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.

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.

Um, interesting choice for this list. I have never heard of Hanoi Rocks but they aren't terrible. This album feels like one on your guilty pleasure list - don't really want to tell anyone you like it but deep down there's something about it that you're drawn to. For that reason, it gets an average rating. But nothing more. I just can't justify a higher rating for a fun sounding album by, from what I can tell, just another 80's glam rock band with some tragedy. Really don't know why they're on this list.

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.

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.

My first review and I didn't realize you had to enter comments before picking a rating. 3.5 years later I return to right my wrong. I met Mark Lanegan around 2016 - he was playing with Hiro Yamamoto (and I think Mark Pickerel and Jeff Fielder) at a small festival in Illinois. I knew who Hiro was but not Mark or the Screaming Trees - I was there because my buddy from Seattle wanted to see all these legends from the Seattle alt/grunge scene. Still, I bought one of his albums on vinyl and had him sign it for me. I think it was either Clairvoyance or Dust (their first or last) but of course I can't find it after I moved. This album is solid. They had their own style for a long time but they fused that with grunge on this album and it gives it a real crunchy, fuzzy sound. A little distortion, a little wah pedal, a lot of hard edge. The first half is awesome - such a strong sequence from Halo of Ashes (great tempo, more of their typical psychedelic) to All I Know (folky grunge) to Look at You (softer, soaring with Lanegan's baritone voice carrying most of it) to Dying Days (great tribute to the fallen Seattle rock stars). They go softer folk in the middle of the album and for most of the second half (solid) but bring that grungy, fuzzy guitar and pumping drum goodness on Witness - favorite song on the album. Dime Western is another more alt psychedelic song that reminds me of Canadian contemporaries The Tea Party - great energy and eastern world sound. My buddy from Seattle might like their earlier stuff more or think this isn't true Screaming Trees, but I think they went out with a bang.

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.

I tell my kids all the time that I don't care too much for pop but that there are a few incredibly talented female pop artists who have emerged in the last decade or so. I place Lorde in this category with the likes of Taylor Swift or Adele - say what you want, but these ladies can write incredible lyrics and arrange very catchy, melodic songs. They can also belt them out. This album from Lorde is a great example - her lyrics are fiercely emotional (Green Light, Writer in the Dark), edgy(ish) commentaries (Homemade Dynamite, Loveless), or smart wordplay and double meaning (Liability - Lorde is the girl that she loves). And her vocals are great; really mesh nicely with the various musical arrangements. In the end, this is mostly a breakup album but it feels like much more than that. Partly because she didn't just make them all sad sounding; I liked her mixing in of uptempo beats. Couldn't quite give it a 5 (tracks 7-11 not quite as good as the first 6), but it was close.

I really enjoyed this album - it feels like a perfect segue between rock from the previous two decades and the two to come. You can hear rockabilly sounds like Elvis (who they likely were inspired by) and post-punk / alternative sounds like Sonic Youth too (who they likely inspired) plus some of their contemporaries like the Sex Pistols. Lots of different sounds really; this is not one-dimensional punk. Highlights were the Once over Twice (more brooding Ramones), We're Desperate (like frenetic Talking Heads), Adult Books (my favorite - Elvis meets the Velvet Underground meets Marty Robbins), Universal Corner (can't put my finger on it, but feels ahead of it's time), It's Who You Know (Motorhead with more depth), White Girl (Sonic Youth meets the Velvet Underground), and Beyond and Back (Dead Kennedys meet Elvis Costello).

The recording quality is great, it's like you're sitting right inside those walls (thank god not though). Some of the splices are garbage so that's a bit disappointing. But you can can't deny Cash's connection with the audience - it gives the album a real feel - even though I don't understand why he feels so kindred. The songs themselves are fine, the two new ones and a couple others (Wreck of the Old 97) are electric while some others come off a bit boring (Wanted Man, Starkville City Jail has a great lead-in but the song itself sounds meh, Peace in the Valley, even I Walk the Line could've been better). Still, the first time he plays San Quentin it is goosebump-worthy. Great lyrics, his playing is heartfelt, and the audience reaction is something else. A Boy Named Sue also plays so well as a live track. I'd say it's a 3 until you add in the "ambience" of the crowd.

These guys came up as a recommended similar artist after listening to Kiwanuka. Not as good, but still decent. Bow (with Kiwanuka) had a great beat. A couple others started with strong beats and then fizzled. I might've taken Don't Shoot Guns Down more seriously if it didn't have a weird quasi-robotic voice. Wildfires is waaay better - I'd recommend it to anyone. Undeniable messages here but too many throwaway or half-baked tracks. Felt like a chore to get through and it shouldn't have.

Yeah his voice still grates but he's almost a blend of Joe Cocker and Randy Newman on this album and that's not bad. Case in point Mr. Siegal. And his instrumental arrangements & playing are at least as good as those other guys. On the Nickel is beautiful. Ditto Ruby's Arms and Jersey Girl. Reminds you his greatest quality is songwriting and not many can match it. Heartattack and Vine and Downtown are more gritty but still really well-written. Saving all My Love for You is a cross between these two - gritty lyrics but heartbreaking arrangement. Did it just happen? Did I just become a Waits convert? I don't know but this is a good album.

A real solid album. I'm starting to learn more about CCR as they continue to show up on this list. Their music was always on in my house growing up but I didn't pay as close attention as now. I couldn't argue if all 5 albums from their 1969 and 1970 stretch made this list (well maybe not the last one). I love the more sombre tunes - Lodi, Wrote a Song for Everyone (might be my favorite). But you also gotta love the more up-tempo tunes - Green River, Commotion (nice bit of angry), Bad Moon Rising, Cross-Tie Walker. And I think they always do a good job of reverence on their remakes - The Night Time is the Right Time. Not quite over the top amazing, but few holes and a solid listen front to back.

I liked this album quite a bit. Stripped down and simple, solid display of Willie and his backing band's skills on guitar and piano (and drums). Really nice work on guitar and his voice fits the environment perfectly. Good storytelling too, interesting how he weaved other artists' songs into his own theme, including I Couldn't Believe it Was True, the title track and Blue Eyes Crying in the Rain. Those are key parts to the initial story and you wouldn't even know they weren't conceived by Willie.

Um, interesting choice for this list. I have never heard of Hanoi Rocks but they aren't terrible. This album feels like one on your guilty pleasure list - don't really want to tell anyone you like it but deep down there's something about it that you're drawn to. For that reason, it gets an average rating. But nothing more. I just can't justify a higher rating for a fun sounding album by, from what I can tell, just another 80's glam rock band with some tragedy. Really don't know why they're on this list.

I feel like I've heard a song or two by Laura Nyro and never knew who it was. Or maybe I'm confusing some of her songs with Carole King's. Great voice and even though it sounds like it's from a different era it doesn't sound dated. More than listening to the album I appreciated the prompt to learn about her and her massive influence on the industry (lot of songwriting credits and remakes of her work). For sure a 3, feels like a coin flip after that. Not quite my thing but I think I'm going up because I compared her to Carole King.

Great album. Eleanor Rigby is one of my favorite Beatles songs of all time - the musical arrangement and the lyrics. Which brings me to two points. One, people (particularly those in the US at the time) need to get over themselves - can't believe how little airtime this song got because of people's religious views. And two, related to one, it is astounding that this is not a diamond album yet Kid Rock's Devil Without a Cause is. I guess at least people stopped being so uppity on that one. Back to Revolver. I love the different instruments and techniques on this album - especially the Indian-inspired work on Love You To and Tomorrow Never Knows. Also a big fan of the softer songs - Here, There and Everywhere, For No One - sweet and beautiful. Which takes nothing away from the more up tempo songs - Taxman, Good Day Sunshine, Got to Get You into My Life - also fantastic for their fun and energy. No matter the style, they really nail it on this album.

Another one of those albums I appreciate being on the 1,001 list because I'd otherwise never run across it. Similar to the recent Nyro album where it's mainly about the strong vocals of the female artist. Miriam Makeba's voice is not quite as captivating as Laura Nyro's, but it was still an enjoyable listen (except for One More Dance - WTF was the point of the laughing?). Not sure if I'm going back for more though.

So I sampled a bit of the Mekons first two albums and, yeah, they couldn't have gone on that way. To paraphrase from the cinematic masterpiece Van Wilder, their previous work was decorated in post-punk f#ck. I'm not sure I'd call this country as much as Gaelic folk - of course mixed with post-punk or new wave(ish) alternative. The Dropkick Murphys probably owe the Mekons some credit. This album is admirable and far more palatable than their initial work, but I still don't think I want to make it my scene. I'll give a shout out to what I thought were the best songs - Trouble Down South, Abernant 1984/5, and Last Dance.

This is post-punk? I guess I always view that as a little edgier or darker. This album is some blend of that, new wave, and new pop. I can totally hear where later UK artists like Teenage Fanclub, the Mock Turtles, Primal Scream, Northside, The Alarm, or Dramarama (from the US actually) came from. If you don't know what I mean, go look at the transition from 80's varied rock to 90's alternative rock - particularly what was going on in the UK before the summer/fall of 1991 and Nirvana, Pearl Jam, Soundgarden, etc. changed everything. I don't mind their sound, but do I love it? Like most of this genre, it feels like it's trying too hard (to steal a line from track two). Some good lyrics but the musical backing feels a bit over the top (piano too loud, backing instruments or synth too prominent) or the vocals straining when it's not needed (as if to say listen to me!). Both their biggest singles (Infected, Heartland) are good examples of that. Like all the other bands from this genre, one song or two feels a bit refreshing but a whole slew of them (like an album's worth) gets to be a bit much.

I know Girl from Mars and that's about it (maybe heard Kung Fu once or twice before). These guys are better than I thought. Lose Control was a great song to kick off the album - guitars really jam on this one. As far as its other singles, Angel Interceptor had similar energy to their two best known songs above (good tune) while Goldfinger and Oh Yeah not so much - still, pretty good (Oh Yeah has some nice Oasis-esque guitarwork in the last half of the song). I also liked I'd Give You Anything and Darkside Lightside (more cool guitarwork on both) and Lost in You (has that chill mid-90's alternative ballad sound). Not sure what makes them so unique to be on this list, but if you're a rocker there's a lot to like here. I definitely wanted to (and did) play the album multiple times. Checked out a few songs from other albums too - definitely a band I'll need to look more into.

Yawn. Clapton is one of the greatest guitar players of all time and make no mistake he is good on this album. The harmonica is lively on Parchman Farm and It Ain't Right. But the rest of it didn't really grab me. It mostly just blended into the background. Hideaway was kind of cool. Notable drum solo on What'd I Say but more long (and capable) than knock your socks off. Found myself waiting for the album to end on a second listen.

On my first listen I thought the live performance was missing a lot of energy. I didn't really notice anything that stood out until the album hit Massacre at track 6. That song was pumpin' - give me an album full of that! Alas, it went right back to a snoozefest with the softy Still in Love With You. Even The Boys are Back in Town had just average energy. It didn't really crank back up until Warriors, but I'll admit those last six tracks were busting with energy and swagger, especially the last two to close it out (way more fan engagement and oozing stage presence). So, side 4 epic but side 1 pedantic, with only a few highlights in between. Granted, when I went back for a second listen after finishing side 4, I was more amped up and felt more connected to side 1. Still, a little too uneven to be great.

I'm probably best classified as a fan of Chicago's greatest hits, though mostly for their soft rock stuff with Cetera on lead vocals. I knew and respected some of their early hits (mostly Lamm-led vocals) but was less interested in those. Not until now did I appreciate how good of musicians they were. Cetera is a pretty darn good bassist (check out Listen or I'm a Man), not just a high-pitched wonder. And yeah, Free Form Guitar probably could've been about half the time but damn, Kath can play (also listen to Poem 58 or South California Purples). Then layer in the jazz section on top of the typical instruments and it's really quite impressive. Introduction is just that - a great starter if you want to know what these guys can do. And then keep going with the hits (tracks 2-4) but also don't skip the finisher Liberation. Lamm also pens some great lyrics (besides sides one and two, check out Someday on side four).

Damn. How have I never heard of this album? It totally fits with all the political rap of the 90's but clearly these guys didn't get the play of Public Enemy, NWA, etc. Which is a shame because Michael Franti's lyrics are incredible. Satanic Reverses, Famous and Dandy, Television the Drug of the Nation - what a start to the album. I love how he calls out all of our stupid sheepism and idiot boxing (just substitute tv for social media to get today) in the latter two. I also respect him for not calling out certain issues and then being an asshole on other issues. Case in point, how many other hip hop artists back then did you hear rallying against anti-gay stuff? Language of Violence was refreshing for that reason. Could've used a bit more variety in the beats and delivery (the title track and Dead Kennedy's cover had some of that - more of that please) but really solid album.

Really solid. So much funk, great blend of guitar and other instruments. I really gotta go out and listen to more of George Clinton's work. If anything, the tracks didn't all need to be so long because they didn't vary that much as the songs went along. Still, the title track is a beauty. Groovallegiance has a cool reggae sound and these guys are absolutely right on Who Says a Funk Band Can't Play Rock (they just kill it). The 4th track is annoying with the echo singing and scat motif so it's hard to enjoy the really good guitar work. Into You and Cholly bring it back though not quite as good as side one. I'm not sure I really count the bonus tracks but Maggot Brain has quickly become one of my favorite guitar solo songs of all time. The recorded version on the album of the same name is amazing (so much emotion in Edward Hazel's guitar). And then the guitar work in Lunchmeataphobia is soooo heavy - love it. Waffled between a 4 and 5 (song length and hard to listen to track 4 vs. giving serious weight to the awesome bonus tracks).

Love this album - a lot of pump up songs on this one including Bad Habit and Come Out and Play. Gotta Get Away is so good and Self Esteem is an all-time classic (I will never get sick of hearing it). Not quite as good as the other big punk revivalist album of 1994 (Dookie) but the non-hits are still solid. Best are Genocide, Something to Believe In, and What Happened to You? (probably could have been hits). Great energy, grungy punk sound, and satirical lyrics.

First ever listen to the legend John Coltrane. I still don't get jazz. Definitely good, but those who understand and truly appreciate jazz probably think it's great. I really enjoyed the ominous vibe on Psalm though.

Huh. Never heard of these guys but from the opening note it was like 10,000 Maniacs but well before that group ever existed. Cool sound, really dig Sandy Denny's vocals. Definitely a 3.5. Tough call whether to bump it to a 4 given the albums I recently gave that rating to. I quite enjoyed Genesis Hall, A Sailor's Life, Who Knows Where the Time Goes, and Percy's Song but I was a bit indifferent to the other 4 songs.

I'm not into The Smiths, but have always been a bit curious (an innuendo befitting of Mr. Morrisey). They are good and this album is good. Johnny Marr does some good work arranging the music and Morrissey's lyrics are at his cryptic and/or tongue-in-cheek best. This shines through on the hits - Bigmouth Strikes Again (my personal fave), The Boy With the Thorn in his Side, and There is a Light that Never Goes Out (one of the cheeriest ugly death songs you'll ever hear). Of the lesser knowns, Frankly Mr. Shankly is a fun tune that takes a wicked dig at someone, and I Know It's Over is a musical and vocal triumph of emotion - it is just so captivating, it might even be better than Bigmouth. A few songs don't quite hit the heights of the others, but this album will definitely make me keep exploring my Smithuality.

There was a lot of Beach Boys on in my house growing up so I'm probably a little partial here. Though never any solo Brian Wilson. I really enjoyed the opening from Our Prayer / Gee to Heroes and Villains and I think that kind of hooked me. It's a little strange of an album, but in a good way. If you listen to it a few times, you really appreciate how it all blends together. Pull out a song here or there and yeah, it's going to be meh, especially because the lyrics can get pretty childish. But stay in any one of the three movements and it's pretty cool (and really try to ignore the lyrics in movement three - downright silly except for In Blue Hawaii and Good Vibrations). Not a classic, but neat concept and all the moving parts are executed pretty well.

It's weird because I feel like I never heard anything about Q-Tip after his debut album. Maybe I wasn't paying attention to hip-hop or maybe he wasn't showing up much in the mainstream. But this is a solid album. It has an old school feel - soul, funk? Like there's some Stevie Wonder or George Clinton in there (especially noticeable at WeFight/WLove and ManWomanBoogie). I had it on repeat for awhile. I'm not sure it has anything that absolutely grabbed me as out of this world, but as a collective it was great. Some that stood out though were Johnny is Dead, Getting Up, and Move for their beat and sound, Dance on Glass for its lyrics.

