mix of observational perspective of everyday life (e.g., A Design for Life, Kevin Carter) or political (e.g., Elvis Impersonator, Everything Must Go). If you put together their best songs from the 90s you'd have a great album. This one is just good. I hate the term Britpop because I feel most of those bands were rock, like these guys. Softer vocals and more instrumental mixes then you get with American rock (and its angst or edge) but their guitar/bass/drum work is still good (check out Enola/Alone or Australia, or Sleepflower on the album Gold against the Soul). It couldn't stay grunge forever and they can rock. But they mix it up, not unlike some of the new American alternative at the time like Third Eye Blind. In the end, the album is a bit uneven.

I tried but just couldn't get into it. I love lyrics, it's part of my listening experience and my french is so out of practice. But unlike opera (or a good Rammstein tune), vocals didn't just fade into the background or blend in with the music. And I think that's because the music was also very cheesy; like Super Mario meets all inclusive Caribbean resort.

Outside of a few songs I could never stand Bowie's music. Not to say I don't respect him as a musician, just not my cup of tea. Golden Years still holds up. Word on a Wing is a pretty beautiful piece (even if I don't feel compelled to listen to it again). TVC15 is funky. Stay gets better the more you listen to it. Didn't change my view on Bowie but I give it a 4.

Wow. Infectious. Twenty seconds in and I was blown away by the beauty of his playing. I know in another post I said I enjoy lyrics too but not necessary here. I went down the rabbit hole to find out about him and this concert - pretty much just him "jamming" and figuring it out as he went. Wow. Part 1 is incredible.

I remember when I was about 10 I couldn't get enough of Fast Car, always waiting for it to be on the radio. In my late teens my dad was in a folk phase and listening to Tracy Chapman, Elliot Smith, etc. and I listened to this album over and over. Her lyrics are so deep and personal (and political) and so is the way she sings, like you can feel her pain (and sometimes happiness) through the song. Fast Car - \"see my old man's got a problem / he lives with the bottle that's the way it is / says his body's too old for working / his body's too young to look like his\". Across the Lines (a little too on point these days?) - \"Across the lines / who would dare to go / under the bridge, across the tracks / that separates whites from blacks?\" On repeat all day. Back half not quite as good as front half (musically, lyrics still top notch) but still a real solid album. Maybe 4.5 but I'm gonna round up here.

Gotta say I liked their second album better. This one is still fun and energetic, and they know how to hook you to start an album (Family Entertainment is a great/catchy opening track and Girls Don't Like it is similar at #2). But it was a bit more uneven and didn't always keep ahold of me. I know their style and this whole genre is often juvenile, but some songs I thought "really, you wrote about that?" (case in point, Mars Bars...and I love Mars bars). The main guitar riff in Teenage Kicks sounds oh so familiar - like they ripped off Anarchy in the UK or God Save the Queen. Or maybe some song after them that I know ripped them off? Still a good tune, but left me wondering. Might be rating them a bit high because of how much I liked their sophomore release.

Was intrigued with this one as I know how much Waits is revered by true music lovers. Underground was not a good start - not sure what the allure is of angry Slipknot-like growling with Big Top circus musical accompaniment. I'd say one or the other but tracks 3 and 8 were the latter and I hated it. So need the right music with his voice - I quite liked 16 Shells from a 30.6 and Gin Soaked Boy so its doable. Shore Leave wasn't bad - still eclectic music but vocals not so off-putting (even the end of song warbling). In the Neighbourhood had some cool lyrics, Rainbirds was pretty, and the title track was alright. But his voice is just awful (it's like listening to the Cookie Monster) and there's way too much weird stuff and not enough good stuff that I'd want to listen to more than once (if that) or listen hard for the lyrics.

Funktastic voyage for sure. I now get why George Clinton is an oft-cited musical influence. I can hear everything from the Commodores to Bruno Mars in this album. A little too decadent at times but some cool stuff. I found myself laughing at the storyline and personas within P-Funk (like listening to the Ladies Man narrate a song). Sometimes that got annoying later in the album. The underlying beats on both Mothership Connection and Unfunky UFO were super cool. Sometimes it felt like the album blended together too much, but I wonder if he/they were going for seamless.

Slick. Did some background reading (like everyone else I think) and discovered these guys were the backup on Simon's Graceland. Cool. You could easily put this music on in the background and have it run all day - not disturbing, occasionally noticing something really special. And I think that's both good and bad in that it kind of all blends together. But if you had to have something that does that, it would be this sound. Beautiful, positive energy.

My god the 60's in America were F'd up. The Gift epitomizes everything I've seen in movies and recordings about that era - the drugs, the sex, the grungy and wheezy guitar riffs. Listening to that track was like watching Beyond the Valley of the Dolls (a truly F'd up movie). It might've been okay if it wasn't so completely overdone (8min). But kudos to the effort and the creativity. And if I thought the Gift had edgy lyrics, Lady Godiva's Operation took me to new depths. Didn't mind the music layered in. The whole album kind of reminds me of Kanye West in that they try so hard to show how intelligent and cool they are through their lyrics and beats. Arrogant is the right word. Still, it's a solid album (minus the production value, which is nil). The title track, Here She Comes Now, and I Heard Her call My Name are all fun little tracks albeit with some excessive guitar work in all of them. Cut out the self-indulgence and depravity (see Exhibit Z, Sister Ray) and you'd have a real winner. 3.5 at least but I'll round up to 4 just to have an even more different take than others. Seems fitting given the extremes of the album.

And see? That's why you can't just have American Music. Yes Violent Femmes, I like American Music but if I only liked it my 60's perspective would be warped by the Velvet Underground. Just need a little Zeppelin to bring it all back. Don't get me wrong, both VU and LZ were inspired by drugs but LZ brings a different ferocity. Would this album be anything but a 5? Of course not. You know all the big tracks and everything in between. I'll just say that the little pause between Heartbreaker and Living Loving Maid is one of my favorite musical moments, just knowing what is coming next. I rock out every time.

I admit that death and thrash metal is a bit of a guilty pleasure. I don't love the screaming but I love the frenetic guitar playing and booming bass lines. So Roots Bloody Roots hooked me in, and the singing made me wonder if I should stay hooked. Another issue with this genre is that it all kind of sounds the same. And I don't just mean this album - yes, some songs sound similar to each other but also to so many other Slipknot, Disturbed, etc. albums. Mixing in some Brazilian / Latin music (and bongos!) gives some songs a different feel, but absent those features it can get monotonous. Ratamahatta was pretty unique actually with its use of Brazilian sounds; didn't always love it, but kudos to the band for doing something different. Conversely, I really liked the mix of thrash and Brazil in Breed Apart, but the final moments with distortion was truly irritating. Loved the music in Straighthate, needed some melody somewhere though. Got kind of monotonous from there for about 5 songs. Jasco and Itsari changed it up with some nice acoustic, almost classical Spanish guitar playing. Showed a bit of chops there. Good album as far as death metal goes, need less screaming though.

Ah, this is your brain not on drugs (or on less hard drugs). A completely different album than their sophomore attempt. Very Beach Boys, Jan & Dean, Frankie & Annette etc. in terms of its upbeat tempos and bubblegum rock feel. The lyrics are a bit edgier of course but it still feels like safe/G-rated 60s rock more than half the time. Even when it goes dark it doesn't really feel that way given the musical arrangements. A bit of a Bob Dylan feel. Sunday Morning is a very inviting opener - I'm sure the old folks and middle agers thought "oh now this is a nice band" hearing it. Femme Fatale has some awful distortion in it and is one of a few darker tracks with some unusual musical accompaniment (3,4,7,10). A bit schizophrenic in terms of whether they are happy rock (I'll be Your Mirror) or edgy rock (Heroin). A fine album but nothing truly remarkable about it.

I know a few of the songs off the album but never listened to it in full. It's solid. You can also see their influence in taking Brit-Pop from Blur and Oasis to a slightly more frenetic pace that defines (not just in the UK) the post-punk alternative sounds of the late 90s and early 2000s (Kaiser Chiefs, the Strokes, the Vines, etc.). Loved the first half of the album, got a little boring, monotonous, or just not as good in the second half.

Would I dare rate this less than a 5? Nah, but I can understand if others think a 4 is enough. His guitar work is pretty amazing sometimes, and other times it gets lost in the equally as impressive percussion and bass work (e.g., Fire). Mitch Mitchell and Noel Redding are damn good too. I think you need to listen to the lesser known tracks (e.g., Third Stone from the Sun) to truly appreciate the greatness of his guitar playing ability. If you paid more attention to the popular tracks, you might be fooled into thinking "yeah, he's pretty good" and not more than that. Then again, that's probably if you came in knowing how good he was and said "prove it". With a more clean slate, you should be blown away by the whole "experience" - lyrics, singing, guitar, bass, drums.

Strange and wonderful. Of course Brian Eno was a producer - I didn't know much about him, Roxy Music or the Penguins but I'm learning...and that means eccentric. This album is like someone said "why don't you try to make classical instruments sound cool and modern?" It's all original stuff but for the all-instrumental pieces I find myself saying "this must be like an elevator cover of some song I know." Somewhere I read this group described as avant-garde. I still don't know what that means, but what a fun trip.

Listened to it twice. Some stuff cool, some stuff annoying. Respect for her being so different from anything else. Pretty good vocals and lyrics (not afraid to be raw and just out there). Could probably listen to it in the background all day without noticing it much, music kind of melodic. But I'm not going to ask anyone to put it on for me.

Meh. A bunch of covers is not my idea of a must-listen album no matter how much wailing or energy they bring. Loved the first song The Witch (an original) and it made me think how that sound has come around again in the last 10 years with some of the heavy folk rock piano bands (Nathaniel Rateliff & the Night Sweats). Didn't love their other originals (they were okay) and couldn't give a rat's ass about their covers.

I think If I was more knowledgeable about the progression of rap, this album would be even more impressive. Still, when you consider how cheesy or juvenile rap was in the 80's (Sugarhill Gang, Young MC, Beastie Boys-at times), you can appreciate the rawness of the lyrics and songs on this album. I'd say one knock is how some of the songs are just being angry at or trying to be superior to other "gangstas" or women. Some, like "The Day the N Took Over" and "L'il Ghetto Boy" has more political commentary like his work in NWA (or work by Public Enemy) and that's the stuff I really appreciate. I probably also don't appreciate how much his sampling and beats changed the industry. But looking at just how much he sampled and layered in, it's pretty impressive.

You know, the whole time I was thinking "this sounds like every time Batman and Robin got into a fight" in the Adam West series of the 60's. Then I saw another post - same guy produced both. I thought the first few used a few too many "whams" via horns (or whatever, I don't know jazz well). But the back half slowed it down or changed the tempo nicely. Midnite Blue made me think of Grandpa Simpson after he lost out on Marge's mom to Burns. Splanky made me think about the intro to the Naked Gun. Jazz is not my thing but it can still be a good thing. Cool album from a group and bandleader I knew nothing about.

First 35s of Music is Love is just beautiful. The vocals kind of ruin it. I was surprised I didn't love this album more than I did. Overall the musical arrangements were pretty stellar but not as seamless as I thought they'd be - again, either some so-so vocal accompaniment or some weird instruments added to the mix. Orleans was a beautiful track - both the music and the vocals (CSN-like harmonies). The album would be a 5 if it was all like this.

I know there's some big fans of this group or genre in the Rabbit Hole. I didn't mind the album, didn't totally love it either. I did have it playing all day so that says something positive. I didn't really like the buzzy distortion sound in Earthquake (and at times Don't Cry). The dreamy rock in Sailing, Helicopter, or Desire Lines was more up my alley; really loved that last song. Memory Boy and Basement Scene sounded like 60's rock taken to new heights. Fountain Stairs and Coronado got a little heavier (didn't mind it) and then the start to He Would Have Laughed (and the riff that goes throughout) was just super cool. Great way to take an album home.

I know he's the King and all, but I was a bit underwhelmed. Thought the album would knock my socks off. Still solid. I listened to it a whole bunch, looking for variety or seamlessness or something. Lots of reasons to like it and his unworldly talent is on display, but missing a truly unique X factor on this album. His backup singers doing that annoying low guy/alto voice was also pure drivel - stand up to your producers man. I'll give it a 4 cuz he's the King and cuz I just gave that Deerhunter album a 4 (prob should've been a 3) so can't go lower.

This is not the best selling debut album of all time (well, for a time) for no reason. If you love classic rock this is an essential. But what would I tell someone who hasn't listened to it 1000 times? Equally pounding vs. deft guitar playing, great harmonies, impressive guitar solos. And yes, some cheesy lyrics or hitting of high notes and added studio effects that likely aren't needed but that defined this era (Queen) or foreshadowed the next (Van Halen). The transition from Foreplay to Long Time is a classic music suspense moment. The last minute of Let me Take you Home Tonight is classic rock excess at its best. Essentially every song has an infectious musical intro (Peace of Mind) or verse (More Than a Feeling) or both (Smokin) that you can't help but rock out to. And if you just want to rock out, you'd be hard pressed to find a better, more fun album.

F$*&. This is what I hate about modern rap and R&B (thanks Dre). The opening track's lyrics are super deep to start and the music accompaniment is great. Her voice is also very good. Raw energy. And then it devolves into f$*&ing your man and how big his dick is. Track 3 doesn't even bother with the pretense - let's just sing about pussy. Again, thanks Dre and other trailblazers. One day I'll really delve into this because I love rock, which is often about sex, drugs, and rock and roll. Perhaps its the bluntness of R&B that gets me, and perhaps rock has more poetic innuendo. Or maybe I'm being unfair to R&B and biased toward rock. BS lyrics and typical tropes aside, there's a lot to like about the album. Drew Barrymore is awesome; real powerful. Prom is a little poppy, but I quite liked it. I kinda knew where The Weekend was going from the opening sleazy/porn beat. Kind of stayed that way for a few tracks - a little more poetry and innuendo than earlier tracks though. All in all, she is a good lyricist, just wish she'd write about deeper stuff more often (like 20 Something). Music, beats, tracks well polished.

Interesting sound. I had no idea who these guys were but apparently they're set to join the rock and roll hall of fame. I'm not sure I'd go that far but they have some catchy beats. I think I could probably play this as background music for a party or get-together and it wouldn't seem out of place. Not sure I could wear out a cd listening to it though. Europe Endless sort of epitomized the whole album - cool underlying beat but annoying high-pitched or distorted synth layered in. Interesting that Trans-Europe Express mentions David Bowie because I was thinking this wasn't far off from some of his "artistic expression". Not sure who inspired who. Definitely grateful I got exposed to this album and these guys, but not going to be my go to.

You know, electronica back to back is not a good thing. Any genre back to back likely isn't good for this list. Need to cleanse the palate. The problem with Orbital is that they repeat everything so quickly (e.g., some phrase or beat on loop). It's mind numbing. Kraftwerk at least paused for a bit before coming back to the same phrases. And their beats didn't feel so incessant or monotonous. Planet of the Shapes had some really cool beats but it lacked variation or it didn't layer in its beats well. It's like they have one dominant beat and that drowns out everything else - it's all you can hear and it just repeats. More variation in pacing, timing, and beats is needed - in almost all songs. I think if I was in solitary confinement and you played this album I would go crazy after about two revolutions. I don't think I could play this album as background music to a party unless that party was a rave. Its inferiority is glaringly obvious when placed next to Kraftwerk.

I always thought Steely Dan had a style all their own. Sometimes I liked it, sometimes I didn't. Ditto for this album. Kudos to them for bringing their own brand of funk or jazz (or whatever) to rock. Surprised Rikki Don't Lose That Number (a good one) was the only one I recognized. Some songs grew on me (Night by Night, Pretzel Logic) and some didn't (Barrytown, East St Louis). Respectable, but there's plenty of other albums I'll turn to from this era when I need it.

It's amazing how these guys can take that simple beat from Jamming and use it / transform it across a bunch of different songs (Natural Mystic, So Much Things to Say) and have it sound new / not tired every time. Whatever the beat or the sound, there's so much energy every time. Marley's lyrics (on the politically charged first half) are second-to-none. And when the lyrics are lighter in tone on the second half, the whole experience of the songs ramps up (and there are still some great lyrics). Of the lesser knowns, I really enjoyed The Heathen (some edgy guitar work). Just an incredible album. As an aside, I hate when they remaster albums and add stuff to it (e.g., tracks 11 and 12). There was a certain feel and seamlessness to the original album, and although Punky Reggae Party is fun, it doesn't fit with the rest.

And once again I got an education on some music (post hardcore) I thought I knew but really didn't. Doing some reading, I saw how some people label the sound as screamo...I got a kick out of that. Like thrash or metalcore, I love the manic musical energy but don't love the scream singing. I also love the intricacy to their playing (much more than thrash) but don't love when it gets all smashed together in a ball of noise. On this album, the vocals and scratch/grating effects on guitar get to be a little too much after awhile. Or right from the start - I didn't love the opening track, too much chaos. Still, these guys are very good at what they do and I can see why other bands in the genre cite their influence. I think their creativity and skill are really on display on Do you Compute, Luau, and Hand over Fist. At times I really loved this album, other times meh. Maybe my rating would go higher if I listened to it 10+ times. For now, certainly respect but not adoration.