I was never a fan of the Arctic Monkeys - felt like knock offs of earlier 2000's artists or like everyone was jumping on the bandwagon of a so-so band. Kinda like Jet - feels a bit all too familiar, or their lyrics are too simple. I might forever detest I Bet You Look Good on the Dancefloor. But maybe my view would've been different if their debut single was the first track - The View From the Afternoon. Great sound (albeit a bit like Supergrass) - pumping. I also really liked the final track - A Certain Romance. In between I still felt a bit divided. Sometimes cheeky lyrics and good beats, but also sometimes so little depth to lyrics (about party life or who is/isn't a wanker) and recycled beats - Fake Tales of San Francisco being a great example of this. I give it a 3.5 because I still can't shake that this just feels like a slight tweak to the sounds of Franz Ferdinand, The Fratellis, or even Interpol (with worse lyrics).

This was an album I didn’t appreciate if listening it to with other things going on. Really cool when it had my undivided attention. True hip hop - meaningful lyrics that make you think and slick beats. Really enjoyed the variety of sounds from track to track. One knock is that these guys aren’t the best vocalists. When they harmonize it sounds a bit cheesy. Still, great album. Highlights were Freedom, If You Only Knew, A Day at the Races, Remember His Name (cool intro using everyday sounds and loved the lyrics), High Fidelity, One of Them (much angrier lyrics than the rest but with a point to make).

I really love some stuff by The Band. Other stuff is just meh. This album epitomizes that. The Weight has to be one of the greatest songs ever written (so much emotional depth in the lyrics and the instruments). Chest Fever rivals In a Gadda Da Vida for coolest organ solo. The rest? If you’re in the right (somber) mood, pretty cool. If not, it can grow tired. In that mood, i think it’s Tears of Rage, Lonesome Suzie, and I Shall be Released that do it for me.

Felt a bit like a Gordon Lightfoot album, good storytelling and easy folksy sounds. Still not a Joni Mitchell fan (or the big hit Help Me) but respect for this album. Free Man in Paris is a good tune and Raised on Robbery is so different from the rest of the album’s sound but it is a fun tune. Down to You is my favorite track - lovely piano composition.

I really took a liking to Surfer Rosa and thought I might rate this one even higher given its well known songs. But after Debaser (so grungy), Where is My Mind (a great, great song), Here Comes Your Man (a fun one to learn on guitar), and Monkey Gone to Heaven (never really my fave) the album is a bit uneven. Up to that point in the album it has a real edgy, grungy sound (Tame and I Bleed fit well in the first half but not sure how well they stand alone). From there I find some of the songs a little weird (Crackity Jones, La La Love You, Hey, Silver). Still even in those songs you hear some great guitar riffs and rock beats. And in others on the back half they do it almost as well as the first half (No 13 Baby, There Goes My Gun, Gouge Away), reminding you why they were so important to the transition from 80s to 90s rock.

Damn. Great album. The first time I listened I didn't even pay attention to the lyrics, just the music - which was awesome. Great beats. But it's a concept album so I had to listen again to see what I thought about the themes throughout. He's so smooth you really have to pay attention or you'll miss the wordplay in his lyrics. Best tracks - I mean, absolutely loved them - were Shakey Dog (so smooth), Kilo (great beats and female vocals), Be Easy (inclusion of Ice Cube is awesome), and Dogs of War (intense beats and rapping). The skits were okay and some songs weren't as good as the rest, but still a great listen overall.

Meh. Not a big fan of country or of country rock (and hard to see the difference here). Nothing terrible but nothing all that memorable either. I'll give it a 3 knowing that this was a major pioneering album for the country rock sound and a fairly big departure from The Byrds earlier sound.

Never did get around to checking out more Fela Kuti since his last awesome album showed up on this last. More of the same - really dug the opening track and enjoyed the second track but not quite as much. Then comes the addition of Ginger Baker - was not aware how good he really was. Damn. Plus the Africa '70 is still killing it. Was feeling like a 4, maybe 4.5 for me but I'm going to round up because this is a live album that doesn't sound live and tired at times.

I feel like my rating is being swayed by what I read of this album and its eventual critical acclaim for its importance in moving forward 60's hippie rock. This album is for sure a 3 - Alone Again Or is a classic with underrated musical complexity, A House is Not a Motel has great guitarwork (soft opener and hard closer). Probably because of those two I paid attention to the rest of the album for its musical chops. These guys can definitely play and arrange cool extras like horns & strings. I took note of The Daily Planet (lively), The Red Telephone (Jefferson-esque psychedelic weird), Maybe the People... (lots of instruments), Live and Let Live (again, something just lively and good guitarwork), The Good Humor Man... (they do a lot with the sound), Bummer in the Summer (neat tempo and you can hear the guitar playing dexterity) and You Set the Scene (great closer and again so much going on with the sound). Beyond all that the whole album is full of wickedly dark and clever lyrics - I think more than anything those glum undertones separate this album from its contemporaries. In the end, it's a pretty cool album but you'd miss a lot of it if you only listened to it a couple times.

Unimpressed. Yes, Sinatra can croon but this is just a bunch of sad love songs. So kudos to his great voice but sorry if I'm not impressed by this "concept" in his concept album. There's no connection between the songs other than they're lovelorn and they have a similar sound. I wondered if I was missing something so I listened to the next album on the list - a George Jones tear jerker. It only hardened my resolve - Jones and Sinatra's albums are same shit different day. Sinatra has a better voice but Jones is a better musician. Kudos to both for a well-coordinated set of sad songs. But that's it.

Somewhat impressed. I don't like country. But after listening to Sinatra's sad songs I realized George Jones is just doing the same thing, country style. If I'm indifferent but not dissatisfied with Sinatra then I can't be any different with Jones just because he drawls when Sinatra croons. I'm only impressed because I found myself able to put Jones on the same plane as Sinatra for putting together an album full of emotion-tugging sad songs (even if country). Simple plucking and country sound with simple lyrics and a soft voice. Didn't love it but you can't hate it either.

Here's what I love about Seven Nation Army, the first track - it is so simple (one guitar and drums) but sounds like so much more. The opening chords sound like bass but it's just Jack White playing the top couple strings. And then he switches into chords and his signature high-pitched guitar sounds for the choruses. I just love his creativity and high-tempo energy, and Meg White pounds the skins pretty good too. The album might be 5-star if they could keep it up the whole way through. There are some snoozers (tracks 5 and 14 when Meg White sings and tracks 6 & 7 although I started to dig their softness on multiple listens). But pretty much the rest of the songs are rockers. That includes the well knowns like There's No Room for You Here, I Just Don't Know What to do With Myself, Ball and Biscuit, The Hardest Button to Button and the lesser knowns like Black Math, Little Acorns (after the intro), Hypnotize, The Air Near My Fingers, and Girl You Have No Faith in Medicine (the first and last of which are freakin' awesome). It's a definite 4.5 star album since I named 10 out of 14 songs as rocking. I think I'll ignore the so-so songs and round up for the fun and awesomeness that the rest of the album provides.

I find the whole motif similar to Curtis Mayfield's Superfly - Shaft is a movie soundtrack after all. I dig it, just not as much Superfly. The opening and closing themes are incredible - the funk, the bass lines and guitar, the brass, the everything. Do Your Thing is epic, with the funk and sound and everything just as good if not better than the main theme (guitar work is ridiculous). But in between was a bit pedestrian or unexciting - except for Be Yourself (great grooves), Soulsville (vocals added some character and emotion), and No Name Bar (had some interesting variety). Superfly wasn't quite a 5 for me and Shaft isn't quite a 4 for me.

Damn Stevie. Only 22 years old and this is his 15th album? What a talent. You are the Sunshine of My Life is a great softy - never feels sappy after all this time. Ditto for You and I (love it's soaring feel at the end). Maybe Your Baby is a great funky song - hidden treasure on this album. But it shows the two sides of this album - he goes back and forth from soft and beautiful to upbeat and funky with ease. I can't believe how much sound there is on the funky songs that is pretty much just Stevie. A master in a class all his own. Do I even need to say anything about Superstition? What a beauty. If you don't adore that song you are not human. I Believe When I Fall in Love... doesn't get as much fanfare as some other Stevie Wonder tunes but it is superb and nicely bookends side two (strangely, because my dad is a Garfunkel fan I know his version more). Blame it on the Sun is an even lesser known track that should not go unnoticed (beautiful). Love this album.

Pretty cool album. The start was a bit uninspiring - it was just a bunch of screaming girls. But as the album progressed you really started to feel the energy from his awesome band and Mr. James Brown himself. The two long tracks at the end of the album (Lost Someone and the three song medley) were dynamite; that's where I was sold.

Electronica/house just sounds so unimportant. If a DJ dropped a beat in a forest would anyone give a shit? Mylo has some skill in making his mash-ups not sound like complete garbage, and as a music & trivia fan I like trying to figure out what songs are being sampled when he does a good job of rethinking them. But mostly I'm bored. Finally found a beat worth paying attention to in song 3 (Musclecars, sounded like Situation by Yaz) and the next one (Drop the Pressure) was probably the best on the album (I was bopping along). In My Arms was an okay mash-up and Guilty of Love was worse. Paris Four Hundred had a decent beat. And then it got bad again. The title track was just stupid and Rikki was super annoying with its skipping sound. Otto's Journey wasn't bad (just repetitive) but I was mostly bored again for the final five tracks. I was thinking maybe a 3 but the second half of the album was almost entirely forgettable.

I guess they recorded this album at two different times and it definitely has two distinct sounds. I liked the more guitar-oriented songs (Atrocity Exhibition, Passover, Colony, A Mean's to an End, Twenty Four Hours) - heavy and scratchy sound, the skill is there, though you can see how shoe-gaze picked up that ball and ran with it in an even weirder way. And on second listen I really, really liked them. The synth-heavy songs (Isolation, Decades) are a bit too over the top for me. I was surprised that Heart and Soul and The Eternal were considered part of the latter songs (maybe the drum tracks?) because they felt real heavy and edgy like the former songs. I quite liked both. Rest his soul but I'm not a big fan of Ian Curtis' vocals. Even more rest his soul, but this album epitomizes the 80's "kill myself" music. The lyrics are quite sharp but man they are dark and gloomy. It's a real solid album despite the things I don't love; found myself unable to focus on anything else while listening. I was at around a 3 after the first couple tracks but moved to a 4 by the time I was two-thirds through the album; real strong from tracks 4 through 8. Almost went to 5 given how much its sound can be heard in various rock styles that came after it.

Some decent drum or bongo beats - including an African-style sound on Stars and Gambia via Vagator Beach. A couple other songs had some interesting musical blends that I think were synth but created a jangly guitar/piano feel (Pipes Honour), or a bass-heavy melody (Groove Street), or just something different (Mission Venice). So definitely some variety but I still felt uninspired.

What a dynamite f'n album. Almost has a bit of that unique rock, funk, and rap feel of Faith No More but even better. Tracks 1-5 are just so full, hard, loud and awesome with such intricate instrument work (and a bit of soaring ballad to boot on Open Letter). I did not realize how incredible a guitar player Vernon Reid is. Yeah, he kills it on Cult of Personality but what he does on I Want to Know, Middle Man, and Desperate People is just as electric. I mean, Muzz Skllings and Will Calhoun are no slouches on bass or drums, but damn the guitar sounds. I also think Corey Glover's vocals are fantastic. Tracks 10 and 11 had a similar pulsing rock vibe (loved Which Way to America) while they seemed to experiment with different sounds a bit more on tracks 6-9. Funny Vibe almost felt like a Rush song with its different time signatures and long bridge to outro. Broken Hearts sounded a bit country. Glamour Boys sounds like a more rocked-up combo of Jimmy Buffet and Gloria Estefan. Whatever the case, I loved this album. It may have just rocketed into my top 25 all-time favorite albums I loved it that much.

Torn on this one. It's a 4 for sure, couldn't decide whether to give it a 5. It's missing a bit of Elvis' energetic vocals and I can't tell if that's because he was older and/or going for a more mature sound or because of his cold while recording the album. But the mature instrumental sound is pretty appealing - the Memphis Boys provide great backing (I especially love the bass work on this album). It's a real smooth and easy listen but another knock might be a lack of undeniable big tunes, with the exception of the closer In the Ghetto (a true classic). Maybe if the non-album singles like Suspicious Minds (my absolute favorite Elvis tune, hands-down), Don't Cry Daddy, or Kentucky Rain had actually been on this album I'd go even higher. Still a very good album.

Pretty good, but why did Mandela sound like King of the Road? The title track was also really cool but sounded a little familiar - like Blueberry Hill? Song for Sathima had a very beautiful opening 35s and was okay after that (but had some fuzzy sounds, like a radio out of range, when the sax would come in?). Manenberg Revisited has a cool, energetic sound - wish I knew more about its inspiration or message. The Wedding is probably my favorite on the album; sweet and soulful. The Mountain is a nice follow-up to it. Overall, a very cool and smooth sounding jazz album with various musicians who complement each other well.

This album is just a little uneven. I really enjoyed the title track - it's a great opener that shows off Stewart's energetic (despite flawed) vocals and the eclectic yet rocking musical style he and his various backing musicians bring. Best track on the album. Then it's a little hit and miss for the next two songs until we get to the slide guitar (by Sam Mitchell) version of Amazing Grace - phenomenal. Tomorrow is a Long Time isn't great but I like the Celtic sound intermixed into it. Maggie May has never been my favorite (except for that awesome bridge and mandolin solo) but like the title track it's a very good blend of the best Stewart's vocals give and the ability and creativity of his backing musicians. Unfortunately, the next track Mandolin Wind was also hit and miss. But the album closes well with Reason to Believe. It's got some real nice highs, but also some lows.

Seems like more of that sound 80's UK bands (The The, Primal Scream, etc.) were going after. I don't know so much about the psychedelic angle (except for the final track Lazy Itis), or what separates the sound of these guys from the other UK bands. I did not like it at all initially but by the end of the album I wasn't sure if I'd call it terrible. Still, I'm not going back for more, and I don't really know why it belongs on this list. Might be worth a 3 but I went the other way.

Yes, it may be one of the finest albums of all time but it's not perfect. And not my favorite album ever. A Day in the Life is a brilliant song and one of the best album closers ever, but I always found it weird it comes after the Sgt. Pepper reprise, which also would've made sense to end the album from a pure concept perspective. Maybe they could've made Day in the Life feel more like an encore? And I will forever be thankful that the Beatles inspired albums and not just singles because of this album, though I wish that didn't have to mean so much studio tinkering. Ah well. I'm nit picking. The first three tracks are fantastic - Lucy in the Sky is psychadelia, not that Happy Mondays stuff that was the previous selection on the 1,001 list. Imagine if Strawberry Fields and Penny Lane had been included on this album rather than left off to be singles. I also quite enjoy Getting Better and how it blends into Fixing a Hole (both conceptually and musically). Within You Without You is such an exceptional display of musicianship. Such a great start to side two. When I'm 64 to Lovely Rita to Good Morning Good Morning (even to the reprise) is such a fun section I can overlook how it is such a departure from the two beautiful tracks that open and close side two. So yeah, I've got other albums that are at the top of my list but this one is still an absolute classic.

Feels like a tale of two albums here. I did not like the over-produced first half with all the guest appearances. Too much hokey extra "flare" added in, like on the title track (sounded like a Sade song) and the tracks with Canned Heat and Los Lobos. I didn't mind his duet with Bonnie Raitt since they were just playing and singing; ditto for Baby Lee, Sally Mae, and That's Alright where the guests were just playing guitar or harmonica. Still, I much preferred the stripped down last three tracks especially Rockin' Chair and No Substitute. Feels like a 3.5, but I'm rounding up because the legend was 73 and still holding it down when he put out this album.