Blondie is way better than I thought; I've told myself this a few times over the last year as I listened to more of their songs (going down different rabbit holes). Case in point, the lyrics to Heart of Glass are really good but I always thought it was just a fun disco-fused tune. Check out the Toadies version of it (acoustic and all the disco stripped out) and the words really resonate. And while I may dislike a lot of pop and new wave that was inspired by Blondie, this album is great. Nothing remarkable about their musical chops but the arrangements are fun and catchy and well put together. And Debbie Harris is a commanding presence on vocals of course (cliche maybe but she is just amazing on One Way or Another). They kind of ran out of gas on the last track (Just Go Away). All in all the album still holds up.

Ironically, I spent some time on the weekend listening to some modern dj mashups (thanks to my brother in law) and they were just awful. So I appreciate Fatboy Slim and what he does even more (and it's definitely more than mashups). Rockafeller Skank and Praise You were always well-orchestrated and catchy tunes but it's his lesser knowns (Gangster Trippin, Kalifornia, Soul Surfing, Love Island) where I find myself tapping along to the beat and nodding with respect. I'm still not going to play this album on repeat (partly because the looping he likes to do can get excessive and annoying), but it's solid.

I knew that Genesis had changed their style throughout the years but I didn't realize how much they were prog rock early on. Gabriel's lyrics are strange (they always are) but refreshing - they force you to listen and think. The musical arrangements are at times sweet and serene and then other times heavy and pulsating (maybe too electro piano/synth heavy). I enjoyed Dancing with the Moonlit Knight but I didn't get the popularity of Firth of Fifth - it's a fine song and I enjoyed the piano and flute work, beyond that I wasn't all that fired up. Of the long songs, I liked the Battle of Epping Forest a lot more (weird and wonderful). And I loved the Cinema Show - just a unique, magical 10+ minute musical journey. More Fool Me isn't bad but feels like it belongs on a different album (start of it blends nicely into Firth of Fifth then lyrics and music go a slightly different direction). It doesn't have the same seamless fit as After the Ordeal and Aisle of Plenty, and I realize the former wasn't wanted on the album at first. I think that says something about the former (it is beautiful). Prog rock isn't my scene but this album is quite good. I wonder what it was like listening to it on a good acid trip.

I struggled with this one. Mark Knopfler is an amazing guitarist, which can be heard right from the start on Down to the Waterline all the way through Sultans of Swing - two classics. And the rest of the instruments and musical arrangements are good on the good tracks. But I don't love Knopfler's vocals or lyrics (they're fine) and some songs are just meh (especially the last 3 tracks). I liked the funky blues sound on Setting Me Up and Southbound Again, but they sounded a bit too similar. As much as I love rock, this album is just okay, despite the amazing guitar work. Probably a 3.5 but I'm going to round down just to show not everything rock can be a 4+.

Like other new wave bands, I'm not sure any of the members of The Cars are going to win awards for their outstanding playing ability. But they are plenty capable. And their song-writing ability is very high. I am not ashamed to profess my love for the catchy Good Times Roll and My Best Friend's Girl. And I think they do well to show their multidimensionality with the edgier sounding Just What I Needed or Moving in Stereo. I know the former is one of their most popular, but it has a lot of depth and is less poppy than others. It's almost one of those albums that is good from front all the way to back. Tracks 4 and 9 are ho-hum and Track 5 is fun but not as good as the others. Still, I'll let that slide. Their later albums never matched the same high, but this album is one of the best new wave / pop rock albums of all time.

I think I went through a range of emotions listening to this album. At first I said shoegaze just doesn't work for me. Distorted guitars and heavy pedal use combined with almost inaudible vocals. Case in point Butcher's vocals - not bad but often drowned out by the noise. I know that is the sound they're going for, but I don't see the appeal. That was emotion one. Yet, even before the first track Soft as Snow was over I had to admit the guitar sound Shields creates (like a distorted siren) is pretty impressive. Still, it's also annoying as F. After two songs I thought good for them for pioneering a genre (e.g., I like Catherine Wheel and Silversun Pickups that came later), but it's a struggle to listen to. The album got better as I listened to more tracks. I think the distortion wasn't so intense and/or they better blended other elements (both vocals and other instruments) with the effects pedals. Cupid Come and You're Still in a Dream were more on par with Sonic Youth (still noise rock but less annoying). Tracks 5-7 regressed (my blood started to boil) but then tracks 8-12 redeemed. I still think it's a 2 for me, but I got close to a 3 on second listen.

Not bad. Not quite for me either but they have a cool sound. I liked the combination of pulsing guitar and other instruments on OLV 26 and Anonymous Collective. I guess that's kind of their thing but I thought it worked really well on those tracks. That overlay motif was okay on Metronomic Underground but what I liked more about that track was its funk sound (which they get back to in a so-so way on Spark Plug). They mix up their styles quite a bit (first 3 tracks differ widely), which shows some chops but also makes the album less seamless. Sadier has a voice that is sometimes sweet and fits their style and is sometimes grating. I found it off-putting on the Noise of Carpet and Tomorrow is Already Here. It worked well on Les Yper Sound. The title track and Motoroller Scalatron are fun. I'd say a cool, uneven album. It did get better with each listen.

9 heads is better than 1. The lyrics on this album are phenomenal, probably because of the different contributors and perspectives and that it's a few guys being "on" for a few songs not all of them. Still, that's 9 talented lyricists. And in my opinion it's really not much more than them rapping about how good they are (or better than others). But it's good bragging and it's not just the same thing recycled on every song. The other motif is telling how they got to where they are, mixing in some shaolin bits to make it half real, half fairytale. Whatever the topic, there's lots of raw energy and great wordplay. And even when they're putting down others it's not the homophobia or misogyny that other albums of the time were pumping out. The interludes to open songs (7th Chamber and Method Man) are still BS but the ones that close songs (Can it Be All So Simple) are worthy listening to. Besides the lyrics, they've got slick, simple beats. Pump it. Shame On A... is a great example of how all of it comes together. Love that track. Ditto on Da Mystery of Chessboxin and Protect Ya Neck.

I don't own this album and never realized that so many good songs were on it. Back when I was a teenager and didn't really know who was who in rock I thought Do it Again was a Santana song. And I loved Dirty Work, though I'm not sure I knew it was Steely Dan either. Reelin' in the Years I had straight - great, great lyrics on that track (and the guitar solo halfway in). I always thought it was dumb that they earned a Grammy in 2001 when if they were going to be recognized it really should've been in the 70's (no matter how good the album in 2001, they were out of place). When you consider this was their debut, wow. For sure a 4, not quite sure it's a 5 - back half of album is not quite as stellar as earlier (though I really like Change of the Guard).

Cool beats but it sounds a bit similar to a lot of the rap music from the time - like Bust a Move is ready to break out at any time. The lyrics are better than others at that time...sometimes. U Make me Sweat is one of the songs where the lyrics are of the same fun but cheesy and basic variety of other songs from that era. Acknowledge Your History and Beyond this World have more substance. The album is easy to listen to in the background, but like background it fades away quickly. I definitely enjoyed it, just nothing terribly unique or memorable about the album.

Definitely one of my favorite bands from the grunge & post-grunge era, but not their best work (I'm waiting for The Colour and the Shape or In Your Honor). Still, this was pretty much just Dave Grohl playing all instruments with one buddy helping produce it. The band formed after this album. So pretty damn impressive for a solo project, even if it has some Nirvana feel. Like Nirvana did, Grohl fills your ears with a lot of noise from only a few instruments - not overly complex but well arranged and with ferocity. Makes up for some of the unevenness of the album. Most people know the first 3 tracks (all great) but I also really like the lesser knowns Alone + Easy Target, Floaty, and Wattershed. Probably a 3.5 but I'll round up.

I never really understood the appeal of Neil Young (that grating voice) so I didn't pay him much attention, but holy hell has this guy had his twists and turns. So many different styles; he is truly a virtuoso...and a mystery. But that got me thinking, why is it a must that I listen to this album? Had to listen a few times. Maybe it's how he is able to capture despair and just have it ooze out his songs (particularly side two). You can almost feel his pain and disdain for the world. His guitarwork is of course masterful. But I don't know, what do you give an I want to kill myself album? I read he wanted the two sides to be in reverse order and I think that would've given it a much different feel - rather than spiraling into despair, it'd be like the Phoenix giving a big middle finger (Walk On has a more upbeat, F it just be you attitude and Revolution Blues and For the Turnstiles are so angry). After a few listens I came to appreciate how much emotion he was able to stir up in his raw, stripped down style and powerful lyrics. Ambulance Blues in particular made me want to put it on again, and see what other hidden gems were in there. I know understand how he is an acquired taste; you gotta give him multiple listens.

I was excited for this album but it underwhelmed. I had no idea who he was but read he was a hugely talented guitar player and could play multiple instruments. I can't really hear the guitar for all the other instruments. He also plays all the instruments (like I mentioned Grohl does for the Foo's first album) which is pretty cool. But the tempo is kinda dull, especially for the latter half of the album that is all instrumental (tracks 6-9). It sounds like a ho-hum lounge piece. The funk on the first 5 tracks is fine (and it comes back decently on track 9) but didn't blow me away. It feels like this album didn't age well. In the end, it wasn't awful just not what I expected.

Huge fan of this period of rock but not sure what is so amazing about this album. For sure there were a lot of bands with the Lemonheads sound after this album came out (especially in Canada) but I don't know if that was due to their inspiration or because these guys were what record companies were looking for then. I actually went back to this album over the summer thinking there's gotta be more to the band & album than their Mrs. Robinson remake. And there is but it's not earth shattering. It's melodic and catchy, with liberal arts grad school lyrics, and takes folk rock to alternative heights. But nothing overly memorable.

Another artist that I know is well-respected but that I knew little about. What a great album. And the Elvis moniker is very befitting - he's got his own sense of rockabilly for the modern era. Very cool. Some perfect examples were Mystery Dance (sounds like Elvis Presley reimagined) and No Dancing (sounds like a modern cross between the King and the Beach Boys). Welcome to the Working Week might be the coolest 90 second song ever made; it doesn't feel that short with all he packs into it. I still don't love Alison, other than to jokingly sing the title like Costello does. Still, side one is brilliant. Great energy and great arrangements, with neat wordplay. Side two isn't far behind. The singles Red Shoes and Less than Zero are solid, but I really like the tempo and beats in Pay it Back.

Hearing the first few notes and vocals of Roadrunner I thought is this a wannabe Velvet Underground? After doing some reading, apparently the answer is yes. Never heard of these guys (or really the lead guy). It wasn't awful. Well, the lyrics were kinda terrible - cheap Velvet Underground knockoff. But the arrangements were intriguing. Not my thing and zero production value, but I can appreciate it and what they were going for. Sometimes trying a bit too hard to be the Doors, but like a kid brother who is even more strung out. Tough one to rate. Not worse than a 2, not better than a 3. Which one is it? F the lyrics are awful (Girlfriend? Pablo Picasso? ugh). Sorry that's the clincher.

I mean, it's fine. Vocals are soft and sweet, fits well with the high-tuned or low-fret guitar playing plus keyboard and other electronica. I did recognize Two Weeks, also fine. There's a trend here. Maybe it's me and I don't appreciate enough new folk or indie rock. But it's no Simon and Garfunkel or CSNY. Perfect to play in the background of a shop in the mall. Or a hipster cafe.

Hate the cheesy opening to Let it Rock...standard 80's fare and studio exec belief in what was cool. But you can't deny the sheer awesomeness of the hits. Somewhere Nickelback is probably thanking Bon Jovi and the producers for creating the formula for making a slick album. I dare you to not sing along to Livin on a Prayer or You Give Love a Bad Name if it comes on in a crowd (or resist the urge to at least bop along). Wanted Dead or Alive is one of my favorite rock songs of the 80's and proof that Sambora isn't a total hack. Raise Your Hands is also a solid, rocking song but otherwise the lesser known or non-hits hold the album back. If I must listen to this album before I die it has to be due to its ability to rock and move me - because it can't be the lyrics (bubblegum) or the musical skill (average). It has no substance. It is quintessential 80's hair/glam rock and that's fun and all, but 3 massive tunes do not an album make. The rest of the songs are kind of forgettable.

Jay-Z is a lyrical genius (U Don't Know has some great lines), and his knowledge of pop culture is ridiculously extensive (check out The Ruler's Back). It makes it a lot of fun listening to his lyrics and what reference he'll slip in for a rhyme. His beats and mixes are cool too, easy to get into and move your head (or more) to. It's also surprisingly soulful (Never Change and Song Cry have their tender moments). I was surprised this was his 6th album - then saw he put out 6 albums in 6 years. Damn. One of the greatest rappers of all time and a damn good album (especially considering no massive hits on it).

The opening track had some annoying elements (giggling to start, organ bops in the background) but it was still kind of catchy and the lyrics were cheeky/funny. Definitely made me curious about the album and I'd say this observation persisted. The songs were catchy, the lyrics were offbeat but really intricate (cool stuff), starts of tracks had annoying talking bits, and almost every song had some annoying instrument (often from the brass section). It felt like an even more satirical Interpol or Franz Ferdinand. So wacky, but surprisingly infectious. And kudos to creating a theme for the album and sticking to it.

Smooth. You don't get to be a legend unless you're really good. Sinatra's voice just carries. And it's so free and easy. His backing band is pretty good too. The album holds up pretty well, I'll bet even my kids wouldn't totally hate it (and they hate anything not made in the last 10 years). I'm pretty indifferent when it comes to jazz but much respect here.

Pretty darn good, could've been better. Maybe I wanted it to be longer? Imagine if they released all three 1969 albums together? CCR brought a cool, unique sound and Fogerty(s) could really play. Graveyard Train and Keep on Chooglin' show their interpretation of blues and their wide array of skills. Love the harmonica on both. I wish they had played Proud Mary in the same frenetic tempo as Good Golly Miss Molly. Still good.

Whoa, what a lead in on Holy Wars. If you don't like guitars, you do now. Incredible work and at such a pace! Sorry, hard to type with a melted face. The album doesn't always keep up with the opener but it's still pretty impressive. The first 4 tracks are awesome from a music standpoint (Mustaine's voice is annoying). The next 3 are still good but each is up and down (awesome sequences surrounded by so-so ones). Tornado of Souls is a good example; it really cranks up around the 3min mark then settles back down to decent around the 4min mark. Of the final 3, I didn't care much for Dawn Patrol (My Creation was ok but brief) but the title track is almost as good as the first half of the album.

I've always liked Bodhisattva and the start of My Old School is great (perfect Steely Dan funk). There are some great funk pieces in other songs and some nice musicianship, but I don't like this album as much as some of their others. Most of the songs felt at least a minute too long. I could've done without some of the decadence for a tighter package.

It's different and unique and chic. Their take on Iron Man is cool. And of course many folks recognize and enjoy Lovefool (a solid song). But the album is just okay in my opinion. Worth a listen or two, for sure. Didn't blow me away.

A classic album. Sympathy for the Devil is incredible - the lyrics, the intricate and uncommon musical arrangements, Jagger's delivery. It's a great kickoff to an album full of different styles that show the depth of ability of this band. The Stones aren't one of the greatest bands of all time for no reason. Hugely talented and man do they play on this album. Love the blues sound on Parachute Woman - simple, stripped down, and forceful. Prodigal Son is also has a cool bluesy sound. If you like Street Fighting Man (which I do), check out Rage's version of it on their cover album Renegades (also very good). Salt of the Earth is a beautiful song to end the album; great lyrics too.

What a cool f'n album. Had no idea who this guy was, but what a story, especially how this album was beloved by the public but incensed the Nigerian government. Now those are powerful lyrics. And his delivery (and his backing band's) is electric. I love Zombie by the Cranberries but I think I have to Kuti's Zombie right up there with it. The album is really just two songs. Zombie kicks serious ass. Mr. Follow Follow isn't quite as good but it still deserves respect.

Now that's how you start an album - the bass line and guitar picking to open Bombtrack are awesome (created by Commerford). The raw and politically charged lyrics, de la Rocha's rap rocking, and pulsing instruments set the stage for the rest of the album. You get to hear a bit of Morello's unique scratch playing at the end too (he is a guitar god). I believe it is from him using the end of the guitar's amp cord on his strings. Creative genius; he makes so many sounds that you think are synthesizer but it's all his guitar. I also love Killing in the Name (their signature tune), Take the Power Back (Morello's solo at the 3min mark - wow), Bullet in the Head, Know Your Enemy (more epic Morello), Wake Up (de la Rocha is ferocious on this track), and Fistful of Steel (Morello's creativity on display again in first few riffs and high-pitched scratching - not turn tables kids!) but I admit I always found Settle for Nothing a little boring. Still, the totality of the album makes up for one so-so song. It fueled my teenage years; I want to give it to my 12 year old son right now to listen to, but might be a bit too soon. One of the greatest bands of the grunge/alternative years and one hell of a debut.

I know lots of Elton John singles but not by albums. This album reminded me how much I adore Elton's piano playing. Funeral for a Friend almost reminded me a bit of the earlier Genesis album (quasi-prog rock feel), including when put together with Love Lies Bleeding (now you have a sweeping rock song with twists, piano and synth, and guitars). The former is touching, the latter about as good as his other high-tempo hits. The first few notes of Yellow Brick Road give me chills - again, just something about his piano playing. I find it amazing how Bernie Taupin can write the lyrics to these songs and then Elton dreams up the music to go with it. Elton is an incredible composer and as a pair they are pretty amazing. I still have something against Bennie and the Jets (never liked it as much as others) but if that's his worst, that's pretty darn good. To be honest, the back half of the first album took a bit of a dip for me but it closed well with I've Seen that Movie Too. The second album really picked up steam about halfway through the Ballad of Danny Bailey - lots of higher tempo rock that sucks you in. From Dirty Little Girl through to Saturday Night's Alright is a great sequence. I also liked the different pacing in Roy Rogers and Harmony. Either album on its own is good but as a package it's gold.

Very solid, but it sounds like late 60's psychedelic rock. Which I still enjoy, but this album doesn't age the same way the real greats from that era did (like Jimi Hendrix's stuff). I really enjoyed the vocals, from pretty much all of the band. Come in the Morning, Lazy Me, and Indifference were highlights for me. Definitely worth a listen, not sure how many times I'd go back.

Damn, nice surprise here. I've never heard of her but Little Simz (and her team?) is talented. Really good lyrics/wordplay on a bunch of tracks (Offence, Venom...despite copious use of the p word, Pressure, Sherbet Sunset) and she can rap (Missy Elliott fast). Great bass lines and beats on the first two tracks (I could listen to Boss over and over) and some of the later ones (101 FM, Therapy). Tight album. Gonna have to listen to more of her music.

What did I say about Grizzly Bear a few weeks back? Same applies here. It's fine. Vocals are nice, some good instrumentation in there. You can hear the progression from 90's shoegaze to this new, up-in-the-clouds rock/pop. There's enough guitar work and experimentation with that sound to be intriguing. I don't mind indie rock and this is an easy listen; you can easily get lost in it and wonder where the time went. But then nothing really seems to stick out. Enjoyable. Not sure how much more than that.

Maybe if I gave it more time, my rating would rise higher. Clearly Tito and his band are talented and there's some good stuff in here. But it sounds a bit dated. Would I still expect to hear it in any sunny vacation getaway resort? Of course, all day every day. But will I turn to this when I'm not sipping mai tai's on the beach? I doubt it.

I know what I said about the last two indie rock albums and I know this one is a similar genre, but Illinois struck a chord early. Maybe it was Stevens' more diverse use of instruments or his more varied sound and tempos across the album, but I really liked it. It won't take me 5 or more listens to really appreciate it. Some highlights for me were Come On Feel the Illinoise (Part II), Jacksonville, Chicago, The Man of Metropolis... (my favorite song on the album), The Predatory Wasp..., and The Tallest Man...(Part I). I think it could've been packaged a bit tighter (some unnecessary reprises, long run-time) but as a concept album, it's pretty cool.

Interesting at first, but ultimately just annoying. The lyrics are quite complex (and sometimes haunting) so kudos to that. But Vega's screams or sighs (e.g., on Frankie Teardrop or Girl) are a bit much. Rev's synth beats were cool at times but felt a little monotonous. Still, I enjoyed Ghost Rider and Johnny...quite a bit. This album feels like one of those things you're proud to say you've done once but would never do again. Could just as easily be a 2 or a 3 but I'll go higher for it's uniqueness (and trailblazing...of something I don't care much for).

I listened to this album a few times because I wasn't sure what was so special about it. Fats was a big deal and he had some massive hits (Blueberry Hill is a classic). His voice is excellent (it gets stuck in your head) and his backing band is great too (his piano work is also very good). Take a song like La La, it's mostly those words plus his band (and his piano solo, which rocks) and it's great. Is that enough for this to be 4+ stars? The album is full of solid but perhaps unspectacular songs. Easy to like, but are you going to gush over it? Tough call; I started at a 3 but after a few listens it kept creeping up.

What? I'm supposed to listen to an album from the Chemical Brothers and it doesn't include Block Rockin' Beats? And that wasn't their stuff in the first Matrix? That shows what I know of them coming in. Didn't know they were from Manchester (though much happier my cousin in-law from there and I bond over Oasis). It was surprisingly good...at least to start. Leave Home and in Dust We Trust had me bopping along. From there it went from meh song to good song and back again for the rest of the album. But it didn't grow on me with more listens.

Oh yeah. Now that's an album. I'm not really a metal fan but I love guitars and bass. It's probably the simpler (yet still intricate) sound that I love so much about Sabbath. I'm pretty sure I heard somewhere that Iommi invented or popularized power chords. It just brings so much sound. And yet there is plenty of complex tapping, plucking, hammering on and off (solos & sequences in Paranoid, Iron Man, Rat Salad, I could go on and on). War Pigs really epitomizes their sound - goes wherever it wants and it works. The intro crawls in, then the first verse has an up-tempo power chord repetition, then a 1min bridge with a different pace and chord progression, then back to the verses sound for 30s, then a new 1min bridge/solos, back to another verse, back to the style of the first bridge for 30-45s, then a long outro complete with some final distortion just because. Some stuff is simple, some is complex, but altogether it's a masterpiece.

Completely epitomizes 80's weird Brit rock (The Smiths, The Cure, Joy Division, Depeche Mode, Pet Shop Boys, etc.). That's not an insult, there's some good stuff in there. This album captures it perfectly. Despite the heavy synth in many songs, there's still some good musicianship (guitar better than you think on first listen). The songwriting is also sharp, from lyrics to arrangements. Love Vigilantes is my favorite and Sunrise is another song that nicely blends real and fake instruments. The Perfect Kiss (decent lyrics) and Sub-culture are decent but a bit synth-heavy (sounds hokey). Elegia (instrumental) is quite beautiful. Face Up was a fun end to the album (probably my second favorite track). I spent the day listening to New Order and this is definitely their best album. Not lower than 3.5 and I'll round up for their pioneering work.

Just a bit too intense. I do enjoy some Slipknot songs but a whole album is a lot. Too much screaming and anger. So despite some nuanced instrumental work, the whole sound comes off as a bit one-dimensional - needs more depth, variety, and complexity. Still, the speed at which they play is impressive. Good - Wait and Bleed (sounds more like Taylor's Stone Sour work), Spit it Out, Me Inside. Excessive - (sic), Tattered & Torn, Liberate, Diluted, Scissors. Toeing the line - Eyeless, Prosthetics, Only One. Overall, I can't listen to the album more than once...well maybe if I'm trying to get amped up to kill someone.

I knew a couple of their songs - Start and That's Entertainment from this album and a Town Called Malice (different album, my favorite of theirs) - which I thought were pretty good. The album is more of the same. The sequence from Set the House Ablaze to Boy About Town (7 songs) was great. I also really liked Pretty Green. The whole backstory of the band is fascinating - they were icons of a niche (and sometimes violent) culture in the UK. This album feels like the perfect fit between 70's punk and 80's indie rock (like the Smiths). Not quite punk, not quite post-punk. Bass was a prominent feature in a lot of the songs and I enjoyed it. Guitar work wasn't overly complex but fit well. Catchy songs. Definitely going to listen to more of their stuff.

My sister hates the 80's for all of it's cheesy synth and fake instruments. I'm sure she hates 1999 because Prince has hokey 80's sounds in spades. It's a shame because while it's a fun album, you don't get to understand how talented he is. He is an incredible guitar player (watch his playing of While My Guitar Gently Weeps during George Harrison's R&R HOF induction) but I'm not sure I even heard a guitar on the album. I was bored halfway through Delirious, which wasn't good because it was followed by 3 songs averaging 8min of same old same old. I almost turned it off. Maybe fun if I want to hold an 80's dance party but if I didn't respect his body of work this might be a 2.

I love live music. I hate recordings of live music. Still, this was pretty good. The sound quality is junky but BB and his band's energy is great. His storytelling to go from one song to the next was cool. The transition from the two sides was weird, with BB King being introduced again (to much less fanfare) on the first song of side two - they took a break and came back? It lost some of the energy from the first set. Still he ain't the King of the blues for nothing. Great voice, great guitar playing (his band is good too), great stage presence.

I never liked the Band. Still don't. So I can't give this album 5 stars. But I appreciate the artwork and musicianship here. Wide range of instruments and sounds, decent two or three part harmonies. Some real solid songwriting. The Night They Drove Old Dixie Down and Up on Cripple Creek are deserved popular songs. Whispering Pines, Rockin Chair, and King Servant were nice songs I didn't know about. Rag Mama Rag reminded me why I don't like the Band.

Nah. I remember when Massive Attack was all the rage and I didn't get it. Still don't. I don't need music to have sex to. Not interested in it so I can have a trippy experience or to hypnotize myself. What else is it good for? Decent beats but the music is better paired with female singers (too bad Tracey Thorn had her own stuff to keep her busy) than male ones (or the male ones chosen). Mezzanine was a better album. Next!

I don't own this album but I've listened to it (on Spotify) several times over the last few years. Caught a podcast on the top male rock voices (in terms of vocal range) since the 80's and he was number one - so I had to find out more. Too bad we never got more from him while he was alive. His vocals are superb (check out Corpus Christi Carol) and the musical arrangements are pretty good. His version of Hallelujah is haunting. Last Goodbye is pretty awesome too. Some so-so songs mixed in. I definitely enjoy the album but it didn't completely blow me away.

I still remember first hearing Jeremy and then being surprised to find out Eddie Vedder wasn't 40+ years old. There are very few albums like this that not only have no weak songs but also changed music. I put together best of rock lists for each year of the 90's over the summer and it is amazing how different rock music was in 1990 versus 1992-93 a year after Ten and a few other pivotal albums from late 1991 (e.g., Nevermind, Badmotorfinger). Maybe short-lived, but it stomped out cheesy 80's hair rock / forced rock to be better. No doubt bands like the Pixies, Melvins, and Replacements paved the way for bands like Pearl Jam, but the sound was perfected on Ten. Hard edged, pulsing sounds and lyrics that make you think. Everyone likely knows the first 6 tracks (Why Go and Once are just as good as the mega-hits) but the last 5 tracks are also impressive - if you like the frenetic Even Flow, try Porch; if you like the brooding Black, try Release; if you like the multi-layered Alive, try Garden. An all-time classic.

My first thought was "slick" but I just don't understand jazz enough to truly appreciate this album. I was surprised at how many listens Take Five had and so I read up on the album. It's basically a national treasure. I guess I don't know music like I thought. It sounds like what any live jazz performance aspires to be (from what I've seen)...really, I wonder if this sound is what jazz musicians are aiming for when they play.

I think I was spoiled after the last jazz album. This one is fine, but I found the brass section squeaky. I'm sure that was what they were going for on Track A and B but it was a bit much for me. Track C was marginally better. Track D was solid; I could've done with just that.

Saw the album and artist and thought "I don't recognize the name Dusty Springfield". Heard the second track You Don't Own Me and thought "I know this song." Turns out the song is featured in a cheeky Kraft Dinner (Mac & Cheese) commercial with former Barenaked Ladies singer Steven Page. Also turns out it's her version of Mockingbird Harry & Lloyd sing in Dumb and Dumber (I laughed as soon as I heard it). And it turns out she is the original artist for the songs I Only Want to be With You (not sure I knew her version) and Son of a Preacher Man (definitely know her version...respect). Weird how your world orbits around artists and songs without really making a connection. Anyway, back to the album, it's got a nice Motown feel from someone born far away from Motown. She's got some good pipes. She does some nice renditions of other artists' songs (...Lovelight..., 24 Hours from Tulsa, Will You Love Me Tomorrow) and Wishin' and Hopin' is a nice original. A fun album. Lacks a bit of depth maybe? Feels like a 3.5.

I have listened to this album a few times before. Babylon was a massive hit (deservedly) when I was in university and my brother's roommate had a copy of the album that we would borrow. I love his voice; this is the kind of album I'll put on when I'm looking for a little nostalgia and maybe a little longing for something gone by (single tear). It certainly has that mood. This Year's Love in particular gets me every time - I can rarely listen to it just once. An all time fave. Lyrics are good too, as long as you're up for sadness. What I don't love is the drum tracks and computer synth that became all the rage then and/or continued for singer-songwriters (e.g., Daniel Bedingfield, eventually Gotye). Tracks 3-7 are a little monotonous (or uneven) but I am a fan of the other 5 tracks. So probably a 3.5 in the end, and I fully admit I'm rounding up because of nostalgia.

Amazing how certain places can spawn so much in a certain genre - another electronica group from Bristol. I didn't hate it. Well, at least the first 4 tracks, which had cool bass lines and beats (I really enjoyed Railing). But they did get a little too repetitive and monotonous for my liking (don't need 7min of the same bass line and drum beat). I couldn't stand Digital (9min of repetition and not even good beats) and that started a steady decline of electronic junk. So I guess I liked a third of the album. Maybe.

Ah disco. Hard to take serious, hard to not secretly enjoy. There were a bunch of songs that felt like they have been sampled or redone but Chic Cheer was the only one I could put my finger on (Faith Evans' Love Like This). Decent sign of respect. Le Freak is a classic and part of the fun of the album. Still, there's some real instrumentation mixed in. Savoir faire showed some music ability and Happy Man felt more funk than disco and was solid. But from there it felt like more predictable, run of the mill disco. Respectable but no staying power.

I appreciated this list's kick in the butt to finally give a thorough listen to Wilco. I can hear a lot of new indie rock following their style (e.g., Band of Horses). Great opener to disc 1 in Misunderstood. Lots of sharp arrangements on disc 1 - good blend of drums as a base with mix of guitar, bass and piano. Other highlights were Monday, Outtasite, I Got You. Though I'm not a big country fan and the heavier country sounding songs weren't exactly my thing, the various string work (banjo, slide and plucking guitars, etc.) showed some nice talent (e.g., Forget the Flowers). Disc 2 was a little subdued or boring in comparison. But I'm going to judge it on Disc 1 alone and consider anything from Disc 2 a bonus. And disc 1 was very solid.

You know, I've listened to this album a few times in the recent past because I like the Pixies and I love Where is My Mind. But prior to now I think what I really liked was the Pixies greatest hits. I don't think I really gave any one album a focused listen. And after the first few tracks I thought that's where I'd stay. But I found myself really getting hooked by Broken Face and that continued right through to at least Tony's Theme. On second and third listen, I really enjoyed it all. Maybe it's because I was an alternative era kid, but I love the slow-fast revolutions (Gigantic is a great Pixies signature for that). I also like their simple arrangements that combined a bit of distortion or gruff edge to the guitar riffs and bass lines (with nice pounding drums as backing). River Euphrates and Cactus are other songs I didn't fully appreciate until now. One knock against the album is some of the unnecessary interludes, dialogues, and gibberish within the last 4 tracks. The Pixies are trailblazers in alternative rock (as was this album), too bad we only got 4 albums in 4 successive years (I don't count the stuff released decades later). Not sure I can put it on the same pedestal as Zeppelin, Jimi, or Rage, but almost.

He is one strange dude, but Marilyn Manson is a great lyricist. He's pretty good at the music part of songwriting too (with help from his band). He really mastered that angry pounding guitar sound (with a little electronica help). The Beautiful People was always one of my favorite angry pump up songs. Some other highlights for me are The Reflecting God, 1996, Mister Superstar, and Angel with the Scabbed Wings. Could do with a little less screaming. Can't deny the energy they bring.

Missy is hands down the best female rapper of all-time. One of the best rappers period. And this album has her talent on display - smart meaningful lyrics, cool beats, lightning quick raps, and a pretty darn good voice. Her interludes are actually worth listening to (not just BS) and shows her depth of thought. Although her claim in the Intro that you don't hear Gates and Trump arguing because they got "paper" and "better shit to do" shows how much times have changed in 20 years. Her wordplay or own version of pig latin that she does in Gossip Folks and Work It is so unique and innovative. The former is one of my favorite rap songs of all time - beats and lyrics are just awesome. I'm not sure there was a weak song on the whole album. Slide and Go to the Floor were particularly good tracks I didn't know of before.

Tons of energy on the piano - you can really hear him pounding and skimming the ivory. The rest of the energy was alright - vocals sounded almost indifferent at times. Sound quality was meh. Maybe that's the issue, the recording quality. BB King's live performance was better.

Not bad. But it's a bit too frenetic with all the songs that are 1min or less (21 songs in 35min). Hard to get into anything or appreciate where their skills lie. Ex Lion Tamer and Reuters had a good sound. Mannequin was alright (seems to be their most notable song). Sounds like Elastica ripped off the main riff from Three Girl Rhumba for their song Connection (I like that riff). Champs and 12 x U had some good energy. Pink Flag sounded about a decade ahead of its time with its rough edge, yet needs more work. So again, not bad, but uneven.

Love the beats. Don't love the lyrics. Some songs are just brutal in terms of their shock value (4 Better or Worse where some dude keeps calling to harass some girl) or use of the N word (clearly I'm that Type of N). Some are kind of funny/cheeky (Ya Mama) but I feel they rely on that bag of tricks a bit too often. The beats are awesome though. Totally 90's rap sound - I wonder how dated it sounds to someone who didn't grow up then. Probably a 3.5 but I think I'm rounding down. But it was a tough call.