Huh. I remember asking where all the Beatles albums were a few months back but didn't ask about the King of Pop. Maybe I was trying to forget him? Of all the famous artists whose legacies have been soured by accusations or revelations of terrible behavior, I struggle the most with Michael Jackson. Because he was that good; truly one of a kind. So forget the human being, I'm just rating the album. And it is a beauty. I wore out the record of Thriller, but this was almost as good a follow-up. It is nearly impossible not to rock out to Bad, The Way You Make me Feel, Dirty Diana, or Smooth Criminal. I was also a big fan of Leave Me Alone (I rock out to it). And Man in the Mirror is such a beautiful song - he was really such an inspiration and symbol of hope and goodness. That is why his molestation \"issues\" are so difficult to reconcile. I'd like to think he was crying out for help and that there really was a lot of good in him even though he was (and knew he was) tortured and twisted inside. As a musician, he was still at the top of his game. There are just so many big tunes on this album, which far outweigh a few so-so ones (Speed Demon, Liberian Girl). If it makes me Bad to overlook his personal badness and give this album a 5, fine, I accept that judgment.

You can definitely feel the energy on this one - at every song conclusion I'm just waiting to hear someone smash their instrument. Which is good because as musicians they're average at best. There's some heady social commentary on Motor City is Burning and between some songs, but otherwise it's pretty sex-fueled drivel (except for the weird but intriguing Starship). I mean sex, drugs, and rock & roll but maybe a little more variety? Thanks to Rage I love Kick Out the Jams and the original is solid (enough melody and lots of energy in their flawed playing). I think my ultimate rating is more based on knowing what they pioneered than their own ability.

Oh come on, really? Durst and his limp bandmates? Pass the Kid Rock please. I mean I guess these guys were big in the nu metal movement and in 20 yr old white boys' yearning for something hip-hop(ish) that was still white (again, Kid Rock) - I know because I saw how crazy all the other white guys went at the clubs every time the rock set came on (often with a Limp Bizkit tune in there). I always felt embarrassed and usually left the floor. Just because you say f$ck 100 times a song does not make for a good album. The band is actually pretty solid. And admittedly Rollin' is a good pump up song; really, if you're looking to amp up the anger or aggression, this album is pretty good. So despite his vocals and style being annoying as hell, there's something redeeming about Durst's lyrics and energy. And there are times when I might be in the mood for this album. Still, if you're looking for nu metal, Linkin Park was far better.

Oh, there you are again Steely Dan. Had a flurry of 3 albums in about a month and now it's been almost a year (and over 220 albums) since the last entry. I continue to put them in my list of classic rock artists I respect (more than I did when I was younger) but still don't completely get. Probably not surprising since this album is jazz-infused rock and I also don't get jazz. I find it funny because I always loved soft rock Chicago but never got into soft rock Steely Dan. The multitude of jazz players on this album are quite impressive and I really came to appreciate the complexity and grandness of the sound and the whole production on multiple listens. Lyrics too - they seem strange at first but when you listen and start to figure out the meaning (e.g., Aja, Deacon Blues, Josie) it's pretty sly and interesting. Definitely an album that grows on you (Black Cow and Peg being good song examples of that) but I may still be underappreciating it.

I used to say that Cheap Trick's I Want You to Want Me is the only song whose live recorded version is better than the studio version. Still love that live version (the crowd chants ebb and flow with the music), don't know if the rest of this live album always captures the same essence. It's not just about screaming fans, it's about fans being in rhythm with a band that is in full control of its delivery. The back half of the album approaches that - Clock Strikes Ten is a great encore performance (fully on fire by then) and the whole sequence from I Want You to Want Me to Surrender to Goodnight is humming. But you can hear the difference between that closer and its opener companion Hello There, where the latter is just a bit fuzzy and off (the recorded version of Hello There really rocks). I think it improves with each song but even by the time they hit Big Eyes it's still a bit labored. They nail it at Need Your Love - the fans are barely noticeable until two-thirds through but their quality of play for almost 9 minutes is awesome. They hit the pinnacle there and hold it for the rest of the concert/album. Impressive. So all in all a pretty darn good (live) album, and cool that its energy launched their career worldwide.

Another band that, like Boston, had a ton of potential with their first (self-titled) album but had their career trajectory stifled over squabbles with the record companies over future albums. However, Boston managed to sneak in a second album before their big squabble/lag and did pretty well with their "comeback" album. The Stone Roses were mostly forgettable on their second album, and by the time they got around to it Oasis had elbowed their way in as everyone's UK and Manchester darlings. Also, Boston's debut album is a 4 if not a 5; the Stone Roses debut album is a 3, maybe a 4. Funny because I was reading some of the Wikipedia write-up and saw one UK critic's comments that pretty much match how I feel - first three songs good and then a "right barrel-load of shite afterwards". That's a bit harsh because Made of Stone (track 8), This is the One (track 10), and Fools Gold (final track 12) aren't bad. But they aren't as good as the first three (I Wanna be Adored, She Bangs the Drums, and Waterfall are pretty kick ass) and the other tracks, including the middle third of the album, are kind of garbage. Some folks need to give their heads a shake because these guys are not as good or even as trail blazing as they were made out to be. I'd say they took their sound from bands like New Order and the Jesus and Mary Chain and they were similar to a lot of other artists from that scene in the late 80's and early 90's (I'm not mentioning it again, see earlier posts). Whatever that UK sound, it died out pretty quick though it was reimagined in the 90's brit pop/rock, which was better than this sound. Still, it's a pretty cool album. Just cool your jets talking about it like it was the second coming of the Beatles.

You will not appreciate this if you only listen a couple times. It can just blend into the background otherwise. For that reason I was initially at a 3. But as I kept listening I really picked up on the different instruments and moods being set in the music. It was like listening to an opera or ballet - I could picture characters moving and expressing emotions with the music. Very cool. Some favorites - Little Italy (loved the emotion from the strings), Laura's Dream (sweeping, and again the strings; sounded like sirens at times), and Operation Tango (cool pacing with slow and frenetic bits).

One thing I didn't know about Crowded House before this album showed up on this list is that some members used to be in Split Enz (a bit of a one hit wonder outside of Oceania but I Got You is a fun 80s tune). Massive singles from their debut album (Don't Dream It's Over and Something so Strong) still get regular radio airplay in Canada; surprised this isn't the one album of theirs on this list. I also know Better Be Home Soon off their second album and Distant Sun off their fourth album. Off this album, I know Fall at Your Feet and Weather With You (both fun or nostalgic). But I don't think I was missing much not knowing the other songs (although Tall Trees was as good as those other two). Perfectly average and unmemorable.

Like probably everyone, I own Nevermind. And probably like most, that's the only Nirvana album I own. Maybe that makes me like the guy they sing about in In Bloom. But I honestly never got into this follow-up; just didn't think it was as good. Re-listening to it, from the first two songs you notice how much harder (or as others say, abrasive) the sound is (I love the sound of Scentless Apprentice, though not the screeching vocals). That makes it more of a challenge to grasp the lyrics, which admittedly are just as good and thought-provoking as on their previous album. Cobain really was a masterful lyricist. And they show more depth in their musicianship. I totally hear Cobain's love of the Pixies in this album - in how it takes on a different sound than Nevermind, in how the songs differ vastly from each other, in some of the edginess. In retrospect, I really dug lesser knowns Frances Farmer, Very Ape, and Milk It just as much as well knowns Heart Shaped Box, Rape Me, Dumb, and All Apologies (all incredible songs). Even Pennyroyal Tea grew on me (until now I didn't understand why it was so beloved). I still think Nevermind is better, but In Utero is pretty damn good and a real close second.

Sorry, still can't do it. She has such an elegant voice but her unique style is just not for me. Probably the electronica - also not my favorite style. I didn't hate it, but I found myself wondering when it might be over. I am still not interested in exploring more of her work after this album.

I did not mind this; I might even have liked it. Every time I listened to it I was amazed at how quickly the album was over. Good news I think that there's no filler and no pained, overdone material. I liked Jennings vocals - a style somewhere between Cash and Presley. And he had some good beats to tap along to, as well as a nice mixture of old fashioned country and almost southern rock. Favorites - Honky Tonk Heroes, Willy the Wandering Gypsy, Omaha, You Ask Me To, Black Rose, and even that softy We Had It All. Yep, outlaw country is alright - far better than that country pop of today.

I've said it before - Adele is one of (if not) the best pop artists that has come along this century. She is also one of the best of all time. Great vocals, incredible lyrics - their combo brings out such emotion. Enough to give you goosebumps. Not sure if I love all the compositions - maybe she needs to choose her producers and collaborators better? Sometimes it just felt a little too over-produced (I Miss You, River Lea) when what I think would have been better was something more stripped down (emphasizing her talent). I think Hello is a bit overplayed but you can't deny its raw power - and it is a very minimal track as far as instruments go. Ditto When We Were Young. Send My Love and Water Under the Bridge have a bit more going on musically than others but I still love them - enchanting. The second half of the album wasn't quite as good as the first, though I appreciate it did feel more stripped down. I think her previous album was just a bit better. Not quite a 5 for me, but probably 4.5.

Joni Mitchell's style is just so strange. Her lyrics are of course not throwaway but they are also real head-scratchers. Too smart for the rest of us? I got about halfway through the album and was wondering why this album was on the list. Then I restarted it and The Jungle Line really caught my attention - first for the African beat intro and then all the jazz sounds. In retrospect it is an awesome song. And it made me realize she really took some risks, with the jazz arrangements rivalling some of the free jazz or jazz fusion that I've been learning about from this list. Still, In France They Kiss on the Main Street was the only other song that really stuck with me. The album still felt a bit too strange to me.

This is one of the first rock albums I remember as a kid, or other kids talking about - the full album, not just a song or two. I think I was 9 years old. For the next few years all air band skits included at least one group of kids doing Pour Some Sugar on Me or Rocket or Armageddon It, with everyone wanting to be the one armed drummer. Weird how music gets around and grows into something big. I will always prefer the more complicated style of 90's grunge and alternative to the try to please everybody style of 80's hair metal, but this was one of the finest versions of 80's drugs, sex, and rock and roll (and bubblegum). Only now do I know how much studio production was used to generate the sound; otherwise, I know it as an album full of massive hits. Sell outs or not, it is 7 songs before reaching a song that is just so-so. The first half is an awesome ride. Too bad they didn't just throw in Hysteria and call it a day as a 7-track album, because the second half is a bit soft. I mean, it rolls right along with the vibe, so fits nicely if you're listening cover to cover. But even I have to admit it's a lot of cheese and I don't know if you'd really care about most of the second half songs if you heard them one-off. I wanna give it a 5 because it's such a fun, rocking album but it gets downgraded to just under 4.5 for the cheese.

Really, CHIC gets another album on this list? Meh. Second verse, same as the first. It is probably one of the finest disco albums you'll hear, but it's still disco. Great funk, great bass lines, upbeat tempo and lyrics but it's still just the same beat and simple message over and over. Did Good Times (a classic) really need to be 8 minutes? Thankfully the lesser songs on the back half of the album were shorter. Admirable but not really anything more than average in my opinion.

Eventually I will run into a Led Zeppelin album that I can't give a 5 to. Is this it? This would've been another masterpiece if they just stuck with the 8 original tracks. Conventions and run time be damned. The first two sides kick serious ass, even with a couple tracks not from the original 8 - Houses of the Holy (really should've put it on that album, it is great and that album needs more greatness) and The Rover (my least favorite on the first two sides). Trampled Under Foot has so much boogie (Custard Pie too), it's one of my faves. And then In My Time of Dying and Kashmir are epics; never have I ever wondered when those two tracks would end despite their almost 20 minutes of playing time. But I sort of shrug from time time listening to the last two sides, especially for the tracks not from the original 8 - Down by the Seaside, Night Flight, and Black Country Woman. Bron-Yr-Aur has some deft musicianship though and Boogie with Stu is also a nice jam but the recording quality is a bit weak. They just don't have the same energy and fit as the songs originally intended for this album, like The Wanton Song (similar boogie as Trampled Under Foot) or Sick Again. Granted, In the Light falls a bit flat for me, though I like the somber musical stylings in Ten Years Gone. This just feels like one of those times where a single album would've been better (super tight) than a double one (stretched a bit thin). I hate to do it, but can't give it a 5 - very close though.

Tough one. You totally hear the influence and mastery of psychedelic rock in this album right away in Strange Brew and Sunshine of Your Love, but also in those two's b-sides - Tales of Brave Ulysses and SWLABR. Those are 4 incredible tracks, the latter two just as good as the former big hits. Heavy is a good word to describe them - full of sound, especially a bluesy overlay. Outside Woman Blues and Take it Back also have a great blues sound. After that I'm a bit split on the rest. We're Going Wrong feels like a slow trudge, but I guess still psychedelic. World of Pain and Dance the Night Away aren't bad but I think they're better when following the first two hits than listening to them on their own. Ginger Baker should not be allowed to sing - Blue Condition is tough to listen to (almost downright awful) and Mother's Lament is just so weird. The latter I'm actually intrigued by and don't totally mind because it sounds like they're taking the piss out of someone or thing - I just wish I knew more about the context.

This is a good album but its charms are also its weaknesses. Neil Young is one of the finest lyricists we've seen in the last 100 years and it shows in songs like Out on the Weekend, Heart of Gold, Old Man, and especially The Needle and the Damage Done. But I don't know what he was going after in A Man Needs a Maid (cringeworthy way to express his adoration for a woman) and Alabama (heavy-handed, which even he admits now). His stripped down but deft musical arrangements are hallmarks of his as well - and that is here in spades on 8 of 10 songs. On top of that he nicely brings in the London symphony on A Man Needs a Maid (sound is cool even if lyrics are junky), but then the symphony feels overdone and disruptive on There's a World (the harp in particular makes it sound like a bad Disney theme song). Still, if you step back there is maybe one bad song, a couple so-so songs (weak lyrics but good sound), and the rest is really Neil Young at his lyrical and musical best. And his best is quite a high bar. And I say that as someone who is not a fan.

Before modern day R&B and hip-hop, you just know this was the kids' preferred baby-making music in the 80's. It's hypnotic, it's rhythmic, and then combine those beats with Gahan's sultry vocals (and Gore's lyrics). These guys were the masters of synth pop. I think the 3-song sequence from Never Let Me Down Again to The Things You Said to Strangelove is up there with some of their best work. Awesome tracks. And the sequence from Sacred to Little 15 to Behind the Wheel isn't too shabby either (though lyrics are a bit creepier). There are some bigger holes in the last four tracks. Pimpf is a little too weird and I Want You Now is a little too creepy, but Nothing is pretty good. The album definitely gets better on multiple listens; feels like a solid 3.5. So, round up or down? I went down to clearly distinguish it from Violator, which I feel is a superior album.

Tight album. Best electronica on this list since Kraftwerk (these two groups might be the only ones I actually care to listen to more of). It had me toe tapping right from the opening few beats in Genesis. And so much seamless transition from track to track; kudos to the duo for successfully creating their opera concept. Other big toe tappers for me were Phantom (except the last 45s or so, see below), DVNO, Stress, and Waters of Nazareth. The album has its times where the beats are a little too abrasive or stuttered (the glitchy effect in Newjack and the final 45s of Phantom is a bit tough to take) or the vocals are annoying (sounds like bad Kids Pop on DANCE or bad Keisha on The Party). But overall, this album is waaaay better than most electronica I have heard.

Still not my cup of tea. Found myself waiting for it to be over. Maybe I would change my tune if I listened to the album a few more times but I don't want to. I didn't hate it but I don't care about it either.

This was ok - some good, some bad. I liked the droning, haunting sound of the opening track If I Had a Heart (later on Concrete Walls too). And then I realized that Fever Ray has an annoying voice by the second track When I Grow Up. When her vocals are more front and center (on about half the songs), the songs aren't as good and I struggled to enjoy the beats. Because of her voice and occasional strange beats, sometimes I wondered whether the album was meant to be a spoof - like a Will Ferrell EuroVision thing. The lyrics are also a bit too simple or everyday, not really making you think. All in all, another electronica album that is just meh.

I guess in retrospect we were still figuring out Britpop at the time, so this was a landmark album. I remember my buddy's younger sister was a huge fan of Suede, Blur, and all things Britpop or Britrock in the mid-90's. Blur I got, Suede I did not. I think I still don't. The album feels a bit aged, and foggy. I really only knew Animal Nitrate before this, and I thought So Young (the follow-up single) sounded very much like it. I had no idea that The Drowners and Metal Mickey were the two singles before it that was creating all the positive Suede momentum. They're pretty good and better than Animal Nitrate. My favorite track though was Moving; still that foggy sound but a bit more energy that I enjoyed. Of the softer or trippier songs, Sleeping Pills was my favorite. Good lyrics and an otherworldly sound - Bowie-esque almost. I guess I never totally understood Bowie either so if they're paying him reverence (nd not at the same level) then maybe that's why this album doesn't quite move the needle high for me.