From the opening sound I thought "was this from Halloween?" Clearly too early for that, but apparently it was used in the Exorcist. So right genre, wrong film. Cool stuff, I definitely wouldn't have turned to it on my own. Amazing that Oldfield played pretty much every instrument himself (and there were a ton of instruments). The first song started off strong but got weird in the latter half. The "singing" didn't seem to fit; ditto for some of the instrument mixes. Second song was more of the same - some really cool stuff mixed in with some weird.

This is similar in a lot of ways to the Pharcyde album. Love the beats, although they sound a bit dated, and the lyrics are at times tragic. But the big difference is their lyrics are so plain vanilla. I mean, even songs called She's Fresh or It's Nasty are incredibly tame. Dreamin was too cheesy of an ode to Stevie Wonder although You Are got it right. But I guess all of it is better than inappropriate stuff. I just wish the album had more edge and made you think. The title track does - and that's why it is a classic - and It's a Shame too, but other tracks could do more. Scorpio was a bit too electronic at times but it might have been my favorite. All in all, I enjoyed it but it could have been 5-star if it consistently had more depth.

Almost forgot how Metallica was part of the 1991 music revolution. Whereas Soundgarden turned their metal into grunge, Metallica turned metal into something new - less frantic, more dense (the sound just fills your head). Like Sabbath set the standard for the 70's going forward, these guys set the standard for the 90's and beyond. This is a true masterclass. Still a ton of great guitarwork and pounding drums, but the melody attached to the intensity is amazing. After all these years I still say wow listening to it.

I enjoyed it but not sure if I'd ever really go back to it. I worry there's a bias creeping in because it's in Portuguese and I can't connect with the lyrics. It's clearly not a 5 and worth at least a 3. First track was great. Not sure any others struck the same nerve even though it was a good listen. With more patience maybe this would be a 4.

In Canada, the release of this album was almost like Beatlemania 2. I don't think many folks had been paying attention to the Britpop evolution that had already started (including Oasis' release of Definitely Maybe the year before) but they definitely wanted to anoint Oasis as the new Beatles. That's a bit much but this is a damn good album. Far less brooding than the rest of rock at the time, the upbeat tempos and sound are great. What I like about early Oasis is that you can hear a full band - lots of guitar and bass layers, along with drums and the occasional piano. That was hugely influential for how rock (re)evolved. Some Might Say has a great throw back rock sound (to the 70's) while Morning Glory is an excellent piece of rock reimagined for the 90's (grating guitar work is awesome). Noel Gallagher may be an asshole but he is a good songwriter. Don't Look Back in Anger (I think it's their best song) has some deep intelligent lyrics whereas the lyrics in She's Electric are cheeky yet still smart. The different styles show just how talented he is. Wonderwall may be overplayed but it is a great track. I'll always dislike Champagne Supernova but hey I don't like Strawberry Fields either - I guess I'm not much for psychedelia. Still, I can acknowledge its great musicianship even if it is not my kind of sound.

Ska meets punk? Skunk? It was alright but not my cup of tea. Some cheeky lyrics and actually some really good lyrics (Stereotypes) if you can get past how repetitive they sound in certain songs (Enjoy Yourself, Sock it to 'Em JB...goofy). Probably not going to listen again.

Damn. Randy Newman is a great lyricist and composer. I always thought of him as the piano playing Kenny Loggins for all his movie scores but it's good stuff. I really enjoyed the wit and bite in his lyrics. Rednecks could never be written now but what a commentary on both the North and the South. I also really liked A Wedding in Cherokee County and Guilty. Not sure exactly what it is about his voice and piano that works, but it mixes well.

I was surprised a Christmas album was on here (though not surprised at the timing of its appearance). I guess it's got good energy, vocals, and musical arrangements. I've just never been much for Christmas music, even if tis the season. Bah humbug.

Another album and artist I am glad I got to listen to more closely thanks to this list. Solid album. And it's clear why they are pioneers of punk. A little frenetic with their short songs but still enough time (and enough going on in each song) to appreciate their playing. They do often repeat the same formula, which is a shame, although it is a good formula. Love the sound they produce (and inspired), just wish there was a bit more variety to it.

Loved it. I was impressed when after 4 or 5 songs he had shifted from Spanish to English to French. Apparently Minha Galeria (track 14) is in Portuguese. But aside from his mastery of different languages, the style is upbeat, the beats are catchy, and his lyrics are interesting (at least from what I could understand from English and French...minimally Spanish). Regardless the language, there's lots of neat wordplay. One knock is some cheesy studio effects added in periodically (e.g., the 80's video game missle sound in Desaparecido and other songs). My favorite tracks were Malegria (crazy cool pace), Dia Lunadia Pena (his best vocals and elegant melody), Welcome To Tijuana (weird and wonderful), Je Ne T'Aime Plus (great beats, which were the same as Bongo Bong but lyrics not as cheesy), Clandestino (nice intro to the album), La Vie a 2 (simple guitar arrangement combined with intense vocals).

I feel like I always think these guys are better than they really are. Like, when I saw this album I thought \"oh yeah, it's really good\" and then I listened to it and thought \"is it?\" And I know I've done that on this album and other Arcade Fire albums on previous listens. So, I tried to put the music critics' constant fawning out of my mind and evaluate for myself. Tunnels holds up - simple baseline instruments (piano, xylophone?) that mix well with the guitars and drums, thoughtful lyrics, and Win Butler's desperation-style vocals. And it's that combination that works well on multiple tracks (Une Annee sans Lumiere, Kettles - really beautiful). It also sometimes fails (Laika - Butler and strings too whiny, In the Backseat - Regine Chassagne's vocals are hit or miss). But there are also a series of songs that take those previous good things and then go further by adding in an edgy, high energy, more rock feel. Power Out and Wake Up are good examples. The best example is Rebellion - it will probably always stay in my top 20 alternative rock songs (the opening bass line, then the piano, then the rest of the instruments - love it). I don't know where to put Arcade Fire in terms of influencing the indie rock revival/explosion of the 2000's (that is still going strong today) but this album is certainly in the middle of all of it. And so after some focused listens, yeah it's really, really good.

Yawn. It felt like the Velvet Underground (and imitators) all over again. Stripped down but trying to do something artsy and unique. Siouxsie had a long career and some decent songs, and they're part of the punk revolution and all, but I don't think they had the stuff to put together an entire album worth of songs worth listening to. Jigsaw Feeling and Switch were alright (each had neat style changes), Mirage was ok, and Carcass and Nicotine Stain had some life to them. The rest were forgettable. Even Hong Kong Garden, their big hit from this album, I don't see what the appeal is.

Great sound for a live album - you can hear everything you need to musically. Simple start with I Got my Brand on You (classic blues style). You get to hear a bit more instrument skill on Baby Please Don't Go (listen 1min in). Soon Forgotten shows even more of Muddy Water's guitar skill in particular. But for me, it's I've Got My Mojo Working (both parts) that really lights it up.

I've always liked ELO but don't own any of their albums or know which songs come from which albums. It's hard for me to put a finger on what this album is - it's slightly more synthy than what I remember them for (I only recognized Turn to Stone and Sweet Talkin Woman). They always had synth, but a little more rock edge in other tunes. Night in the City still has more of that edge. It also has some spacey, dream pop motifs - which after reading up was apparently where they were going with their whole style? I guess them and Badfinger both, in trying to be a new age Beatles sound (which I kind of hear, but not always). I think bonus points for the double album and the running theme throughout which gave it an almost prog rock feel, but with progressions combined across not within songs - e.g., Side 3 from Standin in the Rain to Big Wheels to Summer and Lightning to the big finish in Mr. Blue Sky. I liked it, but it also made me question what it is that I call classic rock. It also made me realize that these guys (well, Jeff Lynne mainly) probably opened the door for crappy pop rock - they did it well but the imitators not so much.

Willie Nelson's voice isn't what you typically think of when you think good vocals. I mean, it's probably a 7 at best. But what he does with it and how his warbles can tug at your soul is pretty amazing. I normally don't like remakes (of classics or otherwise) but his (and Booker T's) interpretation and arrangement of them is great. I'm pretty sure this is one of Willie's records that my dad used to regularly play and while I didn't get it then, I get it now. A solid listen.

Why? Must I listen to this before I die? It is not terrible. But is it good? The album cover art is cool and shows some satire and wit - which the lyrics back up to some extent. I probably don't understand the development of synth or dance to appreciate where this album fits in its evolution. Maybe if I did, the rating would be higher. As it stands, it's just a funky sounding album that is neither overly annoying nor overly redeeming.

Too weird. I did some reading and this was part of the psychedelia movement? Yeah, but took an acid trip and landed in the Middle Ages. I have to give them credit for the sheer variety of instruments they bring to bear. One or two songs I can handle, but the whole thing got old fast. Unless of course I was at Medieval Times for the day.

Great energy on this album. And nice to discover that some of the songs were first recorded (or first gained traction) with Louis Prima (Jump, Jive, and Wail; Buona Sera). A fun, rocking blues/jazz/swing album. Great rendition of Just a Gigolo / I Ain't Got Nobody (far better than DLR and always a fun medley).

I'm not sure where I place Duran Duran in the whole New Wave genre. They are not the same caliber as The Cars, Blondie, The Police (to name a few). But then maybe I'm just more partial to the rock side vs. synth side of New Wave. I loved Hungry Like the Wolf from the first time I heard it as a kid. Rio is alright (not as good as its popularity) but I like Hold Back the Rain more. The rest of the album kind of blends together or is forgettable. Even their other big hit, Save a Prayer - meh. It's fine and a nice trip down memory lane but I'm not going back for more.

I discovered PJ Harvey over the summer and have listened to several of her albums multiple times. She's a critic's darling. And I think if I had been just a bit older in the 90's I'd have had a massive rock crush on her. She just has such an exotic vibe. Still, I don't know how to rate this album. Tons of grit and ferocity, all done in a minimal, tortured, lo-fi style. So it's kind of repetitive. Like her strumming that sounds cut-off and unusual tempos/timing - it starts with Rid of Me (including soft to hard) and it's in many songs. And I really do like that song and many others (Missed, Rub Til it Bleeds, 50ft Queenie, Yuri-G, Man-Size, Me-Jane) but I wonder if the rest are too similar or if I'm not appreciating their nuances enough. It's for sure a 3 and not a 5 for me. After a few listens I found myself adding more to my "really like" list, with differences in what I liked about them (some muted sound, some wall of sound). So I talked myself into a 4.

I had a rough night and I hate the Eagles man. I can't hear an Eagles tune anymore without thinking of the Big Lebowski. I admit the genius of the title track but I also admit I'm so sick of it. Still, 30+ million people who bought this album can't be wrong, right? Kudos for the different stylings from song to song - e.g., Hotel California (complex, operatic), New Kid in Town (Country & Mexican), Life in the Fast Lane (LA Rock - with a Joe Walsh twist?), Wasted Time (minimal, piano-driven plus an instrumental reprise), Victim of Love (more rock, but more chords and less plucking), The Last Resort (sweeping, piano-driven). Also, the lyrics are really smart, full of analogy and innuendo - it makes it fun trying to figure out the meaning (or double meaning). I thought I was tired of the album after the first few tracks but Wasted Time and Victim of Love reminded me how good these guys are at both soft and hard rock. The latter in particular made me re-appreciate all the guitar and bass work on this album. And though there's a lot of good Hendley lead singing, Try and Love Again reminded me there's also good lead singing from Meisner (and Frey...Walsh kinda sucked on Pretty Maids All in a Row). The Last Resort is probably equal to Desperado in terms of my favorite Eagles track ever (the lyrical commentary, the beautiful arrangements). Yeah, 30+ million people ain't wrong.

How is that we've got an album by a Beatle without getting any by the Beatles yet? Luckily Paul is my favorite Beatle (in band or post-band). I was kind of surprised I didn't like this album more. I mean, I love the title track, Jet, and Nineteen Hundred & Eighty Five. But Bluebird and No Words were kind of meh. Even Let Me Roll It - it was good but got kind of boring (could've been 1min shorter). Mrs Vandebilt and Mamunia were both a bit wacky but very cool. Picasso's Last Words also wacky but not nearly as cool. So, a good album but not amazing.

Love the whole rock opera motif and the mix of instruments and soaring numbers is impressive (kudos Jim Steinman). And Meatloaf has a great voice. Paradise has always been good (super witty/cheeky) and Two out of Three Ain't Bad is a personal fave. Bat out of Hell is a little long but it is high energy rock, as is You Took the Words Right out of My Mouth (which has an intro that is both entertaining and creepy). I was a little surprised at how boring I found Heaven Can Wait and All Revved Up. For Crying Out Loud was somewhere in between. A 3.5 for sure, and I'll round up for the uniqueness.

I know the first track, wasn't all that interested in the rest of the album when I got pointed in this band's direction. Still not. It almost seems to have a UK sound; like the whistles in Don't Fight it. Feel it - has a soccer stadium kind of feel (chant to the beat). I'm sure these guys inspired or helped move forward bands like the Chemical Brothers or Prodigy (also British) but I'm not sure I care. I prefer the slower stuff toward the end of the album, starting with Damaged (though it sounds a bit like a slower version of Movin on Up). In the end, I guess it's not terrible.

I love the pioneering work Jane's Addiction did for alternative rock; amazing that they came and went before things really caught on. While I always knew about and enjoyed Dave Navarro's guitar work, it's Eric Avery's bass work that I discovered and love when listening to this album (Up the Beach, Pigs in Zen). Mountain Song is really awesome for bass (it's also got nice complexity). So while Jane Says is the song I gravitate toward for these guys (great lyrics and a good beat), Mountain Song is the real winner. This album seems to epitomize grunge - so much sludge to the sound (like half-buried, fighting to get out). But I just don't know - beyond the songs I highlighted is it anything to write home about? I don't know if it was too much of the same (except Idiots Rule, at least that was different) or too much hard to hear singing from too much abrasive distortion in the instruments. It's solid and I liked it, but that might be it.

I still say Kanye is a pretentious prick but there was less of his "my lyrics prove I'm smarter than you" attitude with this debut effort. I laughed hard at his first two interludes and the school spirit skits (made me wonder if I wasted time with all my schooling) - really well done. Kudos to his wit and smarts on this album. Jesus Walks is brilliant; fiery and beats that make you snap to attention (slipped in a Billy Madison line too). Spills over to Never Let You Down (great lyrics and good beats) and Get Em High (great beats and good lyrics). The New Workout Plan and Breathe In Breathe Out were fun & funny. Nothing on this album that I disliked (except Last Call...not really counting it), not much that I didn't really enjoy. Damn good album.

I admit this is the first time I ever listened to Miles Davis. I learned two things. One, he is damn good. Two, I still don't know jazz. It's like giving me a sample of wine and asking me to swirl and smell and judge. I don't really know. I knows what I like and I likes this. But it's hard for me to judge on a scale. I did particularly enjoy the different segments in In a Silent Way (segments a bit too subtle for me in Shhh/Peaceful). It's also pretty cool how much a trumpet can stand out, especially contrasted against a low pulsing backdrop.

This was difficult to judge. The Talking Heads are just so eclectic - is that a good word or a bad word? I found I most enjoyed Tina Weymouth's bass lines (especially on the first track and Psycho Killer). David Byrne is a gifted (but overly complicated?) lyricist even if his singing is a bit off-key. After multiple listens I found myself really digging their funk sound (really notable on Uh-Oh Love Comes to Town, Who Is it?, The Book I Read, First Week/Last Week). I feel like behind the funk there was folk or country or rock or something else I couldn't place. Whatever it is, it earned my respect. I'm still not sure I'll ever be able to spend days on end listening to them, but this album is solid. And their talent is undeniable.

I love the movie The Rock. Funny, great action sequences, a plot that is not completely ridiculous (??), good acting for the material. It is a fun movie. As far as action movies go it's a classic but that doesn't make it a classic piece of art. Ditto for this album. Lots of fun, music mixes well with the vocals, and lyrics are not completely drivel (??). I just can't find in the music or the vocals what makes it particularly impressive or what shows great skill. A classic disco or pop album but not a classic piece of art.

Another difficult one. I feel like Sonic Youth is good for one real killer song on an album...and then the rest? Teen Age Riot is a bit of a bore for the first 80 seconds but it's quite good after that and has everything there is to like about the band - pace changes, off tempos, picking and strumming, distortion and wall of sound all in one. Add in blunt lyrics and the album should be really good. I wanted to like it more, but ultimately it felt too uneven. I'd say I really enjoyed about every third song (The Sprawl, Total Trash, Candle, and The Wonder/Hyperstation - they blended together) but the rest was sort of meh. Maybe the songs were too long (i.e., self-indulgent). I listened to it a bunch of times too, over a week. Super talented but I just couldn't get there. Makes me feel bad as an alternative rock fan but that's my conclusion.

Really surprised here. I have always loved the Black Crowes on the radio but I also always asked myself whether they were just a band with a bunch of good singles. I have never listened to any of their albums cover to cover. Even before I started listening to this album I looked at the track listing and thought whoa. That was the surprise - this album looked stacked. It did not disappoint. Big sound, lethal guitar work, heavy southern and blues rock (honkytonk piano to boot), great vocals. Turns out most of the songs I love from these guys (Twice as Hard, Jealous Again, Hard to Handle) are on this album. And if I ever get good enough to play guitar in front of people I will play She Talks to Angels - my singing also sucks but if I can pick & pluck my way through that song it won't matter. A true classic (can't believe Rich Robinson wrote that at 15). The non-hits were just as good (Sister Luck, Think N Thin, and Struttin Blues were particularly good). So I have my answer - they were amazing on one album. I still say they were largely average the rest of their career (second album was alright). But THIS album! A beauty.

Decent, and sometimes annoying. These guys got better on later albums when they didn't try to have so much feedback. Check out their 1987 album Darklands (fairly solid, April Skies and Happy When it Rains are highlights) or the song Head On on their 1989 album Automatic. Just Like Honey is cool and more on par with their later, more "subdued" stuff. The next 4 tracks are similar, not quite as good but decent. Things take a turn at In a Hole until Inside Me, way too much distortion and pedal use (Some Candy Talking wasn't so bad). That's where they go over the top like other cringey shoegaze pioneers like My Bloody Valentine. The last five tracks toned it down again (except You Trip Me Up and It's So Hard...nails on a chalkboard). So, one-third of the album was tough to listen to, the rest was alright and sometimes quite good (first track, The Hardest Walk, Sowing Seeds).

Chris Cornell is probably my favorite rock singer after Freddie Mercury, so talented and so much range. I just happened to listen to his collection this weekend, not knowing this album was upcoming (I was behind and stuck trying to decide on Sonic Youth so turned to Cornell). I know most call this album their magnum opus but I always wondered if it was really that good...despite the fact that Spoonman, My Wave, and The Day I Tried to Live are some of my all-time favorite alternative songs (the chords & guitar progressions & drumwork on all three...brilliant). I really got into music in college, mostly listened to radio and didn't own many albums in high school so I didn't own this. Even now I don't own it, even though I profess to be a late Soundgarden fan. I saw Jeremy's review and I feel the exact same way about Black Hole Sun. Maybe that's why I have these hesitations, like some of it is overplayed and overhyped. Nah. I have listened to it a fair number of times since college, but finally listening to it really intently here, it's awesome. Like my favorites, the other songs have awesome guitar work, humming basslines, solid percussion, Cornell's vocals (of course), and profound lyrics. Even the non-hits are great (e.g., Let Me Drown, Mailman, Fresh Tendrils, 4th of July). Shame on me for ever thinking this was less than amazing.

So we had a Bowie album earlier and I gave it an analytical 4. And even though, no, I have never listened to any of his albums, I was super excited to listen to this one when I saw it and the track listing. Suffragette City, Moonage Daydream, Starman, and my favorite Ziggy they're all here (channeling my inner Principal Skinner). Really getting spoiled with this list recently. Incredible album. Bowie shows some deft acoustic guitar playing (Starman, Rock N Roll Suicide) and Ronson is amazing on the electric guitar (the main riff on the title track is one of the greatest of all time). Bowie's great songwriting skills are on full display especially his lyrics (Soul Love, It Ain't Easy were some highlights for me). I will say that for a concept rock opera album, the pieces don't always connect in a linear or coherent way, but the themes are all there. And the whole effort is masterful. Every listen the album gets better and better.

Solid. Beck has always had good songs but I wasn't sure whether he had good albums from front to back. This one was pretty good. I feel like Kid Rock stole his country rock meets rap alternative approach from this album. Kudos Beck, for shame Kid Rock. The hits are well-known and well-respected (Devils Haircut, New Pollution, Where It's At) but I also thought Hotwax, Minus, High 5, and Ramshackle were particularly good lesser knowns. Overall, the album is full of songs with strange but interesting lyrics and wordplay (like most of his work), unique beats and mixes (including cool guitarwork and basslines), and plenty to keep you guessing about what it's all about. Like I said, solid.

Great harmonies and sweet vocals, a few songs over-produced (e.g., opening track). I hope there are other Temptations albums on this list because I'm not sure why this one is included other than having their biggest single Papa Was a Rollin Stone (and yes, it's a classic). Run Charlie Run is also politically charged and I guess its content is a significant new direction for these guys. But these aren't the first guys to sing about such stuff are they? I mean, Marvin Gaye's What's Going On came out a year earlier. I feel like it's a 3.5 but I'm struggling to find its legacy.

I listened to the album several times. Across multiple days. Maybe I'm too busy right now to full appreciate it, but I found it boring. Maybe I just don't appreciate the bossa nova style. Whatever the case, it was average for me.

Tupac was always a solid lyricist, definitely shines through on this album. If I Die 2Nite was pretty powerful, as was Lord Knows. The latter showed some different perspective too, which he really took to new heights on Dear Mama. That was a hell of a song. Breadth and depth of ability right there. Death Around the Corner was prophetic (though not as much as Changes a few years later). I thought some of his samples were tired, that was maybe one thing holding this album back. The mixes and beats were just alright.

The title track is just incredible, one of my favorite of all time. And legitimizes Art Garfunkel's contribution to the album. I didn't remember that it was also the first track, which seems like strange timing/organization. Feels like it should be the closer on either side one or two. The Boxer would be a great lead in to it. That is also an incredible song. Paul Simon is just a super talented writer and composer. The poetry in these soaring songs is great, but so is his biting observation in some of the more upbeat pieces - I forgot how much fun and witty Keep the Customer Satisfied Was. Baby Driver also super fun (a little less witty) and Cecilia was fun at one point in its life. But really, why not an upbeat side (3, 4, 7, 9, 10) and a subdued side (8, 2, 5, 6, 11, 1) to the album? Or slowly build up the pace before walking it back down again? Probably being too critical here, it's a pretty great work of art.

Wow, this was a bit of a letdown. I was expecting more. It sounds dated and like typical 90's R&B cheese (where they took all the 80's synth and fake instruments and tried to make it sound cooler). These ladies were definitely better than cheese but this album is average at best.

So I saw this was late 90's dance and thought ugh. Pleasantly surprised. I really dug the first two tracks - funky beats and I didn't mind him repeating the same lyrics over and over. However, it got kind of weak around his first "big" song (Hey You what's that sound?). Sounded a bit like the Ghostbusters theme - it was still good, but just, and things went downhill over the next few tracks. Way too robotic sounding. Some redemption in tracks 9-11 (bringing in a guest singer on Sometimes was a good move). Ultimately I say great start, but it faded and ended up just a little too uneven.

So until about 2 years ago I thought Queens of the Stone Age started with No One Knows off of Songs for the Deaf. But it turns out they had two albums prior to that and this one (their debut) is really good. It's a shame no singles were ever released - the first three tracks alone are smashes in my opinion. Regular John and If Only are what got me into finding out more about the Queens. I guess these guys (or them in their former bands) were too off the beaten path (too nu metal?) prior to this. But the pounding melodies are great - i.e., buzz from backing guitar & bass plus intermittent lead guitar intricacy and high fret change of pace. To me, this was one of the best examples of post-grunge alternative creativity, even though few went in its direction. I wish it had more staying power or influence. Very cool album, though it dragged a bit at the end.

Very conflicted with my judgment here. I listened to the album close to 10 times because I couldn't make up my mind. I admit it got better with each listen. The biggest issue for me is there are two incredible tracks (Monday, Monday and California Dreamin) - with great lyrics and harmonies and decent musical accompaniment - and then a bunch of other tracks. I was trying to figure out whether the rest were anywhere near as good. I really came to appreciate Straight Shooter. Go Where You Wanna Go was solid. The harmonies and vocals were quite good, and the lyrics provided some complexity; I Call Your Name was ok but I didn't love the vocals as much (lyrics are a credit to the Beatles). So, pretty good side one and great opener to side two...then? I found their version of Spanish Harlem annoying but Somebody Groovy was solid. Hey Girl and You Baby had some good harmonies too but felt bland compared to side one. Feels like a 3.5, and I'm rounding down to go with my initial reaction that still lingers.

So much of this list is about pioneering a genre. If you don't know the history and are only going on sound, sometimes you just won't get it. That being said, I enjoyed the sound from the get go. Mambo Sun was super cool, and I immediately noticed how it took some of the 60's pop rock I know (Strawberry Alarm Clock, Donovan, etc.) and brought it into a new harder rock light. Now knowing this is the first true glam rock album, I can also see why so many of the sounds seem to be echoed in later releases. Mambo Sun feels like it has been reimagined in modern rock by bands like the Black Keys (the Brothers album). Cosmic Dancer and Planet Queen sound like they would be inspiration to Bowie - both in the sound (pseudo acoustic with complicated electric and multi-instrumental layers) and in the spacey fictional lyrics. Ditto for Monolith, except it has less of the acoustic sound. Jeepster and Get it On (really the whole album) sounds like it fueled bands & songs like Sweet & Ballroom Blitz. Given that I only knew Get it On coming in (a stone cold classic; loved it since I first heard it around 8 years old), this was a great new listening experience.

Another great surprise in the punk/post-punk genre. Once again an English band I'd never heard of that put out some really solid stuff. The lyrics are awesome (I'm going to have to listen 10 more times just to fully grasp them) and the sound pulls you in. That sound isn't overly complex (pulsing bass as the backdrop, tortured guitar chords, enough drums mixed in) and is similar to other trail blazers from this era, but it rocks. I immediately thought of Fugazi when I heard Ether - I wonder if Gang of Four had any influence on their sound. I got to Glass before I hit a track that I found a bit dull but it bounced back quickly, especially with At Home He's a Tourist two tracks later. Natural's Not In It, I Found That Essence Rare, and Damaged Goods were also particularly good. I'll be going back for more listens of this album and this group.

And I thought Neil Young was eclectic. This is what, rock meets jazz? I've listened to a couple Zappa albums before, but more straight ahead rock (from the 80's maybe?). The first track is pretty short so I didn't really notice the heavy jazz motif until I got past track 2; clear as I go back to it. Most of the album felt like jazz fusion with electric guitar and a rock feel. I was thinking that it sounded like some of the jazz albums on this list and then read that Shuggie Otis is featured on the album, so yep. The second track felt like quintessential prog rock and it was pretty damn cool. I would've liked even more of that but tracks 3 and 4 were still pretty cool. Track 5 was up there with track 2 - slick. On top of Zappa, Ian Underwood was pretty impressive on the sax (and other woodwinds).

I never really listened to Skynyrd though I liked songs here and there. A few of those songs are on here. This album was an education. As I listened to the opener I Ain't the One, I thought "Yep, there's the good guitarwork they're known for. Oh, and a second harmonized guitar. Very nice. Wait what? A third lead guitar. Holy shit." I did not know about the Three Guitar Army, until I read up on who all the musicians were. So that was already changing my opinion in a good way. Gimme Three Steps is probably my favorite track of theirs - no, it's not overly complicated but the combination of thumping beats and cheeky lyrics/vocals ("I said Excuuuse me") always hooked me. As much as Freebird and Simple Man get played a lot, they are very good. I'm not going to go ga-ga over either like some, but the lyrics and the sad melody tug at you just enough (and of course there are good guitar licks). Still, I prefer the sweeping beauty of Tuesday's Gone. This album is at least a 4 but if I gave the Black Crowes' southern rock debut a 5 I gotta give Skynyrd's southern rock debut the same.

I remember having a conversation with some work colleagues about 20 years ago, talking about albums that had no holes cover to cover. I'm sure I said something like Weezer's Blue album but someone said Moondance to which I kind of scoffed at. Well, it's taken me 20 years to finally put his claim to the test. I think side two dipped a bit compared to side one but it's still a beautiful album. The songs are poetry put to music. A really deft fusion of rock and jazz - impossible to separate one from the other - with his voice that carries the whole way.

Little Richard just pounds the ivory doesn't he? Love the energy in his playing and his vocals. His band brings it too. I find it interesting that he had a bunch of singles with no album and finally decided to put them together. Almost sounds like a modern day artist. Definitely a 4 here, but something is keeping me from saying a 5. I don't know what. Maybe some so-so songs? Maybe not a lot of variety? Maybe I don't know what I'm talking about?

Dang. They don't make 'em like Stevie Wonder anymore do they? I've always been a "radio" fan of his - love his music and profess to be a fan but I don't own any albums and mostly listen to him when he's on the radio. And really that was when I was a kid/teen. I do have a group of friends where we'll put on some Stevie when we get together but really, I think this was the first time I listened to an entire album of his on my own. And what an album! 2 discs, 4 sides, and a bonus side - it almost doesn't even matter what the second disc sounds like after the first one. The legacy of this album is clear in how many of these songs have been sampled. He brings so much variety - soft, subtle arrangements on some songs (Knocks Me off My Feet, Summer Soft, Joy Inside My Tears), funk or upbeat tempos on others (Sir Duke, I Wish, Ordinary Pain), and still something in the middle on others via funky/upbeat tempo but softer content (Have a Talk With God, Isn't She Lovely, As). Some songs that I didn't remember but thought were awesome were Love's In Need of Love Today (beautiful), Contusion (a funk odyssey), Black Man (powerful), If It's Magic (also beautiful). He pours his heart and soul into every minute; while he sometimes reminds us of our shortcomings he also often reminds us of what is good in this world. Could use some more of that these days. A nearly 2hr masterpiece.

WTF? Sometimes I just don't understand this list. This album pales in comparison to many of the recent gems. It was a perfectly average, bland piece of music. Fine to listen to, but nothing remarkable. Lyrics were ok, musical arrangements not bad (a bit of synth though?). More violin and harmonica than normally heard in a pop rock band perhaps. So what? I just don't hear anything that shows unique ability or style.

There are not many hits on this album so I'd guess most listeners (me included) don't recognize most of the songs. But wow, can these guys play. Probably more than other Zeppelin albums you can really hear all the intricacies and range of their abilities, Page and Jones in particular, due to the heavy acoustic motif. I mean, I always knew they were good and super talented but I did not realize how good until now. The string work (and there are a lot of stringed instruments and playing styles) is just ridiculous. Friends and Celebration Day made me stand up and pay attention - from Page's acoustics and Jones' string arrangements on the former to Page's slide guitar on the latter and Jones' organ synth segue between the two. Their ability to play the blues is on full display on Since I've Been Loving You. That's where I started to notice Bonham's range of ability. And then he crushes it on Out on the Tiles (his playing and his composition of the other instruments). Gallows Pole then seems to show everyone's range - love the arrangements and different stylings. At one point I asked myself \"so what's Plant doing on this album?\" Sure, with all the acoustics his vocals take center stage and really fill your ears - which most cannot do. But then I listened to Hats off to Roy Harper - what he does with his voice at the 1:50 mark to turn it into an instrument itself is incredible. As I went back for more listens I realized he was doing other unique effects with his voice on other songs (like the Immigrant Song and That's the Way). These extras were even more impressive than his sheer energy. Overall, this album goes to show these guys could play any style you wanted.

What a haunting album. Kudos Mr. Springsteen, kudos. Incredible lyrics and his stripped down (mostly) acoustic approach adds a perfect sombre tone. I was totally blown away by how good a story-teller he is. After listening to the album a couple times I decided to read up on it and was glad he decided to keep it in demo version, rather than rocked-up with the E-street band. I might not have minded if Open All Night got moved to another album - I like it, but it's a bit too rockabilly for the rest of the album's tone. It sounded a lot like Pink Cadillac to me, and apparently that was another track he recorded along with these ones but kept for a later album. The other songs he recorded with these ones but kept for Born in the USA are also some of his best - I'm on Fire would easily fit right in on this album and I'd love to hear the stripped down version of Glory Days. I patted myself on the back for thinking that State Trooper sounded a bit like that weird Suicide album with his shrieks near the end - yep, one of the songs influenced the Boss on this one. I don't know if I knew too many of these songs, but I instantly loved Highway Patrolman and My Father's House. Something about the emotion-tugging lyrics and his raw sound - just beautiful. The title track was close behind these two; a great opener. I also really liked how he layered in self-harmonies and backing vocals to Atlantic City.

This sounded like a weird 90's dance album - like De La Soul or Snap with just a bit more electronica. That's not a compliment. It felt like they hadn't figured out what they were yet and were pulling in different directions. Pick one, in my opinion. Maybe this was the first ever trip hop album but the sound hadn't been perfected yet so I don't think it deserves to be on this list. Sometimes the first of something isn't all that good. I mean, it's not garbage. It's just unremarkable.

I struggled to rate this one, and listened to it repeatedly, so at least the album was short. One problem is I don't know many of the originals so it's hard for me to gauge how good her re-interpretations are. And then the backing music is standard fare in my opinion (barely noticeable), so I'm really evaluating her vocals. She can warble, that's for sure. But I don't know if it's enough for me to round up a 3.5 to a 4.

Another album with a female singer who can really belt it out. But is that enough to hit a 4 or 5? At least this album had some variety going on in the music accompanying the vocals. Some cool synth and then some weird stuff. I do love Annie Lennox's vocals and Sweet Dreams is a classic, but the rest of the synth/new wave stuff just wasn't good enough to be more than average. I enjoyed the album, but not enough to go back for more listens.