Interesting - I had never heard of these guys or this album. But man, the 90's were such a great time for socially aware and/or politically charged rap & lyrics. One problem though is that it all sounds similar to me - like there's a crisp voice overtop of a variety of different, more in-the-background beats but the cadence and rhythm seems to come off the same. As I was listening to this album it ended and some random suggested tracks came on and I didn't even know it wasn't the same group. So yes, I love the lyrics but find the whole package didn't really stand out. If I had to pick a couple favorites though, it'd definitely be Who's Gonna Take the Weight?, Here Today, Gone Tomorrow (great groove), and As I Read My S-A.

Easy 5. I wore this record out as a kid. Probably the cassette too. Truly one of the greatest albums of all time. The beats, the blend of rock and pop and R&B, the lyrics, the varied vocals, the everything. There is such a range of song styles and yet every single one of them is a hit (well maybe not The Lady in My Life). But there are great artists whose greatest hits aren't as good as this album. What else needs to be said?

So, is it fair to call this a rap opera? It is dense, but Kendrick Lamar is telling a deep, inter-connected story and deserves a lot of credit for that. He really includes a lot of detail, almost like what would be in a novel with character description. I listened to the album a bunch of times and I really came to respect his lyrics - I knew he was good but he is real good. My problem with his opera, as compared to a rock opera like The Wall, is it is so complex. And in a rock opera, when the lyrics go over my head, I can fall back into the music and the flow from song to song. I felt like my head was spinning more often than it would for a rock opera (what did he just say? Is that a real audio recording or a skit? Are we returning to a previous part of the story? Where are we in the story?) and the musical stylings don't line up as well. Some tracks had great beats and others were hard to get into. Still, the man is a lyrical genius. Favorite tracks were The Art of Peer Pressure (super deep and introspective), Money Trees (great groove), MAAD city (awesome beats and pretty deep), Swimming Pools/Drank (catchy and real personal), and Sing About Me/I'm Dying of Thirst (some annoying stylings but wow, deep). I also really enjoyed recordings of his parents (e.g., on Sherane) - can't believe those are real phone messages. I have a ton of respect now for Lamar as a writer and lyricist, but still didn't totally love all the musical stylings.

What I read about this album, I thought it was going to be even stranger than it was. It had its moments, but it mostly just sounded like Brazilian the Mama's and the Papa's (of course on Tempo no Tempo but other songs too) or Donovan (Trem Fantasma sounded like Sunshine Superman - was that intentional?). I'm not sure that I hated it but I certainly didn't get it. I think it was hurt more by the fact it was in Portuguese and I couldn't grasp the context then it was hurt by its weird arrangements. It made it hard for me to get into it.

Ah yes, I remember D'Angelo - that's what everyone talked about "macking" to in high school. I was surprised I didn't really recognize any of his songs. I think that might be telling - great voice, some sexy beats, but otherwise a little forgettable. It's a solid album but I wasn't fired up by it. For what it's worth, my favorites were Brown Sugar (nice beats and innuendo), Sh%t, Damn, MoFo (I think I just liked hearing someone sing MoFo so many times in a sultry voice), and Cruisin (this version fit him well). I admit my rating might be a level too low.

Alright, I better put this right out in the open. I do not like the Doors. Never been a fan of Jim Morrison. His voice doesn't do it for me and if his charisma isn't really there in studio performances. Listening to this album, I just find them boring. I've always liked Roadhouse Blues so that's a plus. And they do put together a decent blues sound. But otherwise the album felt like it plodded along. Not terrible but I still don't get the hype behind the Doors.

I was not a fan of Garbage when they came out in the 90's. Not rock enough and too dance for me maybe. But all these years later I have a much better appreciation for their sound and I can hear so much of it in bands (who I like or don't mind) that came after them (e.g., Metric, AWOL Nation, even the Killers). It's kind of amazing how long it took for computer-aided rock to really take off. It seems like half the bands considered rock these days are just layering and looping computer and synth rock sounds. I think what I realized listening to the album for the last week is how catchy the real instrument sounds are and how well they're mixed with the "fake" instruments. I prefer the non-singles like Supervixen, Not My Idea, Dog New Tricks, or Fix Me Now (my favorite on the whole album) to the singles. I quite like Only Happy When it Rains now but I didn't in the 90's and I like Vow (a lesser known single) more than the bigger ones (Queer or Stupid Girl). All in all, a pretty solid album even though I tend not to like produced rock and prefer authentic rock and instruments.

Didn't hate it. Particularly enjoyed the first two tracks (Are You Happy?, Only Dreaming Now). After that I drifted in and out; hard to pick a song I really enjoyed but a decent trip the rest of the way through the album. Still not sure I'm going back for more though.

Wow. You really have to listen to this album more than once to appreciate it. I'm not saying it's a stunner, but it's a real solid album. At some points it's almost as heavy as a Sabbath album, particularly the Black side which I like more than the White side. Father to Son (white) is a little softer (still good) in the first and last third but the middle third is almost as pulsing & heavy & awesome as Ogre Battle (black). The song transitions are almost seamless, which gives it a really cool, proggy feel despite the shorter song runtimes. It's a bit mystical at times, which is sometimes weird (less accessible) and yet sometimes wonderful. Funny how Seven Seas of Rhye was the lead single and is the only song anyone remembers from this album. It's good but lacks depth and is bested by others. This is an album whose whole is greater than the sum of its parts.

Yeah, these guys were good. The beats knock you on your butt immediately. Smack My Bitch Up, Breathe, and Firestarter are massively popular tracks, and with good reason. Like a lot of this album they are infectious. Funky Sh&t and Mindfields were other tracks that I couldn't shake, in a good way. What struck me about the album is it's electronic but doesn't always feel that way - it feels bass or drum heavy at times, it feels like there are guitars and instruments (which there are, but even when there aren't). It has its moments where a song runs on too long or has too extreme/annoying of loops or beats (looking at you Serial Thrilla). But it is a fun listen that I'm willing to repeat or makes we want to explore more Prodigy.

I was waiting for this album. Dang Johnny, thanks for this last one. Simple, beautiful arrangements. His originals, reworked or not (The Man Comes Around, Give My Love to Rose, Tear Stained Letter) have just as good lyrics and draw you in just as well as any of his other previous songs or versions. His version of Hurt just epitomizes this whole album - stripped down, vulnerable, sad (mostly). I Hung My Head and Personal Jesus are other great examples of how his reworked versions really put a new spin on the original. You have to be in a certain mood for it, but as a concept this album is brilliant, as is his execution.

So I read the background on this album and I guess he was trying to do something as big or great as Michael Jackson or Prince. His hits definitely reach that level - Faith has great musical elements (love the rockabilly), Father Figure is deep and beautiful (lyrics and instrumentation), One More Try is even deeper and more beautiful (maybe my favorite of all the songs he ever created). But other songs just sound like terrible 80's cheese (e.g., Hard Day, Look at Your Hands). Even Monkey and I Want Your Sex, both big hits, are cheesy - I get why the latter was a big hit (needed some frank talk on the subject in the 80s) but the former is a bit of a head scratcher. Still, he brings it back with his softer and more introspective ballads - Hand to Mouth and Kissing a Fool are also really beautiful pieces. In the end I guess he got pretty close to his idols with this album but not quite all the way.

Not bad but too frenetic. Like his work in the Pixies, it's got Frank Black's signature weird but interesting lyrics and some cool musical arrangements (including some guitar work from his former bandmate) but it's just too all over the place. And it's too long - 22 songs constantly changing in pace and content and style. As much as I liked some songs quite a bit (Abstract Plain, Headache, Freedom Rock, The Hostess with the Mostest, White Noise Maker), the whole album is just a bit too much to wrap my head around. Tighten it up and I might like it even more. But as it stands it feels average at best.

So cool how he decided to change up his style & sound and produced this super funky album. Loved the opening track Chameleon - so much funk and great grooves. I'm pretty sure that French band Stereolab sampled the clicking bass or guitar sound from Watermelon Man on their first track of Emperor Tomato Ketchup. Nothing like homage to show greatness. I didn't like Watermelon Man as much as Chameleon - some weird stuff in the former while the latter was like listening to the best funk rock George Clinton could deliver. Sly and Vein Melter were also good but not as good as Chameleon; felt a little more reserved. Still, quite a good album that I would not have otherwise listened to. I love when that happens.

Solid album. Metal can be a little over the top sometimes (especially the vocals) but the musicality on this album is great and the vocals are decent. Di'Anno almost has a punk-sounding voice. Great guitar and drum tempos, especially on Prowler, Running Free, Phantom of the Opera (really deft guitar work here), and Transylvania. And then of course there are the obligatory (and well done) soaring but heavy ballads - Remember Tomorrow, Strange World. Tight album, not a lot of waste.

The 3-song opening sequence is about as big as you'll find on any album. Where the Streets Have no Name might still be my favorite U2 song, given the Edge's opening (and further) guitarwork and how the rest of the instruments just fit it so well. Bono's lyrics and vocals are great too. But after that I felt it was a bit uneven. The next 4 songs from Bullet the Blue Sky to In God's Country were pretty solid; retained a similar rock feel to the first 3 songs albeit not quite the same highs. The last 4 songs felt more like The Waterboys celtic sound (except for Exit, still heavy); more folksy and decent for sure but definitely not the same level as the first 3 big hits.

Meh. Another one of those albums that is not awful, kind of pleasant really, but not memorable. Found myself more interested in listening to the next album on the list once this was over than listening to more Gene Clark. Still I don't understand why it was so panned when it came out. It's just kind of doing it's own thing, not hurting anyone. Ignored, sure. Completely & perfectly bland and average.

My wife's uncle, who is from Glasgow and now lives in Manchester, seems to love all Scottish bands including Travis. I can see the appeal - all their singles (Writing to Reach You, Driftwood, Turn, Why Does it Always Rain on Me?) came flooding back to memory and got me toe-tapping. It's not a masterpiece or anything and like the rest of the bands and sound that was brewing overseas at the time (e.g., Keane, Snow Patrol, Coldplay) it's a bit watery. But they did a good job with sad rock/pop on this one. A solid 3.5 but after just listening to the Joshua Tree and rating it a 4, I can't rate this album as highly.

What, where's Wikipedia to give me an easily accessible read about this album? I can't be bothered to do my own research. :) I dug this a fair bit. The first track So Many Sides of You had a Stevie Wonder kind of opening (sounds like Master Blaster), which I love because I love Stevie. Hope it wasn't a ripoff. There is some definite early 80's cheese here - Lay Your Lovin' On Me is a bit over-produced and the lyrics in Secrets are just atrocious at times (KFC? Really?). I get why If You Think You're Lonely Now was the big single - so much deeper and more soulful than the others. But the album is mostly a good funky ride, and that's worth something. Stand Up is another great example. I know, it's got some cheese too but damn that beat. I loved it (reminded me of another great funky cheese You Dropped a Bomb on Me by the Gap Band). A nice surprise and more to add to my list of soft 80's r&b favorites.

Sorry, but I always found the singles off this album a bit boring and/or I didn't get what the big deal was with Frampton (other than his squawk box). I found side one and two of the album lacked energy, except maybe the last song on side two (I Wanna Go to the Sun). Side three really picked up the pace, from the instrumental Penny for Your Thoughts and then followed by Money (though the editing/transition between the two is terrible). Shine on and Jumpin Jack Flash were solid too. Side four was alright; doesn't hold the same pace as side three though I guess Do You Feel Like We Do is the best of the singles. So maybe half an album that is humming and another half that is meh. Feels pretty average to me.

Well, I'm sure everyone loves the title track (except maybe Lennon himself) - it really is a beautiful piece. I've always been a big fan of Jealous Guy but I don't think I knew any other songs from the album. I liked some a fair bit - Crippled Inside (cool country rock sound), It's So Hard (solid rock & roll sound), I Don't Want to be a Soldier and Gimme Some Truth (both edgy lyrics and sound). But I didn't care much for Oh My Love, How Do You Sleep, or Oh Yoko. It gets better and better with each listen but it's not quite a masterpiece.

I really love Paul Simon, but I was expecting more. He's such a clever and cheeky lyricist and a deft musician and composer. And yes, that is here in his hits like Me and Julio Down by the Schoolyard (one of my alltime faves) and Mother and Child Reunion (wonderful blending of different sounds and vocals); even in lesser knowns like Duncan ("couple in the next room bound to win a prize, they've been going at it all night long") or Peace Like a River (his folksy plucking combined with other instruments is great) or Paranoia Blues (quintessential up-tempo Paul Simon). But I felt like there were a bunch of ho-hum songs (Everything Put Together Falls Apart, Congratulations) or others with clever lyrics but that sound like regurgitation of his work with Garfunkel (Papa Hobo). I'm torn on others with simple strumming and easy vocals (Run that Body Down, Armistice Day); sometimes I find them a bit boring, other times just right. He has some absolutely killer albums but this one felt average to be honest.

Hmmm, in some ways like a Swiss-French/Swiss-German but weaker version of Rammstein...if Rammstein and Tom Waits had a lovechild. I did not like the real avantgarde stuff that sounded like Waits' circus music (La Fille de la Mort, Charlotte, Les Enfants) but the heavier, almost thrash Rammstein-sounding (or NIN-sounding) stuff was kind of cool (Rue des Tempetes, L'eau Rouge, Longue Route, Crier les Chiens, Ville Notre, L'amourir, Pas Mal). Yeah, the vocals are pretty brutal, but the beats really are captivating. I thought for sure I'd give it a 2 after the first song but the album really grew on me.

Funny, the only songs I know by Suzanne Vega are Tom's Diner and Luka, and neither are on this album (and I didn't know until listening to it today that the latter is about physical abuse). She has a good voice and is a very insightful lyricist. I'm sure she was part of the strong 80's female songwriters that led record companies to try and copy it for the rest of the 80's and into the 90's. Still, like Kate Bush, I wasn't all that inspired to go out and listen to more of her stuff. Tori Amos (who is a suggestion after listening to Vega), yes, I want to hear more of her stuff. But Vega's voice and compositions just don't have the same attraction for me.

Another solid Elvis Costello album; I'm starting to figure out how good he is. Still, I wasn't completely blown away like I was with his debut album. I even went back to the other one to see why I liked it so much. Maybe they're pretty equal and both are worth a 4; I'm not sure this is a 5. I really liked side one, especially the 4-song sequence from No Action to Pump it Up. Side two wasn't as good, but still plenty of energetic fun and great lyrics. I know Chelsea is a big favorite (it's solid) but the track I liked best on side two was Living in Paradise (or maybe Lip Service). I still don't know how to characterize his sound (rockabilly punk?) but I think that's a good thing. It's one-of-a-kind and good.

So this is where it really took off for Springsteen. What makes this album so infectious? I do think it's the whole thing put together; some songs as one offs might not grab you, but together they consistently pound his quintessential sound (with the E-Street Band), massive energy, and top-notch lyrics. It feels like a very up-tempo Bob Dylan; that's partly because his lyrics are that deep and partly because the E-Street Band adds a style not unlike the Band when they were backing Dylan. The piano in particular is just awesome on pretty much every track (but especially on Thunder Road, Tenth Avenue Freeze Out, Backstreets, Born to Run, and Jungleland). The sax is also clutch on many songs. Springsteen truly was/is a master songwriter and musician. Fantastic album.

Wow, I did not realize how many singles came off this album...or how 80's it all sounds. Almost every track has that cheap synth sound, like Rick James on overdrive. Is there any decade we'd more prefer to sweep under the rug for its cringeworthy sounds? Ugh. I guess that's what everyone wanted back then but ugh. I wonder how good this album could've been with a different and more authentic sound...and more than 2 weeks to produce it. Because Tina's vocals are awesome. And there's some catchy bits once you get through the cheese (her biggest singles were big for a reason). You know the expression don't hate the player, hate the game? I think an apt variation is don't hate the musician, hate the producer.