I liked it, particularly the opener Revelator. But it didn't quite pull on the heart strings or activate the brain in the same way as other stripped down albums (like the Boss' Nebraska or Willie Nelson's Stardust). Writing good music is hard and blending vocals and instruments to generate a captivating sound is no small feat. The greats somehow figure out that fit. This is good but not great. There's some nice guitar or banjo work at times, but Welch's voice doesn't pour out of it or quite harmonize with it. Rawlings' harmony attempts added very little. At times, it's like the vocals don't belong with the music or the music doesn't belong with the vocals. Dear Someone was an exception (vocals and music felt made for each other) as was I Dream a Highway. Again, I enjoyed the album but it didn't have that seamless connection to be any more than just good.

A friend recommended this to me back in 2010 or 2011. I had no idea who they were but was completely blown away by this album. Nothing before or since by the National resonated the same but I listened to this one endlessly for months. I still sometimes put it on when I just need an album I can let repeat. Dark and brooding maybe, but I don't mind that. In fact I think I'm starting to see I'm quite drawn to that because the lyrics are raw and honest and really make you think. The music plays right into it - key piano and strings to punctuate the message, with some distortion (guitars or engineered?) here and there to offset it and give it a foggy feel. Highlights - Terrible Love (sets the tone for the rest), Little Faith (lyrics match a little Catholic revolt inside me?), Afraid of Everyone (love the beat and the lyrics are profound), Bloodbuzz Ohio (the vocals just carry and fit so well with the music), England (love the piano and the orchestral-like backing, as well as the crescendo in the last 100s), Vanderlyle Crybaby Geeks (lyrics and music so sad but so beautiful).

Their playing is a bit simplistic so I can't include this with the great works of musical art, even if those in the biz believe the album helped saved alternative rock. It's really not clear to me how good they are as musicians (though some deft guitar work and solos on The Modern Age). I'm amazed every time I think they have two guitarists; it sounds much simpler than that although yeah I can hear the two distinct styles when I listen closely. Still it's a fun album (loved the free-styling at the start of New York City Cops), an easy enjoyable listen, and includes some well-arranged stylings (bass lines kick ass in most songs) despite the simplicity. Easy to put on repeat and not get annoyed.

I love a good concept album, especially a rock opera. Too bad I found this one boring and disjointed. I enjoyed the opening track so I thought the album had promise. But the transition between tracks didn't seem to provide a good rhythm. I sort of expected a building rise and fall or maybe a couple of sequences but it felt like the mood was constantly changing. Why not get rid of track 2 and go straight from track 1 to 3 (both upbeat)? Why have a somewhat upbeat track 4 (Private Sorrow) that cuts bleak at the end and then go back to a frantic track 5 (Balloon Burning), only to plummet again for track 6 (Death)? I know they're trying to follow a story but tracks 4-6 are all bleak so why not harmonize across them better? I actually liked Balloon Burning, it just felt misplaced. Track 7 (Baron Saturday) wasn't bad but again it took an abrupt turn from the mood of track 6. I wouldn't care so much if this wasn't a concept album but it is. No flow. I sort of stopped paying attention after track 8 but track 12 (Old Man Going) was pretty good. Still, it was a bit weirdly sandwiched between the tempos of track 11 (Trust) and 13 (Loneliest Person). I more enjoyed learning about the album and the story they tried to portray than the listening itself. Poor execution saved by ambitious intentions.

I listened to this album a bunch a few weeks ago but wanted to find the time to listen to it while reading the lyrics because I thought they were the epitome of biting sarcasm and criticism. They give a big middle finger to everyone - the iron curtain and western society (Holidays in the Sun), orphans (No Feelings), the music industry and record companies (Liar and EMI), monarchy and British government (God Save the Queen and Anarchy in the UK), working stiffs and couch potatoes and sheeples and themselves (Problems and Pretty Vacant), middle class (and above) society (Seventeen), silver spoon or flaky musicians (New York). They even call out abortion. Ok, that one is a bit jarring and a little offside. But if you really listen to it, they're not taking a position on the issue and the lyrics are powerful. It certainly cannot have endeared them to too many folks to even discuss the issue back then, so you gotta respect their guts. There is no better example of screw the man and screw everything than this band and this album. And for all the flack they have taken for average musicianship, I liked their sound and thought it was solid. Combine the music and the lyrics and their energy/fire and you've got a classic album.

This is what that Eurythmics album was missing. Super cool synth beats. They basically took what had been their style and tried to fuse it with something a little more rock. It works well. And sure, David Gahan is no Annie Lennox, but he's still got a silky voice. It's man sexy. And the lyrics are typical Depeche Mode - really f'n good. They make you think...a lot. I mean, the 3 big singles from this album (Enjoy the Silence, Policy of Truth, Personal Jesus) are just so biting and memorable. They're everyday life quotable - my wife was telling me a story the other day about someone screwing up (again) and I said "never again is what you swore the time before". And she doesn't know Depeche Mode but gave me an affirmative "right?" Their lyrics are sharp. "Reach out and touch faith", "pick up the receiver I'll make you a believer", "feelings are intense, words are trivial", "the delivery of proof in the policy of truth". Even just the titles are sublime! I'm not going to give it 5 stars because a few songs were just ok. But of songs I didn't really know before I quite liked World in My Eyes, Halo, and Blue Dress (it's Every Breath You Take creepy/addictive).

A pretty solid album but I'm not going to completely gush over it. Nice gift for Bowie to leave the world but I've heard better albums. I found the drum track and electronica elements annoying at times - like the start of Blackstar (still a good song) and most of Sue. That being said, his lyrics are excellent and he has some real beautiful songs - Lazarus, Dollar Days particularly stand out. Girl Loves Me was my favorite track - funky and great tempo.

Another one of those bands that was changing the rock scene behind the scenes in the late 80's and early 90's. You can hear their metal upbringing on songs like Surprise! You're Dead (sounds like Megadeth). But especially on their 3 singles you hear more melodic rock and a fusion of rock, metal, rap, and funk. Just listen for the bass on Falling to Pieces. Or anything on Epic - did you hear the opening minute? That track is a classic because of how unique it was and remains to this day. From out of Nowhere feels like it's 10 years ahead of it's time; just a different melody and song structure than most songs of that era. Zombie Eaters is a lesser known with a style all Faith No More's own - a combination of sombre, soaring, funky rock-rap. The Real Thing is a bit heavier - a more noticeable thrash undertone - but still with plenty of nuance to give it that soaring ballad feel. Woodpecker from Mars was a cool instrumental song. I like their cover of War Pigs, although it's not all that much different from the original - likely a good thing since the original is so good. So, great imitation but not much innovation. I will say this album really grows on you; the album as a whole is better than the sum of its parts. I still thought most tracks were solid but they really complement each other well. I was torn about whether it deserved 4 or 5 stars, but rock is definitely in a better place because this album came along.

I've heard a bunch of The Stooges songs over the last little while with all the early punk bands on the 1,001 list. They are a band that I have come to realize are better than I originally thought. Yeah, the album is a little raw and has a bit of a Velvet Underground feel (too much imitation?) and it has some annoying screaming (from Iggy) that gets emulated in other acts (Suicide). But the energy is awesome. I really like the first three tracks - Down on the Street, Loose, and TV Eye. After that it starts to lose focus - Dirt is a bit too psychedelic (and long) for me. 1970 is also too drawn out, though the sax starts to get some more prominence and it's not bad/adds a nice twist. LA Blues is just a mess (borderline terrible). First three tracks are a definite 4 but the rest is at best a 3 (unnecessary decadence).

I love listening to music performed live. I hate listening to recordings of it. So it's going to take a lot for a live album to knock my socks off. Mixing rock and symphony has potential. The first song with both the orchestra and Metallica (the Call of Ktulu) was pretty f'n cool. Really well fused pops and rock. But after that, most songs felt like rock with a symphonic backdrop. Still cool but left me wanting more. A couple of exceptions were Hero of the Day (symphony was a great add during the slow buildup) and Devil's Dance (the string section was so prominent and awesome...should've done a violin solo). The symphony was kinda cool on One and Enter Sandman. All in all, pretty cool but missed an opportunity to be epic.

Struggled with whether this album is a 4 or a 5. I feel like if I didn't know it was the Stones it might just be a 4. The two very well-known tracks (Gimme Shelter and You Can't Always Get What You Want) book end the album in masterpieces. So what about the stuff in between? More country than bluesy. Not all that relevant - the key question is how good is it? Love in Vain is a nice reimagination of the original. Country Honk is an inferior version of the earlier recorded Honky Tonk Women (perhaps in part due to poor recording quality?). Live with Me, Let it Bleed, and Monkey Man are sneaky good - after a few listens I feel like I've known them forever; they just grow on you so quickly. And I'm sure others have taken elements of these songs to inspire new ones, I just can't put my finger on when or where. Midnight Rambler might be my favorite track - great blues track (and harmonica). You got the Silver is alright. I guess I'm saying two-thirds of the album is really really good. So I'll give them the star band round up.

I only knew Ace of Spades coming in (who doesn't? a classic) but this was a really solid album. Feels like the segue between Sabbath's heavy metal and metal of the 80's like Metallica. I read that they saw themselves as a rock and roll band and I totally get that. If you listen, they're not that much different than a rock band like ZZ Top. A little heavier, a little faster, but similar elements like a rock melody underneath. Oh, and ZZ Top's cringeworthy lyrics. Case in point the song Jailbait - "I don't dare to even ask your age, it's enough to know your here backstage." Yikes. File that alongside Pearl Necklace. It was a different era back then. I'm just going to enjoy the pounding guitars and drums and pretend I don't hear the lyrics.

I am embarrassed at how much I profess to be a Queen fan and yet I don't own a single album that isn't greatest hits. Oh well, making up for lost time. So many different styles on this album. They don't all fit seamlessly but like Led Zeppelin III it shows a band who can play whatever the hell you want. Brighton Rock - classic hard rock and damn does Brian May heat up around the 2:40 mark. What. A. Solo. It just keeps going. Killer Queen - quintessential glam rock. Tenement Funster - a mix between the Who and LA Rock (nice acoustic work from John Deacon and wow can Roger Taylor sing), which turns a bit progy when considered alongside Flick of the Wrist and Lily of the Valley. I love how these three fit together and Freddie Mercury's vocals on the latter two are as entrancing as any of his most notable performances. In the Lap of the Gods - not my favorite but it does have a rock opera feel (and it's Taylor hitting the high notes). Stone Cold Crazy - frenetic pace (almost Sabbath-esque). Dear Friends - soft and sweet, piano and vocal harmony only. Bring Back that Leroy Brown - almost ragtime. In the Lap of the Gods Revisited - a soaring rock opus (that's how you close out an album). Other notes - I've always loved Now I'm Here, especially the effect that makes the acoustics sound like its jumping from one side of you to the other (also used at the end of Misfire). So much to like, so little to dislike.

I tried to shake off the thought that the opening of the title track sounded like muzak, or Kenny G. It's jazz, that's what it should be. I've actually listened to the album (and similar music in the genre) for over a week now. It's great easy listening in the background. And I really liked the Street Life the song (vocals were awesome and the sound was groovy), though I don't understand why it wasn't about 4 minutes long (5 max). It just repeated. The fact there wasn't vocals the rest of the way through really didn't help me shake that muzak feeling. But again, I enjoyed it quite a bit. Still, after a week of listening I'm not sure I could identify their songs (other than Street Life) in a lineup - what's theirs vs. someone else's. I'd say at least a 3.5 but I just can't round up given how nothing in particular sticks out. I may regret that decision in the coming weeks but average is what it is.

Another tough one. For sure a 4 given its singles. Just the Way You Are and She's Always a Woman are two beautifully written and sounding classics (as beautiful as Let it Be or Hey Jude). Only the Good Die Young is one of my favorite Joel tunes - super fun and great lyrics. Movin' Out is almost as foot-tappingly fun and good, but there's always been something about it that didn't quite compute (is it all the ack's?). Of his apparently beloved other songs, I really enjoyed Scenes from a Restaurant (especially the more sombre start) but was a bit ho-hum on Vienna. The latter definitely got better and better the more I listened (10 times?). But I found title track and the last two tracks a bit meh. So, what do you give an album with 5.5 great songs and 3 so-so's? I'm at 4.5 so which way to tip? I'm going to round up for the start of both Get it Right the First time and Everybody has a Dream - the former reminded me of Paul Simon's work (a good thing) and the latter opened soft and sweet even if the last 2 minutes was unnecessary.

Alright, let's just disclose the bias from the get-go. This album came out when I was just getting into music around the age of 13. So it has nostalgic value. I do not own it but all my classmates who were more knowledgeable of music did. I still remember one classmate (who was a big Beatles fan at 13, so he can't be all wrong) telling me Nightswimming was hands down the best song on the album. Probably 10 years later I was rediscovering the album and I had to agree. I ran into him at a bar once and told him that. It's just a beautiful composition (love Mike Mills' piano) and one I could play on repeat for weeks on end. And I just learned John Paul Jones provided the string arrangements on it and two other of my favorites. I mean, how can you not love that? To me, this album was the pinnacle of their greatest songwriting period (1987-1995ish). I still don't really love Drive or Man on the Moon - both are waaay overplayed - but they don't suck. And there are some great lesser knowns - Try Not to Breathe (a superior brooding song to those two well-knowns), the Sidewinder Sleeps Tonite (super fun), Find the River (a nice closer with a John Denver feel that grows on you). Even songs like New Orleans Instrumental Vol. 1 through to Ignoreland, which are not as good as the others, have a certain edge to them. Some if it is Peter Buck's scratchy guitar work, some of it is the excellent lyrics, some of it is other backing instruments. Funny enough, I have never got tired of Everybody Hurts - something about it affects me every time, especially the crescendo that starts around the 4 minute mark. Listening again, I realize the album's sad and darker tones also likely play a big role in why I'm drawn to it. Still I guess it's like 6 great songs, 4 good songs, and a couple so-so songs. It feels like at least 4.5 and giving it a 4 would counteract my bias but I'm just going to embrace it.

Sorry, but if you have to create a compilation album to generate a good album, it's not a good album. If the Hives were so groundbreaking, then put Veni Vidi Vicious (their 2000 full length debut) on this list. The problem with the Hives was/is they are so indistinguishable from the rest of the bands of the time. When a single would be on the radio I could never tell if it was the Hives or the Vines or some other "the" band (they don't sound like the Strokes but their sound was a punkier version of it). Sum41 have a great video by the way from back then where at the start their record producer tell them they're now the Sums because that's what everyone else is doing. For sure I like some of their stuff, it's just not overly unique or memorable.

Too easy. A cover to cover beauty. It must have been both satisfying and frustrating for Led Zeppelin to release this album after getting panned for III to say "ya happy now?" I'm not sure Four Sticks gets enough credit for being every bit as good and rocking as Black Dog or Rock and Roll. When the Levee Breaks is also just as good a sweeping epic as Stairway to Heaven. I was explaining to my kids yesterday how Whole Lotta Love is actually a reinterpretation of an old blues song and that LZ has done that a few times to great effect. When the Levee Breaks was their best of that. This album just has so much in your face rock yet also has some incredible softer or acoustic pieces. Again, too easy.

Ah yes, Kate Bush - that annoying voice singing Don't Give Up in the Peter Gabriel duet. Feels like such an 80's thing to promote or adore females artists with unique high-pitched voices - Bush, Bjork, even Cyndi Lauper. I actually enjoyed the album more than I thought I would. She's a pretty good lyricist. The musical accompaniment was sometimes good sometimes not. Love and Anger, Reaching Out, Deeper Understanding, Never Be Mine, and This Woman's Work (my favorite) were particularly memorable or captivating. So all the even-numbered songs. I guess the first song (title track) was memorable but I didn't like it as much as the other five. I feel like I was creeping up to 3.5 but couldn't get over the hump.

Fun album (at times) but lacks substance. Too much filler too - intro to Detroit Rock City, Rock N Roll Party (what was that and why was it needed?). It's hits are great to rock along to (DRC, Shout it Out Loud) or to sing along to (Beth) but the rest is hit or miss. King of the Night Time World is further evidence these guys can write songs you want to bob your head to (even if the lyrics are pure cheese). But God of Thunder was annoying - way too much layered-in studio effects. Plus Gene Simmons isn't a great singer - so I didn't enjoy Great Expectations or Sweet Pain either (though the instrumentation on the latter was fun). Flaming Youth was okay. Like other albums on this list, a few nice hits do not make for an incredible album. Fun, but average.

Boring. It's like they have a punk sound but on one-quarter speed. On a second listen I found there was a bit more to their sound than I originally thought. But it was still boring. It also felt like they were trying too hard to be clever (looking at you No Xmas for John Quays). Eventually it just felt pretentious. I gave it the second listen to make sure I wasn't being overly critical. It felt like hard work.

I don't know. I struggle with this whole era, where everyone is doing the same songs in their own style. Where's the originality? And how do you rate an artist who basically just sings and plays an instrument? I would roast a pop star from today's era who did that. I guess I'm rating the album but I didn't find it that interesting on first listen. Part of the problem is, from what I understand, the best music was released as singles back then. So albums contained weaker tracks. I'd agree here. This was the birth of rock and roll and the energy or passion on the album comes and goes. Blue Suede Shoes was great and in fact the first half of the album was pretty solid. I'm Counting on You was not as good (sound quality also weak); I Love You Because is a better soft ballad. Elvis' version of Tutti Frutti is inferior to Little Richard's. But he brings it back with Trying to Get to You. The last 4 tracks were a bit meh (including this version of Blue Moon - terrible arrangement). The album got noticeably better on second listen though. So, redeemed but not amazing.