Just a glorious album; one of the first I ever owned although I didn't truly appreciate it until I was older. I was recently listening to Hum and a friend chastised me for not thinking they were shoegaze given their wall of sound motif. He then reminded me that the Pumpkins were also an offshoot of that shoe gaze wall of sound, and it's very noticeable re-listening to this album. Grunge meets shoegaze, but amazing. I love how they moved away from pure distortion into more melodic pulsing (not just fuzzy) guitar sounds. The opening 6 song sequence is awesome; their 4 singles show that energetic, up-tempo and melodic wall of alternative rock sound (Cherub Rock and Rocket) as well as depth in muscianship and lyrics (Today and Disarm). Quiet and Hummer are right up there with those 4. Things start to detour when you hit Soma, though it and others (Spaceboy, Luna, Silverfuck) continue to show their depth of sound and lyrical emotion and/or some prog rock complexity and skill. Still, Geek USA and Mayonaise (Silverfuck too) provide more pulsing and energetic rock if you want more of that (and why wouldn't you? It rocks). Again, just a glorious, classic album.

Another beauty from the 90's. Admittedly I'm a slightly bigger fan of Radiohead's more straight ahead rock album The Bends, but OK Computer is really one of those great albums that must be listened to as a whole. If you just got dropped into it randomly, you may not get it. But starting from Airbag and finishing at The Tourist, it's a seamless and connected journey. For a guy like me there's plenty of great guitar and percussion work to fall back on in songs like Paranoid Android, Electioneering, and Lucky. But even when they experiment (a lot), it's with such cool sounds in songs like Subterranean Homesick Alien, Let Down, Climbing Up the Walls, and No Surprises. And then Thom Yorke is such a brilliant lyricist, even when he's trying to be abstract, with such emotion-grabbing vocals. Karma Police is a great example; beautiful and one of my all-time favorite rock songs. And if you love Radiohead's work in the 90's (perhaps their best period) check out the re-release OK Computer OKNOTOK, with a whole second album of b-sides and unreleased tracks. I Promise off that album maybe surpasses Karma Police in my mind; rawer like Fake Plastic Trees off the Bends, but just beautiful and dripping with desperation and emotion. At any rate, it just goes to show that Radiohead was at their masterful peak around the recording of OK Computer.

I didn't mind it; sort of an eclectic or unique brand of blues. I don't know how much more I can say than that. It was good background music, it had some cool bluesy guitar sometimes, some cool subtle percussions other times, and overall felt more like blues meets traditional Brazilian, Spanish, Middle Eastern, South Asian, or African sounds. I know it was probably supposed to be more of the last one, but it felt more worldly.

Is it the lack of background vocals that make it feel like great background music but not much else? There's some really good musicianship going on but if you don't really pay attention it just passes you by. Glad I can now put an artist and song title to Green Onions, or Rinky Dink (though they're not the originals), and I heard some other beats that likely got adopted or adapted elsewhere (Comin Home Baby in I'm a Man by the Spencer Davis Group). Enjoyable but didn't really blow me away.

I definitely remember when this album came out and my friends owning it and playing it. But listening to it, I only recall Sabotage (a stone cold classic and all the more impressive now that I know they played their own instruments on it) and Sure Shot (a great tune in it's own right). But I realize now this album is not really about Sabotage, which feels like rap rock. It's more about Sure Shot, which feels like jazz fusion overlaid with hip-hop and rap. There are others like the latter with more of a hip-hop edge, like B-Boys (and now I know why a friend stuck his Prince Albert in our potato salad at a party 20 years ago). But this is not a hip-hop album. And if you get that then you can really appreciate it for what it is; an eclectic jazz album. Bobo on the Corner and Root Down feel like jazz percussion. Get it Together and Sabrosa feel like funk and jazz and they both kick serious ass. Q-tip is a great add to the former and the musical stylings in the latter are like vintage Isaac Hayes or Curtis Mayfield (just awesome). The Update and Futterman's Rule are some sort of combination of these four, though a little bit boring. And that's my one gripe with this album. It's a bit uneven. For all the musical chops, innovation, and ambition they display (mad respect) there are a few too many snoozers. On the second half, especially. It starts off great - Alright Hear This and Do It have a cool hip-hop sound while Eugene's Lament (that violin!) and Flute Loop (that flute!) are incredible. But after that it's kind of meh, except maybe for Shambala with it's very interesting and eclectic jazz sounds. Honestly, on first listen I thought it was average. But as I listened to it a few more times I really understood how unique and complex it was, and how talented these guys are. A few of those holes in the album still tugged at me, though I was getting close to a 5.

Decadent is how I would describe this album. Do we need the 15 minute Voodoo Chile or 13 minute 1983, or all the guitar solos, leadups (And the Gods Made Love), or jam sessions in these songs? No, that is for Jimi and his band. And the tighter Voodoo Child is still epic. But is it awful? No, and Hendrix is one of the most revered guitarists in history for a reason. So for all the self-indulgence you're usually listening to genius at work. But yes, it could be tighter.

Torn here. There's a solid jazz foundation on every track, but the lyrical themes don't always elevate it to the next level. I want more H2O Gate (or The Revolution Will not Be Televised from his prior album) and less Your Daddy Loves You. The latter is sweet and all, but there's not much to it. Jackson's soft piano adds a biting contrast when placed together with Scott-Heron's incredible lyrics in the former. And that's who Scott-Heron is, a brilliant lyricist with much to say and much for us to pay attention to. The Bottle was also fantastic; edgier sound and brilliant lyrics. The opening and closing Peace Go With You, Brother tracks didn't have quite the same bite (though the opener shows potential for where the album could go). Ditto for Rivers of My Fathers (it wanders a bit). I couldn't figure out whether he was trying to do something more profound with A Very Precious Time than singing about first love. Feels like a 3.5, but I think I shrugged more than I perked up.

I think right before Elliott Smith's death in the 2000's my dad was discovering and listening to him, which is weird because it feels like that is when I (in my 20's) should've been discovering Elliott Smith. I did get introduced to Brendan Benson and Pete Yorn then (similar in certain ways), both of whom I liked, so not sure why I didn't get into Elliott Smith. I wonder if his Either/Or album is better, but I liked the stripped down acoustic (or piano) sound in this one. Good lyrics and good songwriting; almost like a modern Paul Simon. Highlights were Somebody that I Used to Know, Junk Bond Trader, LA, Easy Way Out, Wouldn't Mama Be Proud, Can't Make a Sound.

The Isley Brothers are better than I remember, though I probably never remembered which songs were theirs. Better comes from their musical abilities; I remembered them as crooners but there's a lot of electric funk to this album. They can still sing, lots of good vocals and harmony. All in all, it's a weak 4 because despite their highs (the first 4 tracks including That Lady and You Walk Your Way) I didn't really love their remakes of Listen to the Music or Summer Breeze (too forced).

This one was surprisingly good. It felt like a modern Bob Dylan meets Bruce Springsteen. Yes, at times I felt like the lead singer was trying too hard to emulate Dylan's voice (or Springsteen's shrieks) but there was a really cool blend of soft guitar and percussions, synth and piano/keys, raspy vocals, and solid lyrics. I really nice twist on (or evolution of) Americana rock. The album had me paying attention right from get go with Under the Pressure and Red Eyes; other notables included An Ocean in Between the Waves, Disappearing, The Haunting Idle, and Burning.

To be honest, the first time through I wasn't sure what to think other than it was decent at least. But as I kept listening I got more and more hooked. There's a lot of good, fun tunes. I mean, if you like anything from this era, they capture that pop rock and pseudo-psychedelic sound. You can hear bands like the Byrds, Beatles, Buffalo Springfield, Donovan, etc. (even Motown) in their sound and it's pretty admirable. So then I'm not surprised that 8 of these tracks hit the radio as singles. Side one is great - A Girl Like You is poppy and Motown-y, Find Somebody is more psychedelic and edgier rock, I'm So Happy Now is pure California pop, Sueno has great guitar chops, and How Can I Be Sure has great vocals (a different sound than the rest, more soaring). It was almost like listening to 5 different artists. And I haven't even mentioned Groovin (side two), their biggest hit, which I actually find okay compared to these others. Another one that sounds more Motown-y, but I guess that is due to who sang lead vocals. You Better Run (edgier) and A Place in the Sun (softer, though aa Stevie Wonder remake) are also cool tracks on side two. If you only give this a quick listen I can see how you'd shrug and say not bad. But it is real solid if you take time to listen carefully.

Jarvis Cocker's vocals are so polarizing. So often he sounds like a condescending twat (to use a British word) with his half whisper and part speaking style. But other times it sounds energetic and perfectly cheeky, like on Common People (a quintessential Brit Pop tune and a classic with its combo of rock/pop/synth and witty lyrics). Other songs that bring that nicely blend Pulp's sound with Cocker's vocals and lyrics are Disco 2000 and Mis-Shapes, maybe Monday Morning too. But I do find it a bit creepy how much an early 30's guy is singing about sex where the protagonists are seemingly teenagers. Ultimately, while this album has its highs, it also feels boring or repetitive. A little too uneven for me.

There's dark and melodic and then there's dark and demonic. Sometimes this album is the former (cool) and other times it feels more like the latter (not good). All in the Family was truly F'd up. I was never a big fan of Freak on a Leash though it's ok (not F'd up, but a little too heavy or too much distortion for me). I prefer their other big single Got the Life. Ice Cube adds a nice contrast to the regular vocals on Children of the Korn; I dig the sound overall. In the end, it's a lot to take on listening to this album (heavy? intense? abrasive?) but I did not hate it, which is more than I can say for other nu metal bands like Limp Bizkit.

I know who Badu is but I really don't know any of her music. Great sound on this album. I'm not sure I can single out too many tracks that really grabbed me, but as a whole they really fit nicely together. The album really flowed, and her vocals and the soft beats carried from one song to the next. Easy listening.

Not my favorite band or album but it's solid. Their different sounds (blues, jazz, rock, psychedelia) come through well. Jim Morrison is appropriately unhinged. Honestly, I wasn't exactly blown away by any songs I didn't already know, but I found myself re-appreciating the songs I did know - Break on Through, Soul Kitchen, 20th Century Fox, Light My Fire, and The End (ok, the full version is a little much).

There are some real beauties on this album, just oozing old time blues rock. Brown Sugar, Can't You Hear Me Knocking (awesome guitar work), Bitch. So good. So classic Stones. And there's some good ballads too with some real deep lyrics. Wild Horses, Sister Morphine. Though not quite as good, respect for some of the more straight ahead blues efforts like You Gotta Move and I Got the Blues. Don't forget where the Stones came from, and blues is it. I was close to a 5 but I feel like I gave them a bump on another album that was maybe just a 4, and not all Stones albums should be a 5.

Basement Jaxx you say? Interesting! Oh, no Where's Your Head At on this album? It's just not the same. I enjoyed some stuff (Rendez-Vu, U Can't Stop Me, Red Alert). Other stuff was ok at times but got annoying (Yo Yo, Always Be There). After Sneakalude I found it a bit monotonous and boring. I didn't hate it, so I guess a 3? A weak one.

I've been waiting for more of those fierce female artists of the 90's. I have always loved Fiona Apple's Criminal - her vocals, lyrics, and plunking piano kick serious ass, and they're nicely combined with other instruments. I think I've always wanted the rest of her songs to be just like it, which is unfair. Because on songs like Sleep to Dream and Shadowboxer, her lyrics, vocals, and piano work are still great, she just doesn't let the rest of the arrangement take it to a rock place. And I now appreciate her measured, haunting intensity on other subtler pieces - Sullen Girl, Slow Like Honey, Never is a Promise, Pale September. The album is not quite a masterpiece but shows how talented she really is.

I am a fan of Tom Petty and his Heartbreakers. But I have always wondered why they are so beloved because there's nothing particularly skillful about how they compose or play songs (Free Fallin might be the easiest rock song ever to play, though it's still a beauty). Same goes for this album. I definitely enjoyed it. But why? What about it is so memorable, groundbreaking, unique, or masterful? I could give it a 4 for being a fun rock album with classics like Breakdown and American Girl (and hidden gems like Strangered in the Night or The Wild One, Forever). But that doesn't seem fair and they have better albums than this.

This album is magikal. Can't decide if it's a 4 or a 5. It feels like 17 songs is too much, perhaps a bit bloated. But the 9 song sequence from Breaking the Girl to Under the Bridge is phenomenal. Suck My Kiss and Give it Away are kick ass rock songs (funk rock), and if you like that you need to listen closely to the Righteous & the Wicked because it might be even better (my new favorite; what a hidden gem). Funky Monks, Mellowship Slinky in B Major, and the title track are a bit odd, juvenile, or over-sexed but they are funktastic; the musicianship on them is incredible, particularly Flea's bass and Frusciante's guitar. And then Breaking the Girl, Under the Bridge, and I Could Have Lied are absolutely beautiful pieces - it shows you these guys were serious (Kiedis too) not just a novelty act. Such depth in lyrics and again the musicianship - Smith's percussion on the first one is great (with help from the rest of the group) and Frusciante is a guitar god on the latter two. Even throw in the first 2 tracks (not bad, just not the same level as the next 9) and that's a 5-star 11 track album. So what about the other 6 tracks? Aimless at times, some Kiedis drivel at times but also just pumping rock. Case in point, if you can shut out the lyrics in Sir Psycho Sexy (they'd make a prostitute blush), Flea absolutely puts it down on bass. I mean, out of this world bass lines. In the end, these guys took what they were (strung out funk rock wannabes with flawed style and ability) and what was going on in rock (depth and edgier themes) and completely reinvented themselves and rock music. What they did always occupied its own little corner of rock music - they built on acts like Faith No More or In Living Colour but not a ton of acts followed them exactly. Still, they blazed a new trail. And that tips the scales for me.

It's just too much sound and distortion to handle. I feel it's always the same for me with bands like Pavement (e.g., Fugazi, At the Drive-In). I hear one song on its own and think oh that's cool. And then I go to listen to more of their work and it just piles on, very much the same, and feels a little bland. They do some unique experimentation and respect for that. But it felt like a slog to get through the album. And unlike when I hear one song of theirs out of the blue, after listening to the whole album I don't want to go searching for more.

Damn. I never really liked Rehab (or thought it was over-hyped) so I didn't pay much attention to Amy Winehouse. But having now gone through one-third of a musical odyssey via this list, I understand how good this album is. It is new age soul and Motown. The musical stylings have all the feel of something from the Supremes, Aretha, Stevie, or the Temptations but with a modern twist. And her vocals are massive; they just fill the room and were made to be set alongside a jazz arrangement. Again, a vintage style but something 21st century about it. She can croon. And her lyrics are pretty damn good too. This one totally surprised me, in a good way.

Meh. I mean, it's fine and all and Goldfrapp has a good voice with some nice sleepy musical accompaniment, but nothing overly memorable. They've got a couple catchy singles, neither of which are on this album, so if this is their best collection then call me bored. Electronica fails to excite once again.

While I don't own any White Stripes albums, my initial reaction was this could be good because I know this was the album when the White Stripes took off. But then I looked at the track listing and I didn't recognize too many titles. That made me have second thoughts. Still once I started listening I was surprised at how many songs I recognized beyond the big singles (I'm Finding it Harder to be a Gentleman, Offend in Every Way, I Can't Wait), which says something about its popularity or broader ability to catch on at least. Ultimately though, there's a lot more I didn't recognize. It's a long album at 16 songs and worse, there's some clunkers or odd ducks. The White's were still figuring it out on this album and it shows; Jack always has some weird lyrics (and Meg should never be allowed to sing) but it's the musical compositions that are not quite polished on a bunch of tracks. Still a big fan of Jack White's sound and garage rock overall (these guys paved the way for a lot of 2-piece outfits that can really jam) but it's probably around a 3.5, and I rounded up on the last album I rated of theirs so I'm rounding down on this one.

The first time I heard Maps I dug this band. I love Karen O's unique shrieky vocals and the big fuzzy sound that comes from the guitars and percussion of her bandmates. Again, garage rock - some people don't like it but I'm always impressed at how much bigger the sound is given it's usually only a couple instruments. These guys and this album just ooze energy. They're like 80's post-punk and new wave reinvented (and better). Now, this isn't a perfect album. The lyrics are sometimes a little too juvenile or simple (barely even there on Pin, what'd you say on Cold Light?) and Karen O can get a little annoying (the last few ticks on Tick, uh-huhs on Black Tongue). But even those songs, like most on this album, are pumping. Rich, Date With the Night, Y Control kick ass. No, No, No was a bit underwhelming (especially the last 2 minutes; unnecessary), as were Modern Romance and Poor Song; so a bit of a dip to end the album. But overall, a solid album and one that will have me (re)seeking out more Yeah Yeah Yeahs.