Enlightening. I did not realize just how bluesy they were in their early days. They've got a pretty cool sound on Waitin for the Bus and Jesus Just Left Chicago. Respect. Hot, Blue and Righteous almost had a Skynyrd Tuesday's Gone feel to it - some blues, some southern rock. The rest of the album has a more fast-paced or pulsing rock sound, which was pretty solid. They create some good rhythms. Master of Sparks as well as Precious and Grace stand out. And of course La Grange stands out but everyone knows that is an incredible tune - great pace and intricacy in the drums and guitar/bass. Really enjoyed this album. Almost gave it a 5 but that seemed a bit much.

Wow. Unique. I thought a two-piece band but bass and drums not guitar and drums? How's that going to sound? Pretty cool actually. It's a lot of noise, which is a bit of a knock. But the bass is absolutely pumping; wouldn't have minded a bit more variety from the drums instead of just bash them as hard and as fast as possible. And just cut out the vocals, if you can call them that. It wouldn't be all the time, but I can see some situations where I'd go back and put this on. I found myself rocking out to 2 Towers on my second listen. I love the bass work on this album; not a lot else. Good offsets the bad, enough for an average rating.

Yeah, I still don't get these guys. Theirs was one of the first albums I listened to when starting this list and now close to 200 albums later I thought I might have a more enlightened perspective. Not really. I've found I like punk and post-punk more than I thought. I originally likened them to The Smiths or The Cure but now I see them more as a go-between of punk (The Stooges or Undertones) and Shoegaze (Jesus & Mary Chain). I don't dislike them. I just don't see myself going back for much. Do it Clean was the only track that really resonated with me.

I think I like this better than Massive Attack. Easy listening, nothing annoying. It really is arranged quite well. But it's all sort of the same to me. Thought about a 4 for a moment but not sure that's what you give an album that is mostly great background music.

Maybe I'm being too generous, but this feels like a surprising 4 stars. I've never thought Alice Cooper was anything special - like No More Mr. Nice Guy, well-known but to me just ok. But there's some stylish arrangements here (for example, Hello Hooray and Billion Dollar Babies). And Alice Cooper (the man) writes some pretty witty lyrics - sometimes the material is dark but the music to go with it is not. It's like glam rock with a totally distorted sense of humour. I really enjoyed Raped and Freezin, Elected (was there some brass in there?), Unfinished Sweet, and Generation Landslide for these unusual lyrical and musical combinations. I Love the Dead starts to dip its toe into the macabre a bit too much but the latter half of the song has some redeeming musical arrangements. Sick Things (definitely too much macabre) and Mary Ann (awful sound) were the only real disappointments.

I wish I would've given the self-titled Blur album a 3 because this album is definitely better but doesn't feel good enough to be a 5. They do some different stylings really well - synthpop/rock (see Depeche Mode) on Girls & Boys, Brit-style spoken word/rap/rock mix (see the Transplants) on the title track, punk on Bank Holiday, classic Britpop (see, um, Blur) on End of a Century. It's an eclectic mix. But there's also some excess / filler / unnecessary stuff - it doesn't need 16 songs, 10 might have been about right. I thought songs 6-9 were kind of boring and meandering but the album regained some steam with London Loves and Trouble in the Message Centre (felt a bit like the Cars here). Jubilee was also a lot of fun on the back end.

Another solid rock opera. But I don't know, I think I might like Bat out of Hell more. There's some good stuff and then there's some throwaways. Sometimes the songs don't seem to flow into each other as well as they should or could (e.g., Christmas to Cousin Kevin). Maybe that's also because some songs weren't initially conceived of for the album (e.g., Sally Simpson) and were trying to be fit in somewhere. And I'm not sure if there are any absolute show stoppers besides Pinball Wizard (what a great tune). Still, I really enjoyed both the Overture and Underture (orchestral feel without the orchestra), and the also-instrumental Sparks. Christmas was solid but felt like a Beatles knock-off. Fiddle About is just disturbing but I appreciate it.

I enjoyed it more than I thought I might. He's definitely got a distinct voice but it's also familiar, and more than because I know a couple of his later hits. A bit of Sam the Sham, Van Morrison, or War? Feels like 60's psychedelia with a cajun twist. Some cool beats and some nice vocal work (from Dr. John and his backup singers). First and last tracks were my favorites. Again, enjoyed the album but not sure how many times I'd go back for another listen.

Still no Beatles and a second Supergrass album? Are these guys good enough to have two albums on this list? I don't know but I really started to dig this album after a couple listens. I definitely liked their second album more from the get-go but I was rocking along with this one soon enough. Like their second album, the first half of this debut is quite good and then fades a bit. Still, lots of rock attitude to enjoy and some variety to boot. My favorite track right away was Lenny - pounding sound. Alright is, well, alright - enjoyable (and more poppy) but a bit overplayed. At first I thought Strange Ones had sort of a confused punk sound but it also grew on me. I'd Like to Know is better (more consistent melody and sound), and it is also about what the strange ones get up to. Caught by the Fuzz and Mansize Rooster are solid; the latter is better while the former has a little something that annoys me. Both have the Britpop rock/pop sound with some keyboard jangle (think the Fratellis). Lose It has some nice edge to the sound, one of the best songs on the album I think. Sitting Up Straight has a fun frenetic pace (after a boring intro). I was less interested in the songs after that, except for Time. It had the best rhythms on the whole album - maybe my second favorite track. Maybe they don't deserve two albums on the 1,001 list but it was still quite good and I'm glad I got exposed to it because I only knew the song Alright before today.

I have spent my entire music-aware life (so say from about age 11) claiming I do not like Pink Floyd. I have never listened to them except for singles on the radio, if I didn't change the station. I know most of their popular songs, but Another Brick Pt 2 was about the only one I would ever listen to. My cousin was a huge fan and after his untimely death and the playing of Wish You Were Here at his funeral I softened a bit on Floyd. But I still never listened to them. That was a mistake. Still, it made for a wonderful surprise with this list. What a phenomenal album - beautiful composition. I'd give it a 6 (turn it up to 11) if I could. Side one alone was a masterpiece. I think I like Another Brick Pt 1 better than Pt 2 - more raw, edgier, no added synth or disco beats, you really notice the bass line and the guitar. I also really enjoyed the transition to Side two from Mother (Bowie-esque) to Goodbye Blue Sky and Empty Spaces, although Side two dipped a little after Young Lust. Side three was mostly excellent - the instrumentation across all the songs is really impressive. 20 years ago I probably would have begrudgingly admitted I didn't mind Hey You or Comfortably Numb but now that I have a broader music perspective they are two incredible songs, especially the latter. Side four might be the weakest if you listen to it on its own, but listening to it after listening to the rest, it is a fantastic close to the album. It also has some of the best lyrics - In the Flesh, Run Like Hell, and Waiting for the Worms are frightening when you consider that some people aren't laying it on thick for fictional purposes like Floyd but actually think that way. All in all, this is what a rock opera should sound like. It is THE rock opera. I guess I should go listen to the rest of their catalog...or wait for more pleasant surprises when their next album shows up on this list.

Strange but cool album. Total 70's throwback look and feel except with modern lyrical twists. Dude can slap the bass - case in point, Uh Uh (such pace). His cheeky lyrics really grew on me after multiple listens. Captain Stupido and A Fan's Mail were a little too silly but Tokyo (my favorite on the whole album), Jameel's Space Ride, Friend Zone, and Drunk were just the right amount of funny and observation. Great beats too. Favorites from a musical standpoint were Lava Lamp, Jethro, Blackkk, and Where I'm Going. His collaborations with other artists (Show You the Way), Walk on By, Drink Dat, The Turn Down) were also pretty good. Definitely need to give it a few listens to appreciate it, but it's worth multiple listens.

Love Bawitdaba, that used to be a big pump up song for sports. That's it. Not sure I've ever liked anything else by Kid Rock. Granted I've never listened to this album. So ok, the first 6 songs are solid (most notably Cowboy and I am the Bullgod) but the whole thing is repetitive. Similar beats and lyrics. For example, I liked Roving Gangster but it also referenced topless dancers (Bawitdaba) and had a similar progression and sound as Cowboy. Second half of the album is barely tolerable. If it's decent it's because it sounds like the first half (Somebody's Gotta Feel This). Welcome 2 the Party is just terrible - as if he was trying to write worse lyrics than Vanilla Ice. I've always hated Only God Knows Why - pretentious, and auto tuned to hell. All in all, the album is not awful but it's also not good. Can't believe it sold over 10 million copies.

It's a very good album but I don't know if it's great. I do not dispute that the Beatles are the greatest rock band of all time, but they got even better over time. This album doesn't have the same lyrical or musical depth as later releases. A lot of bubblegum and maybe a few too many remakes. I didn't love Til There Was You and sorry George but Chuck's original guitar intro and solo on Roll Over Beethoven kick your ass. They're all good homages but none really dominate the original. Although I do love John's wailing on Money - ups Barrett Strong's vocal energy just a bit. I also enjoyed their harmonies, especially on some of the originals - Little Child was too one-sided but It Won't Be Long, All My Loving, and Hold Me Tight were great. There's nothing to dislike about this album but it is not monumental (other than their timing and popularity) like other albums.

Really enjoyed this album. A different era of country music - the golden years in my opinion. A lot of the songs have the same qualities - smooth lead vocals that fill your ears, sweet backing vocal harmony, straight ahead musical arrangements that they play and pluck the heck out of, and some nostalgic or heart-tugging lyrics. Robbins and his band don't disrespect the songs recorded by others and the originals fit right in. Wish there were a few more originals. Listening to the album was like watching an old Western. Real easy listening.

God, Bob Dylan is just a terrible singer isn't he? I mean he can write and he can play but his Captain Kirk meets Lou Reed voice/stilted cadence is cringe-worthy at times. Mr. Tambourine Man is a perfect example of his super odd singing rhythm. Just Like a Woman isn't much better. The other problem is the recording quality doesn't allow me at all to feel the atmosphere of the concert. So disc one is stripped down and all Bob/all acoustic, but that's not all that much different then his studio recordings. On Springsteen's Nebraska I could feel all the emotion of a solitary songbird but not here. And then apparently the crowd was fired up and firing Dylan up (not in a good way) when the Band joined him for disc two but I don't hear that either. Another case of a recording of a live performance not living up to being there live. At least you can feel some energy from Dylan's voice/guitar and the Band's playing on disc two. And I know that's sacrilege because they were plugged in and he is Mr. sans electric. But the point is there's not enough feel to his acoustic performance; that's probably what you get with a shite bootleg copy.

Forgot how clever a lyricist Biggie was, even if vulgar. Case in point, Me and My B - "You looked so good I'd suck on your daddy's d..." Priceless. That song is a perfect example of Biggie's work - great beats, some real deep lyrics but also some real depraved lyrics. Also a bit of the rap opera here with Intro and Suicidal Thoughts opening and closing the album, although it's not a straight line in between. Like many of the 90s rappers I wish he wasn't such a misogynist, but he is damn good when he's not being so sleazy (and even when he is). Things Done Changed and Gimme the Loot are awesome; really the first 6 tracks are, before he goes to the cheap sex stuff for a few tracks. Juicy brings it back and like his other big single Big Poppa, it is rightfully beloved. Respect might be my favorite track though - great funky beat and the vocal assist from Diana King is electric. Not sure how much respect I have for him as a human being, but this is a great album.

Really nice melodies and arrangements. With a few more listens my rating might go higher. I liked the concept for the album, though it was a little too sex-focused. I thought it would have a bit more complexity or depth. Still, some good connections between the lead-in tales and the songs to follow. I really liked Lost One and its tale. Girl Like Me was also quite good and had more complexity to it. Put it Down has a great groove even though I don't have much respect for anyone the story applies to.

I'm a bit torn. I liked the album quite a bit, but I'm not sure why of all their albums this one was picked. I don't know their stuff well but this was quite the departure from their earlier trailblazing and fast temp days. So I almost feel like a sellout for liking this more subdued version of Husker Du. For me, what I noticed was a bit of a mix of REM mature rock and post punk/early alternative (Social Distortion, Bad Religion, The Replacements). Almost had a Wilco feel at times. It probably didn't need to be 20 songs but I guess that's what happens when two main songwriters can't agree. Even though I probably wouldn't have said this was an album that deserves to be heard before you die - if I was making a list - I enjoyed the sound so much that I'm giving it 4 stars.

I don't know. I'm just not sure an artist like Tom Waits should get more than one entry on this list (if he gets any). But maybe this is it. I could not stand the opening track (The Earth Died Screaming) and it reinforced my belief that his work is just strange and his voice is awful. But I quickly found myself enjoying other songs - nice musical arrangements, lyrics I could actually hear (which I admit are fantastic), and vocal styling I could tolerate. Dirt in the Ground has a soft sad jazz feel made even more despairing by his lyrics. All Stripped Down feels like a Dr. John kind of song - cool funky sound, although In the Colosseum felt like a far inferior version of this. Who Are You This Time might be his most beautiful song on the album - plays like a sad country song. A Little Rain and Whistle Down the Wind are close seconds - similar feel but each with more piano and guitar secondary. Jesus Gonna Be Here is a strange blues song but it might be his best vocals. Goin Out West felt so familiar - it is his coolest, funkiest, and rockiest musical arrangement. Knowing the Ramones version of I Don't Wanna Grow Up, I was eager to respect the original - not bad. With how bad a start this album got off to, I was surprised how much I enjoyed it. I almost gave it a 4.

Great opener - I really like the pace and the harmonized musical stylings on Thank You for Sending Me an Angel. It shows some real talent. With Our Love tried to do the same, with not quite as good effect. And I guess the whole album has that feel - sometimes it works, sometimes it doesn't. I found myself a bit bored from tracks 3-5, whereas Found a Job better captured that energy from the first (and second, sort of) tracks. And then it sort of went back and forth between cool sound and boring. I liked I'm Not In Love, Stay Hungry, and Take Me to the River is a really solid remake (the only track I knew coming in). The other two tracks on side two I found boring. I waffled between a 3 and a 4; probably a 3.5 and I'm rounding down. Just didn't captivate me like their first album.

Super slick. Great lyrics and beats. Mayfield carries the story as he moves from one song to the next. I really enjoyed the first three tracks - Little Child Runnin Wild, Pusherman, and Freddie's Dead - and the final, title track. I'm stopping just short of a 5 though. I don't know why. Maybe the songs in between those others didn't quite do it for me as much. Maybe I still don't know what I'm talking about.

Meh. I liked her earlier work, this just doesn't captivate me the same way. Probably shows my rock bias. I liked her as a rocker, less as a pure songstress. I admit she's got more range than I thought given her earliest work. Like Kate Bush but less annoying (mostly - England was hard to listen to). Let England Shake, The Last Living Rose, and Bitter Branches were pretty good, but I don't think I'd go back and listen to this album even for those three.

I didn't expect this to be anything more than average. But I was really surprised. I felt kind of sheepish because I only gave Loretta Lynn a 3, but this album was more than just good singing. And Lang can really sing (better than Lynn, probably better than many). I kind of viewed it more like the Marty Robbins album. Vocals that fill the ears and some real simple but precise musical accompaniment - perfectly on point for her vocals. Throwback to country of a different time. Really solid.

This album spawned so many singles and hits, but I think I liked them better before I became aware of the album Nebraska. I liked the latter's rawer sound and sometimes all the synth and E-Street band accompaniment on this album makes it sound a bit cheesy. Like Cover Me; now as I listen, the lyrics are a bit cheesy and the accompanying music feels almost too dance or synth sounding. Darlington County, Working on the Highway, and Bobby Jean (a bit less so) also felt that way - feels overproduced or like everyone is trying too hard to sound catchy. That being said, the album still has many great songs. Glory Days and Dancing in the Dark are still great tunes despite all their pomp - you can't not rock along to those songs. And though I didn't know No Surrender until now, I also liked it a lot despite its pomp. Other songs are a bit more reserved - not necessarily stripped down like on Nebraska, but not forced. Of its singles, I'm Goin Down and My Hometown feel that way. Ditto for Downbound Train, which I didn't know before. And then the title track and I'm on Fire (the best on this album) are still absolute classics. Both have fantastic lyrics - complicated, disenchanted, fiery. Born in the USA is delivered with such ferocity and yet mixed emotion, while I'm on Fire is haunting. Both give you the chills, for different reasons. It is not a perfect album, but it's still damn good.

Love the deep and complex lyrics. I honestly have no idea what he means half the time, but that's what makes it so great. Like classic poetry. His voice is still awful - I mean he sounds like Pavarotti next to Tom Waits but it just goes to show you don't have to be able to sing to be a great musician. The musicianship on this album was pretty good. I like his harmonica but sometimes he hits it just a bit too hard (too tinny) - see the end of Queen Jane. His backing band adds some nice harmony so I don't care what the Dylan purists say about this not being acoustic only. Favorites are Like A Rolling Stone (undeniably brilliant), Tombstone Blues (funky country style), Ballad of a Thin Man (earthy blues sound and lyrics are a mindf%@*), Highway 61 revisited (first verse hooked me, great beat), and Desolation Row (depressing with fitting stripped down sound). I was this close to a 5. But that voice...and a couple meh songs.