It took me awhile to get into this album but I admit it grew on me. I don't think the Pixies ever do anything bad but this one is a bit of the whole is worth more then the sum of its parts. There's a few songs that rock right away (Velouria, Dig for Fire) and a few others that only take a couple listens to realize they rock (Rock Music, Hang Wire, Stormy Weather). It's the Pixies doing Pixie things - guitar distortion, unique time signatures, varied vocal approaches, lyrics that range from witty to weird - but I can't shake that I don't find it is as good or appealing as their first two albums.

I thought this was an album by Teenage Head (in following up, I learned that band's name was inspired by this album's title). I really dug the opening track High Flyin Baby - great pace and bluesy rock sound. While I also enjoyed tracks like Have You Seen my Baby? and the title track, most of the rest of the album didn't measure up as well and/or was less able to hide their flawed vocals. Tracks like City Lights, Yesterday's Numbers, and 32-20 were too plodding for me and Evil Hearted Ava sounded like a weird combination of Elvis and Suicide. I'm undecided on the final (maybe most well-known?) track Whiskey Woman. The album has promise but comes up a bit short.

As I said when his debut album made the list, Paul Simon has many other better albums. This may be his best. A masterpiece. The composition and musical arrangements are incredible (and his lyrics are some of his most clever/witty). So much sound right from the get go in Boy in the Bubble. And a lot of the album's sound is unusual for the typical listener (native African instruments & vocals, other worldly sounds, accordion, woodwind and brass for days) and yet he makes it all sound so familiar or normal. Graceland, Diamonds on the Soles of her Shoes, and You Can Call me Al are all stone cold classics; the last one perhaps the most typical pop rock on this album but the other two more of the worldly sound he sought on this album. His many collaborators deserve a lot of the credit too for making the songs so magical. Don't know what I mean? Listen to Homeless - beautiful. Or I Know What I Know - super fun. I could listen to this album on loop over and over and over.

I've now listened to this album several times. I know it's good, couldn't decide if it was great. She can rap and she can sing - great vocals. Some good lyrics and songwriting too. She tries to reinforce a theme through the interludes, which I'm not sure are necessary but they are cute I guess. Real solid beats too, with a bunch of cool songs to bop to and not just the big singles (Lost Ones, Doo Wop (That Thing), Everything is Everything). But lesser knowns too (Superstar, I Used to Love Him, Every Ghetto Every City). And some good softer songs (Ex-Factor, Can't Take My Eyes Off of You, Tell Him). But there were times when I got lost or disinterested - probably a few too many songs and definitely way too long at nearly 80 minutes. Trim the fat and maybe it would be great.

Before listening I thought "ugh, not another electronica album". I still haven't figured out what makes one so interesting, innovative, or ground-breaking from the next. Like others before it, it's good background music. But except for the first track, which I kind of dug, the rest truly is just background noise to me - nothing stood out from the rest.

Very cool, fun album. Love the tempo on this kind of jazz - Latin? Salsa? Whatever, it has that classic jazz feel without sounding dated. Felt like a party was going to break out any second.

A little bit weird, but it grew on me quite a bit. I was busy and didn't have the time to carefully listen or comment, so I just kept restarting the album and it was pleasant in the background. Nice soft picking and plucking and vocals. I can see how it's not for everyone (lyrics or themes especially) and even I'm not yet scrambling to go listen to more of his stuff. So not a stand out album but it's definitely something different worth listening to if you wouldn't normally. Good inclusion on this list. Favorite songs were This is the Way, The Body Breaks, Poughkeepsie (almost a Days of the New flavor to it), Will is My Friend, and Todo Los Dolores.

This is a good album but too uneven. If everything was like Pretty Hurts, I'd be all over it - that song is Beyonce fierce, passionate with a great lyrical message. Partition is also fierce, in a "I run this" and "yes ma'am whatever you say" way. She just commands respect on it. Haunted is different, but still cool - sultry. Then there's all the songs where she's trying to be explicit and/or sexy. Drunk in Love doesn't work for me - they lyrics are honest but she actually doesn't say a lot (just repeats stuff). Unlike Partition, it feels like she's submitting to a man because Jay-Z seems to have more lines in his 1 minute feature (it's like a 14 year old talking about how much she loves her 22 year old boyfriend). Blow, however, is what that song should've been. Damn - sexy as hell and funktastic. Jealous is also powerful - great lyrics, anyone in a relationship can relate (and the backup singers really make the sound). Heaven and Blue have very different themes than most of the album but they're touching. A few too many bland or forgettable songs (No Angel, Rocket, Mine, Superpower). But yet just when you're ready to write her off, she brings it back with songs like XO and Flawless. They're just big tunes that grab you. So all in all, much respect for what she did here. But what rubs me the wrong way is, is there no shame in having 50 different people be part of an album? Where is the pride in having something be yours? As Michael Jackson was seeking his opus he eventually got rid of Quincy Jones. This is supposedly Beyonce's opus and while she had a lot to do with the lyrics, she gave up so much artistic creation to collaborators. It just feels a bit like cheating.

Cyndi Lauper is certainly deserving of accolades; she was a trail blazer. I don't know if I totally love this album because it's a bit pop heavy. She Bop is just eye roll worthy; unapologetic pop (lyrics and sound). Maybe I would've been happier if she fully embraced new wave? Witness sounds like Elvis Costello and I'll Kiss You sounds like Rick James - would more of that styling have been better? Not sure. I actually respect He's So Unusual and Yeah Yeah because the Betty Boop impersonation (with a NY accent!) shows just how much she could do with her voice. On multiple listens I realize there's more variety here than I first thought, with a bit more nuance than most pop. And except for She Bop I really dig all six of her singles - Money Changes Everything (a little more rock edge than the rest), Girls Just Want to Have Fun (a little tired and too poppy but still fun), When You Were Mine (good new wave feel), Time After Time (just a beautiful song, imagine if it was stripped down to just guitar or piano), and All Through The Night (again, her vocals). Feels like at least a 3.5 and I'm going to round up.

And this is where goth and kill myself rock really got its start. Some nice simplicity to the whole album, but that's also a knock against it. Too minimalist at times, like give me more than a drum track, some simple chords and keyboard synth. The opener A Reflection sums it up nice - interesting instrument-only track, but too bland? It's not as good as some of their later albums but nice to see where the pioneering work started. I don't mind it, I might even like it, but I can't give it a 4. Maybe I would if there were a few more songs that really grabbed my attention like Play for Today or A Forest.

Damn. Patti Smith is the male version of Bob Dylan. Forget all this first punk stuff. Yeah, I hear a bit of that, or a bit of precursor to Elvis Costello's sound, but even more I hear the indie sound of Velvet Underground (thanks John Cale?) and wicked lyrics combined with solid but subtle instrumental harmony (i.e., Bob Dylan). I hear PJ Harvey and Courtney Love and countless others that probably owe part of their style and success to Smith's trailblazing. The instrumentation could use some more depth or quality, but her lyrics are second to none. And her delivery is so raw and electric. The album has holes, but Patti Smith is badass.

Yep, Canadian but nope, not a Rush fan growing up. I really only came to appreciate them during my second musical odyssey in the late 2000's (first one late 90's, latest one over the last few years including traversing this list). And this is the album I started with because of side one and how accessible it is. I can still get tired of Tom Sawyer (overplayed) but their musical mastery on it is undeniable. Red Barchetta is probably my favorite (maybe of all Rush songs) because of its mix of early Rush hard rock stylings (great Lifeson guitar riffs) and later Rush prog rock stylings (several subtle twists and turns though not as distinct as a 10min epic). And if you pay close attention, you hear all the Peart percussion layers and Lee multi-instruments. I'm not usually a fan of instrumentals but YYZ is crazy good - so much musical dexterity and mastery packed into a 4min song. Limelight was a big reason I started with this album; always a fan when it was on the radio even when I turned my nose up at other Rush songs. So Side One is perfect but what about Side Two? Less so, but The Camera Eye grew on me quite a bit (true prog and great musicianship again). Witch Hunt is a bit plodding; good but doesn't hit the same heights as side one songs. Vital Signs is sneaky good; a little unusual in its ska sound but Lee's synth kept me around for the other instrument layers (including Lifeson riffs) and Peart's lyrics make you think (as they often do). It is not a 5-star album in my opinion, but 4 stars might not do it justice either. Rounding up.

Ugh. No thank you. Like Pavement or Fugazi or even Sonic Youth or Drive Like Jehu, but worse. Barely go through one listen (even the bonus track of white noise, Utica Quarry - WTF was that?). There may be some revered songs in here by others that I didn't pay enough attention to but I am not going back for another listen. Next.

Cool, fun album although it's a bit uneven. I really enjoyed the start of it with their version of The Magic Number (great beats and sampling) followed by Change in Speak (love the lyrical stylings and rhyming). Some ups and downs from there until Eye Know (great tune and cool sampling, felt like an Arrested Development or A Tribe Called Quest tune). For example Can U Keep a Secret was funny; not essential, but still worth a listen. Too many short tracks or interludes? I did enjoy some of them like A Little Bit of Soap (again, great sampling). Others like De La Orgee felt out of place on this album (save it for other trashy albums). Other cool tracks were Potholes in my Lawn, Buddy (great collaborations), Me Myself and I (funky - thanks George Clinton!), and DAISY Age.

These guys definitely have their amazing, love-those-beats moments (The Robots, The Model, The Man-Machine which is my favorite) and then they have some so-so, been-there-done-that (Metropolis) or irritating (clicking in Spacelab) moments. I couldn't do Kratfwerk all day, but some of the quasi-electronic or mixes they inspired (I'm thinking 80's new wave) is really cool. This album is better more often than it's not.

I discovered Black Skinhead about 6 months ago and that track is f'n amazing. Great beats, massive energy, great lyrics. Of course, what has just happened in the last couple months for Kanye makes me wonder about this song. Still, without recent hindsight, that song kicks serious ass. And a lot of the beats on this album are similarly abrasive; like NIN meats rap. Lyrics abrasive in a different way, but for the most part I respect his intellect and wit in them. Big knock is he's too self-absorbed and pompous on this album - i.e., I am a God (feat. God). GFY Kanye. I always have and will forever hate the man, but I'm changing my tune on his music.

Metallica is one of the best at what they do and this album was pretty good, but not their best. A little too decadent - too many so 6min+ songs that could've been cut down. I got lost in the title track and To Live is to Die (as in, is this a new song or is it still going?), even though I like the former (latter was meh). One is still a brilliant song and one that I don't mind goes on a bit long. Blackened is one I'm not sure I knew well but quite enjoyed. Overall lots of anger, thrash, energy, and frenetic play - Metallica hallmarks.

I'm not a prog guy, so maybe that's why I wasn't over the moon with this album. I mean, it's still very good but not a masterpiece to me. And my favorite, standout song is only 3min long - The Clap. Holy crap, I did not realize how good a guitarist Steve Howe is. Maybe I should've. Otherwise, yeah, the longer songs are all solid and it shouldn't just be I've Seen all Good People that gets the accolades - Yours is no Disgrace and Starship Trooper are also ambitious and artful.

Young consistently brings incredible lyrics; his journey of pain and suffering is chronicled very well here. But it feels a bit like he ran out of steam at the end of this ditch trilogy. Because while the lyrics are good (if not great), the musical accompaniment doesn't totally synch with it, leaving his brutal voice front and center too often. For example, Speakin' Out or Borrowed Tune is like nails on a chalkboard. What I loved about some of his other albums (including the predecessor On the Beach) is that you could hear and feel his emotions. I'm just not feeling it in the same way; again, something in how it's all put together doesn't grab me like other albums. So the sad, soft songs are a bit of a chore and I find I'm most interested in his more up-tempo tracks (like Come On Baby Let's Go Downtown, aided by Danny Whitten's vocals), of which there are few. Overall this album doesn't really do it for me.

I don't know why, but this album really grabbed me. Maybe electronica but with better vocals? First three songs (H>A>K, Did You See the Butterflies, title track) and The Architect were good examples of this and great overall. Then sometimes it was like a bit of 60's throwback folk but with a modern twist (Loops in the Secret Society, Valley). All in all, the album was funky and cool; I dug the varying sounds and her voice.

Bubblegum pop at its finest. Great harmonies and pretty good (or catchy) guitar playing. Not sure which playing is the Everlys' and which is session musicians. Maybe I would rate this higher if I understood where the Everly Brothers stood in the whole pop and folk rock progression. I guess they came before the 60's explosion so maybe this is here because they were major influencers. But tight harmonies aside, I don't see what's so special about this album or why it and not, say their debut, is on this list.

David Bowie has got to be one of the most interesting musicians to have ever graced this earth. This is such a departure from his earlier sounds - basically his third reinvention. Few others have the ability, vision, or ambition to do that. Mad respect for forging a new path that clearly influenced a lot of 80's new wave, post punk, goth, whatever. And that's really just side one. Because side two is completely different with his homage to Berlin. Honestly, the album itself is a 4 and that's what I thought I would give it - Breaking Glass, What in the World, and Sound & Vision are awesome, whereas the rest of side one is solid but not great, as is side two. But what the album represents as far as creativity and pioneering, that's a 5. And as I wrote my review I realized how much I had gushed over the context. So 4.5 and I'm rounding up for the multidimensionality of Bowie that this album captures.

Odd or ironic to get Eno one album after getting Bowie's Low. I don't view it as trailblazing as Bowie, but it is certainly as eclectic, which is par for the course for Brian Eno. So I don't totally understand why it was selected of all the things he's done, or weird but cool stuff people did in the 70's. But I liked it. Side one was a lot of fun (my favorite might be Backwater), as was Here He Comes on side two - perfect follow-up to the catchy King's Lead Hat that ended side one. The rest of side two sounded like the background music in Minecraft during daytime sequences (played a lot of it with my kids) - especially By This River. Is that why it has so many listens on Spotify? But sure, I can get behind that ambient approach. It reminds me of some more recent stuff done by artists like The Neverending White Lights - eclectic but cool, maybe Eno was their inspiration. I'm sure this album is not for the average person but I kind of dug it.

Alright, I am officially a fan of The Jam. I fully admit they are not the greatest or most talented band of all time, but I feel like they deliver a consistent, solid performance every time. A perfect sort of A-/B+ kind of band. Maybe it's the mix of approaches that appeals to me - a lot like Canadian rock I grew up with (check out the Northern Pikes, Tragically Hip, The Trews) that has some varied roots to it and a sound you can't quite place (and wouldn't find at the top of the American charts), but it has depth. Very solid lyrics and social commentary too. First third was better than the middle third - the album really drew me in with the title track, To Be Someone (my favorite), and Mr. Clean. Solid remake of David Watts too. Definitely took a dip with English Rose but I felt it started to bounce back nicely with Billy Hunt and It's Too Bad, and then finished with a bang - "A" Bomb in Wardour Street is a real cracker (to steal some British lingo).

This album made me realize how much I dislike Lamar's voice - too nasally and pitchy. Not that that's the only thing that matters, but it stood out. Really interesting musical stylings, especially early on. Wesley's Theory was unique and then followed up by a slam poetry interlude For Free? (weird but I liked it) King Kunta is one of my favorites on this album - great beats and less annoying vocals, plus real clever lyrics. Institutionalized and These Walls also have unique stylings (the latter almost a 70's funk feel, credit Thundercat for that I'm sure). u and i are pretty raw and powerful, so kudos to his ability to lay it all out there (the former's pained narrator in the back half reminded me of Eminem's Stan). Still, I found the album dragged, especially from Alright to Complexion. There's some decent lyrics in there but the vocals are too stilted and the beats are underwhelming. The Blacker the Berry is pretty awesome, but I wanted more of that. Probably a 3.5 at minimum but I can't shake how "meh" I felt on the first listen. Maybe it'd grow to a 4 with more listens but I ain't got time for that.

F me what a blast it was listening to this album. How have I never heard of this band before? So much energy off the hop; loved it from the very first beats of Deceptacon. Simple but wicked beats and a wicked tongue. Very clever lyrics packed into a bunch of catchy 3 minute songs. They combine the melody of Throwing Muses/the Breeders and the anger of L7 (listen to Phanta). No one is spared their glare (eh Cassavetes?) and ahead of their time in calling out Giuliani (on My My Metrocard). Maybe I'm overreacting to how much this album caught me by surprise but it's at least a 4. Going back for a hell of a lot more of these grrrls.