It's been awhile since I listened to the Beastie Boys but when I re-reviewed the track listing I thought, this is going to be good but juvenile. It is better than that. Sure, She's Crafty, Girls, and Brass Monkey are more fun than they are profound but there are some incredible tracks too. Rhymin & Stealin and No Sleep Til Brooklyn just have to be turned up to 11. The beats and energy are awesome and the lyrics have just enough depth to them. Fight for Your Right is similar - sometimes I'm torn on this one (overplayed) but it is just as big a stick it to the man 80's anthem as We're Not Gonna Take It. Did not realize they used to be a punk band before this. Definitely appreciate the extra bit of rock to their rap - love that tracks 1 and 3 sample the last tracks on Zeppelin IV and Houses of the Holy (and awesome real guitar work from Slayer on tracks 7 and 8). Pioneers, and a very good debut album.

I did not immediately like this album as much as I like their first three; I'm a sucker for harder rock. Don't get me wrong, Death on Two Legs and I'm In Love With My Car are great hard rocking songs, the former a brilliant opener. It was the middle of the album where I was a bit uncertain. But I found when I was already in an amped up mood, this album took it to the next level. And it's far too complex to appreciate in one or two listens. After a few listens, I loved it, especially the more jazzy songs. What was particularly impressive was when I learned that a lot of the cool jazz sounds I learned to like were created through Mercury's and Taylor's vocals (Seaside Rendezvous) or regular instruments (Good Company). May's and Deacon's instrument innovations throughout the album are impressive. You're My Best Friend and Love of My Life are two very different but equally lovely odes. '39 was probably the place where I first started to wonder about the album (maybe May's just ok vocals?), but after a closer listen it's a pretty cool ballad - a cross between Led Zeppelin and John Denver. And I love how Sweet Lady cleanses the palette after. I don't always want to listen to Bohemian Rhapsody I've heard it so many times, but it is a rock opera masterpiece. Still, I think I might like The Prophet's Song just as much for its sweeping, grandiose style; it might be my new favorite on the album. In the end, I think I'm at a 4.5 but I'm rounding up for all the intricacy they put into the album and because they're freakin' legends (and deservedly so).

I quite liked it. But given the albums I just rated a 4 recently, I didn't know if I could go there with this one. Cool Celtic folk rock sound; at times it sounded like a precursor to bands like Dave Matthews (e.g., on We Will Not Be Lovers) or an homage to Van Morrison (no, not Sweet Thing but Strange Boat). I really enjoyed the first 5 songs and its mix of harder fuller sound (e.g., World Party) or a softer feel (e.g., Sweet Thing). After that it was more forgettable except for And a Bang on the Ear and When Will we be Married? I think I really enjoy violin rock. For sure a 3.5, I feel a bit bad for rounding down.

Great opener in Mr. Soul, then just fine from that point on. Bluebird was an exception; some great guitarwork in there across a few different tempos. Good Time Boy had a different feel (like something bluesy you'd hear by Traffic). The album is a solid but unspectacular listen.

I feel like every AC/DC song I like (quite a few) is not overly complex but still rocks. Gotta give some credit to simple, smart arrangements. But can't be a 5 unless every song is a classic. Not this album. A few songs are great fun - Highway to Hell (still weird it's timing before Scott's death), Girls Got Rhythm, If You Want Blood. The rest are are pretty good (last song a bit meh). The start of Beating Around the Bush shows they do have some musical chops (at least Angus on guitar). If you like rock, you'll like it if not love it. But if you don't, I can understand if you wonder what the appeal is.

Honestly, I can't remember hearing any other songs by Sade between this album's Smooth Operator and their 1992 album's No Ordinary Love. But reading up on them, each album in that time (4 of them) plus their next one in 2000 were at least triple platinum. Wow. Maybe their sound was too steamy hot for radio? I still do not know jazz, or soul, so this album was just okay. I listened to it over and over, but I couldn't shake that it sounded like muzak with a very talented singer to boot. Admittedly, the lyrics are pretty good - it's not sex-based drivel but really complicated musings (listen closely to Smooth Operator, Frankie's First Affair, When Am I Going to Make a Living, and Sally). Put this on my list of potential future regrets but I couldn't get past 3.5.

Now that I've listened to three of their albums, this is probably their best. A little more subdued and a little more melodic. But I already gave them a 4 for their sophomore album (mostly to be extreme) so I can't give them another one. And this one feels like a sellout anyway - rather than stay true to themselves they (or Lou) went with a record to pander to the masses. Sounds like such a Nickelback thing to do. Fine album, nothing overly memorable other than maybe the songs with Yule on vocals (quite enjoyed Candy Says and Jesus). And I'd like to forget the last two songs (The Murder Mystery and After Hours - keep Tucker off vocals).

I think this is one of those albums that deserves to be on this 1,001 list for its originality even if it's not overly impressive. Like, "you gotta hear this album, it's got a ton of bongo in it." Glad I got the chance to hear it and could pass it on in the future. But it's just okay. After Bongolia (great intro), I thought Apache might have had the best bongo work. The drum solo from In A Gadda Da Vida was kind of cool with bongo as the primary. Last Bongo in Belgium was a letdown (other than the name, great tongue-in-cheek song title) - not enough percussion, other instruments got in the way and weren't great. Bongo Rock was pretty good but at times unbalanced and too heavy on other instruments. Dueling Bongos was also a bit of a letdown in the other direction - too much percussion. It was missing something; great idea, just not quite there in execution.

His political lyrics are awesome, but sad we're still talking about the same things with almost zero change. And a lot of his interludes provide a lot of complex discussion to complex issues. So kudos. But his misogynistic lyrics are just awful. And I don't know how I feel about his gangster songs (Now I Gotta Wet Cha, The Predator); a little too unapologetic about gangland murder. So a bit of a tale of two sides. First four tracks powerful and/or thought provoking. Next two tracks a bit depraved. Even his big single It Was a Good Day I'm torn on; catchy tune and some good lyrics, but then a bit of BS about running women too. Mostly a good tune though. He nails it on We Had to Tear this MoFo Up - the best track on this album, with great lyrics (see his non-apology on lyrics that were criticized as anti-Semitic). But F off with Dirty Mack and Don't Trust Em; goes over the line in my opinion (and the beats are cheesy). Check Yo Self has a great beat but the lyrics aren't nearly as good as other tracks. Last few tracks are provocative in a better way. Feels like a 3.5 with a dice toss for rounding up or down.

I love the first half of the album; I think they deserve all the accolades they got for its combination of acoustic vs. electric guitar, piano, somber lyrics, and soft vocals. The Scientist is probably in my top 3 favorite songs of the 21st century. But the back half of the album felt a bit repetitive. I know it's the same style but it's like I ran out of gas with my desire for that sound. It's just missing something. I think with a bit more range or musical depth this album would be a 5.

I can just picture misunderstood teens everywhere playing this album while dyeing their hair, putting on mascara, changing their name, thinking if anyone cares if they live or die, dreaming about being somewhere far away, longing for a different time, etc. I mean, I know I like dark stuff but this is the epitome of depressing. And I'm not saying it's bad. But wow. It's actually quite grandiose, from the synth and gong-like and triangle-like orchestral sounds that open Plainsong all the way to the repeated haunting synth and percussions in Untitled. They poured everything they had into it. I was surprised to read it was their 8th album and thought how did it take that long for them to get there? And then I read Robert Smith was asking himself the same thing - almost like what am I doing with my life? So the intensity and intentionality of the whole production makes sense and the tone fits his/their own doom and gloom. Pictures of You and Lovesong are really beautiful pieces. And to be honest the lyrics throughout are really quite poetic and brilliant. So raw and emotional. I played the album repeatedly and I always seemed to get to The Same Deep Water as You and wonder "have I been listening that long? Have 9 songs gone past? I would've sworn I was only around Last Dance." And though I liked both songs I just mentioned, the album felt like one long cry of anguish. They perfected slit my wrists rock but at the end of the 80's feels less trail blazing than I would've thought. I do like the album and give it much respect but wonder if it's too one dimensional.

It's a good album but could've been way tighter. Other albums provide some cool insights in the interludes or riffing, but I found those sequences in this album to be just a step above nonsense. So the Intro and Outro and other snippets at the ends of songs (e.g., the Beast) were mainly a waste of time. When they actually sing and rap, they're pretty incredible. Lauryn Hill is powerful every time she opens her mouth (singing or rapping). Wyclef is a really soulful singer and a quick rapper. Pras is guttural with a voice you can't ignore. And their messaging in the actual songs can't be ignored. But the best thing about the Fugees is how they combine rapping vocals, singing melodies, and smart beats in their songs. That's why all their big tunes are so great (Ready or Not, Fu-Gee-La, Killing Me Softly, No Woman No Cry). Except for the filler, really easy to listen to over and over.

There are definitely some lowlights on this album; how could you not have any with 30 songs? But give credit to the sheer vastness of the production - a double album with many good songs. Is it great? TBD. I call BS on those who criticized the lyrics for being too simple. There are a lot of double meanings and songs that you only truly understand if you think through it a lot. Side One is pretty solid though I've never really liked Ob La Di Ob La Da and the next two tracks dip (though I love the underlying meaning of lyrics in Bungalow Bill). Back in the USSR is still fun and Dear Prudence is beautiful. While My Guitar Gently Weeps and Happiness is a Warm Gun are songs that show the musicianship the Beatles lacked when they were younger. Side Two is a bit more of the same - so good to start, including I'm So Tired and Blackbird. And then it gets a little weird with Piggies through to Why Don't We Do it In the Road, though the first has some thought-provoking lyrics and when you know the back story behind the others they're more interesting. But the last two tracks pick it up again with two sweet pieces by Paul and John in I Will and Julia. Side Three is probably my favorite for its energy. Birthday is a joke but kudos to it being mostly improvised. And it is fun! Yer Blues is a solid blues attempt. Everybody's Got Something to Hide Except Me and My Monkey is a hidden gem for rock lovers or lovers of early Beatles. Helter Skelter, like Yer Blues, shows the Beatles virtuosity in being able to do something heavy, pretty damn well. If they ended after Side Three I'd say it's 5-star. Side Four makes things iffy. Revolution is a great song with the musical arrangement on the eventual single, not with the one on this album (still good because it's lyrics are awesome). Honey Pie and Savoy Truffle grow on you but both are a bit juvenile. Cry Baby Cry is pretty good, but not as good as stuff on the other sides. Revolution 9 is terrible. Good Night sounds like the end to some cute kids movie; it's actually kind of endearing. Maybe I'm overweighting Side Four or some of the other so-so tracks but after an internal struggle I landed on 4-star.

Solid album. I could (and did) easily play this in the background over and over. Sinead O'Connor's vocals on Visions of You and Sweet Divinity were great adds. Wobble's regular vocals are just okay. The variety of musical styles from around the world were also pretty cool - Indian-style on Visions of You, African-style on Ungodly Kingdom, Latin-style on Bomba, Middle Eastern-style on Everyman's an Island, combo of the last two on Soledad. Although reggae/Spanish combo on Relight the Flame wasn't as good; wailing in latter half was cool. Love the guitarwork on Ungodly Kingdom - picking at the beginning and the electric stuff at around the 2:45 mark. Erzulie felt like something almost out of Bladerunner at the start; neat vocals and pace/change of pace throughout. Title track was a bit boring though the lyrics were intriguing. Only other song I didn't really enjoy was Wonderful World - sounded cheesy compared to the rest of the album. After looking back at what I liked and didn't, I realize I liked most of it, quite a bit.

I'll say it again. I just don't get jazz. It is good, they play well. But I can't tell if this is an exceptional collection or the guys I hear at a high-end corporate dinner party. What is the difference between the two collection of songs? Nothing really stood out to me.

I was really unaware of this album, or the history of it or Nas. Maybe he is too cerebral for mass consumption or radio play? His lyrics and rap rhythm are masterclass. But I found the album boring; it all ran together. No doubt he has different beats and samples but moving from song to song there wasn't one thing I could really point to in one that made it stand out from another one. The album works but once I walk away from it, there's nothing particularly memorable to bring me back.

Spastic. I'm not sure I've ever heard jazz played with such ferocity. It's an interesting experiment - like someone thought "what if we tried to play jazz not like jazz at all"? I know of free jazz thanks to some earlier albums on this list and this album is like free jazz on speed; tempo cranked up a bunch of notches and like they're trying to hit the drums as hard as they can or play the sax as loud or whiny as they can. It is different, I'll give it that. Nice to know it exists but not sure I need to listen to it again - Good Old Days and Feet Music being two cool exceptions. I can see how the album is on this list for its uniqueness but it's not for me.

Now this is how Tom Waits is supposed to sound, I think. Up close and personal, but as a smoky blues half-singer half-spoken word performer. And his improvised stand-up comedy (if you want to call it that) is impressive - not easy to do for professionals and he makes it sound natural. Intro to Better off Without a Wife was hilarious. His backing band is super cool and the whole atmosphere is captured well (slick). A key knock against the album is that it's all over the place. Like we're getting whatever comes to Waits' mind, regardless whether it fits with the last or next song or whether it is nonsensical. All sort of diner-related, but a little frenetic. Still, very cool concept.

One of those rare albums that is good cover to cover. Not a single throwaway song on here. And there are 15 songs. Sure, not every one is the pinnacle of musical ability and complexity but so what? Sometimes you got to give credit to musicians who can combine a reasonable level of instrumental, lyrical, musical, and harmonial ability plus energy to write catchy songs that flat out rock. I don't care for the criticism that they sullied punk. They are pioneers of new punk. Good for them. A classic, trailblazing album.

I don't think I put Cypress Hill on the same plane as the great rap artists, but this is a solid effort. Tons of samples, some good (Good Times on Light Another, More Peas on The Phuncky Feel One), some a bit annoying (Duke of Earl on Hand on the Pump). Super funky album and decent lyrics - they just don't have the same bite as a Chuck D, Tupac, or Jay-Z (among other great lyricists) and are a bit too juvenile at times. First half of the album (up to Real Estate) was great (especially How I Could Just Kill a Man - Rage also does an awesome rendition on their panned, but beloved by me, album Renegades), got bored at times after that. Still, real solid.

Chuck D is a legend. Flavor Flav is a fool. Most of the time, hearing Flavor Flav was like hearing that annoying sidekick in a movie or Newton saying "Herc Herc" in the old, terrible Hercules cartoon. You just want to punch him in the mouth because he has nothing important to say - he's just squeaking. As a sidekick, he's useful on Don't Believe the Hype (and maybe a bit on She Watch Channel Zero) but wasteful on Bring the Noise, Caught Can We Get a Witness, and Rebel Without a Pause. I can barely listen to his lead efforts (e.g., Cold Lampin'). Still, there's plenty of Chuck D and when he's on lead, it's gold. You better listen and get an education. Louder than a Bomb, Black Steel in the Hour of Chaos, and Party for Your Right to Fight are brilliant. There's also a lot of cool beats from Terminator X, though some get a bit repetitive across the whole album.

Ugh. The music / electronica on this album is such 80's garbage. It really is terribly cheesy. Which is a shame because the lyrics are pretty solid most of the time. It's not just these guys, all classic hip hop had this problem of really insightful, political lyrics and just tragic recordings to go with it. I love Rage's version of Renegades of Funk and I had no idea this was the original. But it is almost unlistenable. Planet Rock is tolerable, at times, but again over the top in all the sound effects. Frantic Situation is the only song worth listening to more than once - great lyrics and a cool beat that fits. Go Go Pop and They Made a Mistake had decent beats but lyrics were sort of meaningless. I'm giving it a mercy 3, for its lyrics (most of the time) and pioneering of hip hop. But I will never listen to it again.

Interesting and enjoyable to listen to. I think I knew of Tortoise back in the 90's (friends may have mentioned them) but never listened to any of their stuff. Feels like easy background listening. But not sure I'm going to run out and listen to more of their stuff or go discover the post rock genre. I can see how a non-rock person would find this completely boring.

Really dug this. He brings a new age sound to old style folk/blues/rock. It was like I was listening to CSNY, Bill Withers, Lynyrd Sknyrd, Hendrix, even the Temptations altogether and reimagined. Highlights were Rolling and I've Been Dazed (the former is incredible and how it rolls right into the latter is seamless), Piano Joint (his voice contrasted against the soft instruments is powerful), Hero (funky and near the top of his always good lyrics), . Soulful, well-arranged, great blend of instruments. Restoring my faith in modern eclectic rock. Not quite 5-star as I found a few tracks boring (e.g., the intros, Another Human Being which also felt like an interlude); could've tightened it up a bit.

I don't think I've ever listened to this album, just the hit singles (The One I Love is still a classic). Not as good as when they hit their peak in the early 90's but still a solid album. Great energy, great guitar work, great lyrics. It's worth digging into the non-singles. If you like edgy plus Neil Young-like political & contemporary commentary, check out Welcome to the Opposition, King of Birds, or Oddfellows Local 151. If you want more up-tempo rock, check out Disturbance at the Heron House. If you want a bit of both, check out Exhuming McCarthy. I also really like their up-tempo version of Wire's Strange. And for a cool up-tempo version of ...End of the World... check out Canadian band Great Big Sea. This album is definitely the beginning of their upswing.