They can't all be winners. Apparently this album rates high with critics but I don't think it's quite as good as the others on this list. Good lyrics as always, but some boring compositions. Badlands is a great opener but I was a disinterested afterwards until Racing in the Street (an awesome number, reminiscent of some of his other more popular sad ballads). So the bookends of Side One are great but I could do without the rest. Side Two is better, with the energy picking back up with the first track The Promised Land (power sax); and Factory ain't too shabby either, at least paired with the former. Really that energy, despite a little rough around the edges storylines in the lyrics, carries through until the final track. And that title track is another one of Springsteen's despairing beauties. He still knows how to open and close an album (or each side). So really for me it's a so-so middle to Side One, but that's enough to make this not quite a 5-star effort.

I've definitely heard of Billy Bragg but I'm not sure I've ever heard Billy Bragg. I couldn't identify a single song of his if you put it in a lineup. That's why I love this list - forces me to actually listen. Look at me and Tom Waits now - we're tight. Bragg is another artist who is acclaimed for a reason - a lot like Elvis Costello I feel. Not necessarily the same style, though they both have a certain unique part rockabilly, part country, part folk, part rock thing. But that je ne sais quoi is cool. Bragg almost has that Celtic feel. Whatever it is, he's got a solid voice that tugs at you, intelligent enough lyrics, and good compositions. Solid album and worth exploring more of his stuff.

I thought this was going to be better. In reviewing their debut album I noted how later albums like this one were less abrasive. But listening to it in full, it's missing an edge or uniqueness. I don't need all the feedback and experimentation from their debut album but this album feels a bit average. I know it's a link between shoegaze and grunge alternative but I think there are better or more ambitious versions of that to put on this list (Catherine Wheel maybe?). I don't dislike the album and its three singles / more popular songs (title track, Happy When it Rains, April Skies) are still solid, but nothing really to write home about.

These guys are just so...eclectic? I don't own any of their albums and probably never will but I always find myself strangely drawn to their songs when I hear them. Something about Gano's unique vocals, the unique musical arrangements (e.g., xylophone on Gone Daddy Gone...love it), or the off-kilter lyrics. I know American Music isn't on this album but that sums up their stuff - you hear it once and you think that's a stupid song. But you hear it twice and you can't stop singing along. I guess that's why this is a cult classic. If you quickly listen, you move on angrily. But if you give it a couple listens, you crave it any time you need something good but different than the rest. Or when you want to have some sing along fun. First 4 tracks are a great sequence, even if Blister in the Sun is way overplayed. Prove My Love is also a lot of fun, but also sounds a bit like Kiss Off and Add it Up smashed together. I know these guys and this album aren't for everyone. But they're/it's one of a kind (and good). And that's worth something.

The 80's really ruined a lot of things didn't they? Raitt is a renowned singer and guitarist and I don't hear it most of the time. Instead I hear 80's schlock draped overtop country and blues (Love Letter, Cry on My Shoulder, Real Man - ugh). Nobody's Girl and I Ain't Gonna Let You Break My Heart Again weren't bad - stripped down like this album was supposed to be. Thing Called Love (and maybe I Will Not be Denied) also not bad - at least trying to be country rock and not pretending to be something else. Have a Heart gets a pass because at least her vocals shone through. But it's also pandering adult contemporary. I mean, it could've been Milli Vanilli, it's that much of a sell out. Had my finger over the 2 but decided to pay respect to the artist and blame the record producer.

Once again The Stooges produce an album with so much promise in the first couple tracks...and then F it up with their self-indulgent crap after that. 1969 is a great tune - it's as if they took psychedelia and twisted it into something new. I Wanna Be Your Dog is my favorite of all Stooges songs - almost has a Velvet Underground feel (which isn't my scene) but more melodic and punchier. And then the heroin kicks in and we get the terribly strung out We Will Fall. 10 minutes of it to boot. Ugh. Side two starts off ok with No Fun, but it too is longer than it needs to be. Real Cool Time, Not Right, and Little Doll are decent but Ann is another tragedy - they are better when they try to reinvent psychedelia not embrace it. So really we're talking two brutal tracks and two killer ones, with some good tracks in between. I think I'll mostly pass on any Stooges album and just take their greatest hits (not sure it can fill a whole album).

I was waiting for a time to come back to this album because I felt like it really needed my undivided attention to give it a fair evaluation. After listening to the prog rock masters Pink Floyd, this seemed like the right time to come back to this. I've always politely enjoyed the title track but never knew its context or link to a whole concept album. It's got some good proggy instrumentation, though a lot more keyboard and synth then the rest, I think. Some good guitar work that is at times great. Some songs that caught my attention were the sequence from Broadway Melody of 1974 (all the real people callouts? heavy guitar riffs?) to Cuckoo Cocoon to In the Cage (the latter two meshed nicely together and had some great energy and deft instrumentation). And then I pricked up my ears on every listen for Counting Out Time - erogenous zones, what can I say? Some nice rocking guitar and interesting lyrics - reminded me this was all about a young man finding himself in NYC. Peter Gabriel really has a perfect voice for prog rock and he was great on disc one. Another song that really caught my attention was Lilywhite Lilith - great energetic start to side three. But then the transition into The Waiting Room was painful and the rest of side three is mostly a snoozefest. Things finally started to pick up again on the second act of Slipperman (A Visit from the Doktor) but that was fleeting too. As a closer, It wasn't too shabby. So where does that leave me? Very good disc one, though not perfect, and a largely forgettable & average disc two. Feels like 3.5 at best, if I see disc one as a 5, which I don't (not quite). So gotta round down.

I keep changing my opinion on Neil, and upping my admiration. This is a damn good album. The opener and closer (My My, Hey Hey or vice versa) are some of the best lyrics he's ever written and that's saying a lot because he's an incredible lyricist. Hearing both acoustic and electric versions was very cool. I quite enjoyed that dichotomy on this album. The lyrics on the rest of the album were sometimes very poignant or clever entendre-y (Thrashers, Powderfinger) and then sometimes super strange (Pocahontas, Welfare Mothers). He's trying to tell deep stories but wrapped up in simple contexts. I guess it works sometimes and at other times it sounds a bit weird. Still, I can give that a pass because of the musical depth on display. The acoustic side captures his sad, sullen style so well - real heart-tugging. The electric side shows he and Crazy Horse could play and bring the energy - the boogie in Welfare Mothers is awesome (my favorite track musically) even if the lyrics are head scratching and Sedan Delivery sounds like it could've inspired Soundgarden (think Rusty Cage). Real impressed with this album.

So much musical energy. Unlike their name, the lyrics aren't all that deep (pretty juvenile). But as far as pumping rock goes, they have it in spades. Their big tunes all have it - Highway Star (frenetic drums and guitar pace and never has an organ been so bitchin), Smoke on the Water (it is so much more than its simple opening chords), Space Truckin (its hooks are so infectious). But the rest of the album holds up just as well - lots of heavy riffs and hooks to bring you in and the combination and integration of their instruments creates a sound that just fills your ears. Loved it.

I've been thinking recently how I've never given an album a 1. What would it take to give one? There's so much variety to music and so much to possibly find endearing in any style that it should be pretty rare. I'm not sure this album is that low. Probably a 2. But I felt like handing a 1 out. And I was looking to skip through to the end or just turn it off from the second song and all of its annoying cut-out and skipping effects, and loops. Tired Games was a fitting name. So I think I have a new criteria. If I can't stand to even finish the album, that's a bad sign. I let the whole thing play but Crazy Love and Free My Mind were about the only things passable to my ears.

This album makes me realize how little I know of the Rolling Stones. I know their big hits, but I've never listened to anything of theirs on its own. So an album full of revered songs but non-hits? It was all pretty new to me, although a few songs sounded familiar (Shake Your Hips (La Grange anyone?), Tumbling Dice, Loving Cup, Happy, Shine a Light). Maybe I just liked them and that made them sound familiar. The thing is, you don't get to be one of the top 3 rock bands of all time without being good at what you do. And this album is good. Hard for me to put my finger on what it is exactly. But there's a lot of energy and synergy among the band. The songs just kind of fit. I wouldn't call it a masterpiece but there's a lot of good stuff in here - solid and/or cheeky lyrics, bluesy boogie beats, an IT factor. Some high energy favorites were Rocks Off, Rip this Joint, Turd on the Run, All Down the Line. And I quite enjoyed the more subdued sequence from Sweet Virginia to Torn and Frayed to Sweet Black Angel. As I started to list all the good songs, I realized how many there were and how few clunkers there were on an 18-song album. So call it at least a 4.5 and I'm tipping the scales up for the IT factor.

Wow. This was so weird. But for all its weirdness I didn't find myself reaching for the next button. I was a bit intrigued. Kind of felt like a 2 though after first listen - just a lot to deal with, with all its deliberate mayhem and disconnectedness. And then I read about the album and decided I should give it at least one more listen. Especially because I hated the first Tom Waits album I heard but he has grown on me (and Beefheart surely gave birth to Waits' weird music and tortured vocal stylings). I listened to it a second time and I didn't hate it. But I didn't like it either. If it's David Lynch's favorite album, you know it is out of this world strange. Kudos to the creativity but not for me, and probably not for most. Deserved to be on this list for it's eccentricity but not sure what else after that.

Cool idea and all - Irish folk mixed with punk. I have friends who love bands like the Dropkick Murphy's and would love this. I just don't see what is so exceptional about how it all comes together. A fine listen, but nothing to really hook me or make me go looking for more of their collection. Bottle of Smoke and Streets of Sorrow stood out. Fairytale of New York was an interesting anti-Christmas songs song. Fiesta was a nice bait and switch from soft to punk. The rest just kind of mixed together.

I remember when Mirror Ball came out a few years later (1995) and Pearl Jam and everyone else was drooling over Neil Young and his virtuosity. I never listened to that album but I loved the big single Downtown. Still, I didn't get all the hype about Neil Young being this grunge godfather - he was just an all time rock great who continued to make some relevant music. I was not aware at all about the album Ragged Glory, though I would've had to be under a rock not to know the one year earlier (1989) classic Rockin in the Free World. I don't think I realized how long Neil had been in the game and how irrelevant he could've been at this stage in his career. But he really still lit it up in the 90's, maybe better than most modern bands (I mean, Harvest Moon was 1992). This is a really good album. I still wouldn't call it grunge, although the track F'n Up comes close (great tune). But it's solid rock with some great electric guitar work. At times it sounds a bit too much like his other work (pieces of Love to Burn and F'n Up during the verses sound like Rockin in the Free World). And a lot of the songs go on a lot longer than they have to (album is an hour long for 10 songs - I really like Over and Over but it didn't need to be 8 minutes). So not perfect but still solid.

Cool sound, at times, but a little uneven. Opening track was a bit meh but the second track Sidewalk Serfer Girl and the third title track were the kind of thing I wanted more of - gritty guitars combined with a bit of keyboard and/or synth/electronica. It kind of reminded me of a recent artist Dinosaur Pile-Up, which has grown on me. But then it waffled a bit between a little pop sappy or synth-heavy (It's Not the End of the World? A Touch Sensitive, Shoot Doris Day - all had cool strings at times, but a bit too much sap) and maybe cool, maybe annoying death metal/synth (Receptacle for the Respectable). No Sympathy finally brought it back to something I liked - simple guitar accentuated by gritty synth (a reverse of the first couple tracks I liked). But a little too sappy after that - and I like yacht rock. Maybe it was too much of different sounds that held me back - the lack of cohesion didn't feel like a good thing.

Geez, did they let a few pill-popping British teens get ahold of the 1,001 list for an afternoon? Another trip hop, Massive Attack-like dreamy band and album. It wasn't awful, but it didn't excite me either. Decent background music, but a little monotonous. Perfectly average to me.

Some really awesome pieces in here, and then some real head scratchers. The opening of Aâlach Tloumouni is kick ass, such a cool sound. El Harba Wine is pretty good too - great tempo and good vocal combination. And then C'est la nuit is a beautiful slower piece - found myself singing along to the chorus (at least the title). From there though, a lot of shoulder shrugs, or worse. His cover of Imagine is not good. From Trigue Lycee to Ya Aâchkou was okay, but those songs sounded like 70's or 80's funk ripoffs - a bit too much imitation and not enough innovation. The sequence from Melha to El Bab was better - not as good as the opening 3-song sequence but still admirable. And then another strange turn with El Aâdyene and Gouloulha-Dji that sounded like cheap 80's fare or bad mambo - overproduced, throwing in horns or brass or other instruments to sound hip but really sounding a bit campy. Mele H'bibti had some cool bongo and percussion but I swear I also heard a drum track in there, which was disappointing. Derwiche Tourneur also had some promise but just felt a bit flat. In the end, I was pretty fired up about half the album, but the other half was a bit of a letdown. Probably a 3.5.

Not sure this one deserved to be on the 1,001 list. It's a decent listen, but it's just not as good as his first two albums. Side One highlights were the two singles Accidents Will Happen and Oliver's Army (Senior Service and Big Boys also solid). Side Two was a bit rough around the edges. Goon Squad (as an opener) tries too hard and the vocal / musical combination was a little off, despite some good lyrics. Sunday's Best and Moods for Moderns were not good, although Busy Bodies and Chemistry Class were not bad. Two Little Hitlers is a nice piece of Costello lyrical creativity. So, solid side one, middling side two. Peace, Love, and Understanding (a great song) doesn't count because it's a single that someone decided to throw on the American album release (surely to drive up sales). If this was the only Elvis Costello album I ever heard, I probably wouldn't go looking for more.

I did like this album a lot more than other straight ahead trip hop or electronica. Probably because of the prominence of Martina Topley-Bird and her vocals. But Tricky's beats are more varied and less monotonous than other music in this genre. Still, it had its ups and downs. His lyrics are not great, juvenile at times ("F you in the ass, just for a laugh"). Favorite tracks were Overcome, Black Steel (great beats to open), Hell is Round the Corner (familiar beat - his or sampled?). Least favorite tracks (mostly because they were too repetitive) were Pumpkin (despite Goldfrapp appearance), Abbaon Fat Tracks, Suffocated Love. Pushing 3.5 but not quite there.

What a great voice. I feel a bit embarrassed I don't recognize his name but I do recognize a few songs. His softer songs (Out of Reach, You're Good to Me, Beautiful Brown Eyes) aren't as good as the rest, maybe because that voice should always be set to soar or because his backup singers can't match his quality (they sound bland in comparison). But he is on fire on Cry to Me, Goodbye Baby, If You Need Me, You Can't Love Em All, He'll Have to Go (one softy where his voice still carries). And he's still pretty good on the rest. I read he prefers to be called soul and not R&B, but whatever it is, if he was a pioneer of this sound, god bless.

Tough one. Mad respect for the concept and the lyrics. I didn't realize they were going with a concept on my first listen until I hit Alma Mater and realized what the narrator was all about. Alice's different voices on this album intrigued me and I found I quite liked Alma Mater for that reason. Others like School's Out (the only one I knew) and Gutter Cat vs. The Jets I liked for the musical stylings. Grande Finale was also a cool instrumental. Blue Turk was up and down for me - liked the bass, liked the back half, didn't like some other parts. And I guess that was the whole album, just when I thought I was digging it, something came along and annoyed me. And just when I thought I was done with it, something came along and redeemed the album. So it lands in the middle then.

Dark, gloomy, and grungy. Just the way I like PJ Harvey's music (and a lot of other music too). It's got that same raw guitar and bass that early Nirvana was going for, as they chased after a Pixies kind of thing. I liked her two singles Dress and Sheela-Na-Gig when I first discovered this album a couple years ago. Re-listening (a few times over) I also found I really dug Oh My Lover, O Stella, Victory, Hair, Joe - again, loving the raw guitar and bass. Big fan of Harvey's first three albums. Solid debut here.

I had to jump ahead when I saw this album upcoming. I discovered Nick Drake just over a year ago. I had been listening to a Dylan album and when it finished playing, Nick Drake's songs kept showing up in the random suggestions that followed (e.g., Pink Moon and Place to Be from his final album but One of These Things First and Northern Sky from this one). I got increasingly curious and eventually decided to listen to his full collection, which is sadly only 3 albums. But what a set of 3 albums. I remember asking a few friends who know a lot about music including folk whether they knew of Nick Drake. One of them said something like "tortured soul who died super young and unknown, right?" Yep. If you liked Jeff Buckley's soft instrumentals and beautiful voice, you'll love Nick Drake. Different vocals but still beautiful and perfectly matched with the instrumentals that accompany it. Crazy how both died so young with so much untapped talent. I can't understand how his music wasn't more popular during his lifetime, even if he was a recluse. It's just so amazing - touches your soul. Hauntingly beautiful. I did not realize that part of Fairport Convention was his backing band - had no idea who those guys were either until they showed up on this list but I was pleasantly surprised by their album and sound. I guess I know why now. Can't stop gushing about this guy or his work; I love recommending him to anyone who asks me for an off-the-beaten path music suggestion. Incredible album.

A massively rockin' album. The big hits are huge but the lesser knowns still rock big time. The lyrics can be pretty juvenile sometimes, but what do you want for 80's rock? It was all sex, drugs and rock & roll, and these guys nailed it on this album. It's kind of crazy to think how big they were thanks to this album, and they only did two more albums (only the double one is good) in the next 4 years before breaking up. So they were relevant for about 5 years, but super relevant. This album made them legends. They can thank Slash and his guitar playing for a lot of that (he crushes it on every track), but Axl Rose deserves a lot of credit for his showmanship, as much of a degenerate as he was/is. A true classic album.

Meh. This album didn't really move the needle for me. It reminded me a bit of Pavement (vocals) or Beck (tempo). I found myself bored at times (like the opening track, not for me) and then I'd hear something that was kind of cool and it soon it was gone - back to being bland or forgettable. I went back to see what I rated their other album and was surprised to see a 4. Maybe this one caught me on the wrong day.

Tough listen from the get go - the sound is so abrasive. But this IS industrial music - metal clanging and power saws. The sound in Tanz Debil reminded me of Starfuckers Inc., which is a NiN track I love. So it's not all bad, and what they inspired can reach great heights. It is one of a kind, so I completely understand why it is included on this list. But it was torture at times to listen to. Mostly I wanted to turn it off, but I did find myself strangely intrigued by what they might do next.

I think The Wall was better; slightly more accessible? I can see how some people might not get this album; hell, I don't fully get this album or Pink Floyd. But if you really pay attention to the music and if you truly enjoy picking out different sounds and/or musical complexity, this album will eventually get to you. I'm no prog guy, so the two sweeping pieces of Shine on You Crazy Diamond were sometimes lost on me. But after listening to the songs in between, I really noticed the mastery of the instrumentation in the last 4-part piece. Part VI has wicked bass lines (two apparently - Gilmour too, not just Waters) and Part VIII has some cool guitar playing to start before Wright's keyboards take over (in a good way) and persist into Part IX. I think the shorter, but focused musical mastery in Welcome to the Machine (now that's how you do electronica), Have a Cigar (heavier rock and funk sound, with some signature guitar solo to boot), and Wish You Were Here (one of the most beautiful songs ever written, and the intro guitar work is spine-tingling) helped me to pick out all the artful pieces. Whereas in the first 5-part piece of Shine On I really only resonated with Part II and the amazing lyrics in Part IV on first listen. Which is the other thing about Floyd - if you like lyrics that make you think or that are simply beautiful prose, they are the masters. Shine On and Wish You Were Here are touching tributes to Syd Barrett. The whole album (lyrics and music) is haunted by this theme of alienation and mental struggle. Well except when they want to criticize the music industry in Welcome to the Machine and Have a Cigar (though also driven by this theme), of which their barbs are poignant. I have learned you can't listen to Pink Floyd in one or two song segments. You must experience the full album. They are also the masters of making a complete album. The whole industry, and listeners who demand music, could take a lesson from them these days. Even though I might like The Wall better, this is still a beauty.

I thought the album was pretty average on my first listen. But I know how much people like the Dead so I gave it another listen. I appreciated it more the second time around, but I'm still not sure if it's that good. It's folksy and there's a lot of attempts at harmony among the bandmates but their achieved harmony isn't as good as contemporaries like the Mamas and the Papas or CSNY and all their related acts (the Byrds, Buffalo Springfield, etc.). It's a light, easy-going sound and there's nothing wrong with that. It's a good pick-me-up when in a bad mood. But I think it needs more. I'm not sure I fault this list for having one Grateful Dead album on it, because these guys are musical icons - a phenomenon all their own. It's just that I don't get what the big deal is about. A fine group and album, nothing more.

I feel like until a year ago I didn't know anything about Elastica except Connection (a solid tune). I think Waking Up came on randomly after listening to something else and I dug it so I went back to their debut album to see what else was worth adding to a best of 1995 rock list I had made. I also added Stutter (another solid tune), but I focused on singles and most listened to on Spotify and didn't really listen to the album. I missed out because this is a solid, rocking album. Pulled me in from the first two tracks before Connection - Line Up and Annie. Other highlights were Smile, Hold Me Now, SOFT, and Never Here. They pack a lot into 16 songs and only 40 minutes. Their whole trajectory and performance reminds me of the Breeders - a real solid mid-90's album from three female musicians on guitar and bass (and a male on drums), yet they kind of disappeared after that, probably in part because they got mislabeled by some (me included) as a one-hit wonder.

The title track/side two is epic (drum solo and organ solo). So epic, in fact, that this album sold over 30 million copies. I say that because no one could have been buying it for side one, unless they were looking for a little Doors knock off (Most Anything You Want) or imitation of the overall psychedelic sound. Side one is alright, but not as good as the one song on side two, which admittedly is probably longer than it needs to be.

I guess it shows my age but I did not realize Otis Redding was a big soul guy - like a James Brown-like soul guy. And I guess that's because I really only knew The Dock of the Bay and I didn't see that as soul. The man has got chops, though Booker T and the MGs also provide great backing. I hate covers so that holds this album back a bit for me. I enjoyed his originals Ole Man Trouble and I've Been Loving You Too Long the most (the latter is a beauty). Even though Respect is a Redding original, Aretha has outdone him so it paled. I did like his Sam Cooke redo's though, Change Gonna Come (real soulful) and Shake (good upbeat twist), and his redo of the Stones' Satisfaction (cool beat). But in my opinion he's bested on most of the other covers (Down in the Valley, My Girl, Wonderful World - another Cooke cover, Rock Me Baby). I don't know about You Don't Miss Your Water because I don't know the original - but I do like his version. Still, ballsy taking on those other big tunes, especially so soon after they were recorded. But it's hard to do them better when you try to not mess with the original (My Girl) or try to change it up a bit (Rock Me Baby). Real catch-22. Still a very solid album but could've been more I think with more originals.

Nope, I disagree. I didn't need to hear that before I died. It's not at all clear to me what is so unique about it - just another "uh tiss" album. Apparently it was supposed to be a fusion of psychedelic rock and rave but I rarely heard the former. Maybe because I listened to the US reissue, with even more remixing. It was like wandering through an electronica wasteland from about track 4 to track 12 (opening track Move Any Mountain not bad, next two ok, and then...ugh except maybe for track 8 Make it Mine). I went out and found the original UK version on youtube. Not better.

I was really impressed by this album when it came out. Still am. To me, it's Greed Day's last great album. At the time, I would say that Green Day didn't really make bad albums. But the previous one (Warning) wasn't that well-received by audiences. To me this was proof that Green Day was good at what they did and wouldn't disappoint (later albums changed my view). They took a very different approach to what they had done previously and it worked really well. This is a very cool, unique rock opera. I thought their two multi-part songs (Jesus of Suburbia and Homecoming) were excellent and those are the two that really took them outside their comfort zone. Their singles (American Idiot, Holiday, Boulevard of Broken Dreams, were also great fun, rocking tunes - good lyrics and good pop punk beats and tempos. They deserved to be big hits. Wake Me Up When September Ends is the one single that I grew tired of (even before it became a single). Non-singles that I was always fond of are St. Jimmy, She's a Rebel, Letterbomb, and Whatsername. Big fan of this album, a mid-2000's classic.

Ah, there's the Block Rockin' Beats. Great song. But after that, a lot of the beats were overwhelming and/or not mixed well enough with vocals (if any). The muffled vocals on Elektrobank were grating and Noel Gallagher's vocals sounded awful on Setting Sun. The loops on Piku and It Doesn't Matter were awful. Only mildly better on Don't Stop the Rock and Get Up On It Like This (looped beats ok, looped vocals brutal). The title track was okay and I did like the more measured Lost in the K-Hole and Where Do I Begin - the repeated male vocals on the former were strangely appealing and Beth Orton's vocals on the latter accented the beats perfectly (though I could've done without the last 2-3 minutes). The Private Psychedelic Reel was also a decent final track, again, because I feel like they didn't try to overdo the big beats (for the most part). A lot of ups and downs on this album and too many downs.

I knew I recognized the name Stereo MC's - then the title track opened the album. Riiiight - Connected. Good tune, cool beats and combination of vocals was solid. Step It Up is another one I knew but didn't remember was by Stereo MC's - also solid. But otherwise it's kind of boring - the whole sound gets old fast. I'd be good with 3-5 songs, but not a whole album.

This is a pretty amazing album. I wouldn't call myself a folk fan, but when done right it's pretty damn good. And Carole King did it probably as good as anyone could on this album. Great songwriting - deep, personal, intimate lyrics coupled with the right tone on piano and backing instruments. So many classics on this album - I Feel the Earth Move, So Far Away, It's Too Late, You've Got a Friend, Will You Love Me Tomorrow?, A Natural Woman. I realize she let other artists record the last three too, but her versions are just as good as the other versions, in part because she brings her unique style to it. My one gripe is her inclusion of Smackwater Jack on the album. It's a fun tune, but it totally misses the personal vibe on this album. She should've saved it for another album. I'm not going to let that drag down my rating though.

I'm going to have to spend more time understanding the transition from 70's hard rock and heavy metal to 80's hair and arena rock. Because as much as I'm blown away by the sound of this album, I don't think I understand the full gravity of how it changed rock. Still, this is the birth of Eddie Van Halen (album-wise) and he is ridiculous on every song. And it's not always the tapping that is incredible (Eruption anyone?), even his chords are so powerful (it makes You Really Got Me their own song). And really he combines both into pretty much every song (Ice Cream Man if you need an example). Then there's his unique experimentation and sounds on songs like Atomic Punk. But you also have to give credit to David Lee Roth - his frontman performance is just dripping with cool and machismo. His screechy oohs and aahs (good examples - Runnin with the Devil, You Really Got Me, Jamie's Cryin) just fit; they give James Brown a run for his money. And that's not saying anything for his tongue-in-cheek lyrics and performance on Ice Cream Man (complete with some nice acoustic guitar work). An underrated part of this album is the vocal harmonies between the band - I'm the One and Feel Your Love Tonight are great examples. These guys just bring it on every song and because of it there are so many classics. And I just can't say enough about Eddie - his guitar playing is off the charts. He must've inspired thousands to pick up a guitar - and just as many to throw in the towel.

I'm torn - the two biggest singles (He's the Greatest Dancer, We Are Family) are massive. Wonderful vocals and sublime funky instrumental backing. The other two singles (Lost in Music, Thinking of You) are not as good but pretty good. The funky beats are still there, but the vocals aren't as outstanding. Maybe Kathy Sledge was the real jewel because vocals are best on her tracks (3 out of the 4 singles plus one other) and the one single where she's not lead (Lost in Music) aren't as good. And then when the sisters sing together, the harmony has a dated ho-hum sound. Kathy's vocals sound timeless. And the non-singles just don't have the same cool instrumental work in my opinion. The album is a definite 3 for me and close to a 3.5 but not a 4..

Challenging album to rate. I don't think I knew any of the songs except Boogie On Reggae Woman (a great funky tune but different from much of the album). A lot of soft pieces that don't immediately grab you. But a lot of beautiful pieces if you really listen (like Smile Please, Too Shy to Say). Heaven is 10 Zillion Light Years Away and They Won't Go When I Go are exceptions - powerful pieces that hit you on first listen. He really pours his emotions into these songs. You Haven't Done Nothin is another powerful song, but not in a soul-piercing lyrical way, more in a fiery and up-tempo way. Not my favorite of his efforts just because there are some throwaways (Creepin, Bird of Beauty). Feels like a 3.5 with a bump for the artist not the album.

I didn't realize that Taylor Swift collaborated so much (with a couple key people) on her songwriting and plays so little on her recent albums like this one. A bit disappointing but she still writes all the lyrics, which are always thoughtful and are at worst cheeky but at best profound. And her collaborators composed some solid soft songs. Some of it sounds too poppy or pandering to the masses (Gold Rush) or has too much drum track/fakeness (Tolerate It), or both (Long Story Short), but I really enjoyed Willow, Champagne Problems, Tis the Damn Season and its companion Dorothea, Ivy, and Marjorie (ode to her grandmother). No Body, No Crime has an interesting country sound (as opposed to Cowboy Like Me, which I didn't really care for). The two collaborations with the National (Coney Island) and Bon Iver (Evermore) are decent but could use more integration (don't feel truly collaborative but a bit pieced together). Taylor Swift is super talented and this is a good, albeit imperfect, effort.

Felt very intense and thrash-heavy on first listen. Felt less overwhelming on second listen - Wake Up Dead a decent opener and I appreciated the heavy grooves in other tracks more. Still, it was a little too much, or not melodic enough for me. Vocals are inaudible half the time (maybe not a bad thing given Mustaine's voice). Peace Sells is a fantastic track, I'll give them that - deep lyrics, rocking beats, face melting guitars, wicked bass grooves, and nice vocal harmony toward the end. But I needed more of that and less of tracks like The Conjuring. Good Mourning was a cool instrumental but then Black Friday got a little excessive. Ditto Bad Omen - intricate and impressive start to the song but once the vocals hit it goes a little too thrash heavy for my tastes. Ultimately, I wasn't really sol on this album at first but it did get better with more listens. Feels like a 3.5 but not as good as Rust in Peace - except for the title track which is an absolute classic.

Easy 5. One of the greatest albums ever made, not only for its own merits (lyrics, songwriting, simple complexity in instrumentals, energy & emotion) but for how it shifted the entire rock paradigm. One of the few albums on this list I own (I don't own a lot of albums) and one of the first albums I ever owned...on cassette no less. I don't need to say anymore or glow about certain tracks. Great album cover to cover. No holes.

So side one was apparently more progressive than side two. And yes, I hear some of that funky soul that Curtis Mayfield and Isaac Hayes would focus on a few years later. The title track and Runaway Child, Running Wild were quite good. Their rendition of I Heard it Through the Grapevine was not - didn't hear the progression, didn't hear any noteworthy updates (an inferior remake). Side two didn't sound progressive. It also didn't sound like their softer ballads of old. But all in all, side two wasn't bad. Solid really, especially the last two tracks. But then I don't see what all the fuss about to be on this list. A good or average album, but not much more.

In comparison to Cheap Thrills, this album is more consistent; I guess a little production value goes a long way. The backing band provides some good boogie too, without going over the top (Move Over is a solid example). But Joplin's vocals are still centre stage and ferocious. Cry Baby is a great, great wailer; it feels like a 10-minute song with all her energy and changes in delivery. Me and Bobby McGee is one of those rare great remakes. It shows you a more restrained Joplin is still a dynamo. Wouldn't have minded an amped up recording of Mercedez Benz (feels like it should be recorded live) but I appreciate the tongue in cheek lyrics. Get it While You Can was a nice closer; a little more variety to the vocals but still great energy from her and the band. Half Moon and My Baby are pretty solid too, just not quite as good as the others. But they remind you of Joplin's female blues inspirations - she does them justice. Too bad Buried Alive in the Blues is just instrumental - feels a bit naked on this album, despite some cool (if not overly The Band-esque) sounds. Very solid album.

It's a fine album, but such waste. An intro track that doesn't really lead anywhere, a closing track that fails to close, a bunch of interludes that aren't necessary (profound exceptions: Dad was Mad and Tina Taught Me). Just tighten the whole thing up into a 40 minute album. I mean, I get it. The album is aptly titled and the interludes try to get at that but the songs generally do a better job. Most interludes are too loose; like they got a soundbite that was good, just not totally on point. But even the songs drifted at times; lost focus on key messages. Like Scales, what was she trying to say? Just like her sister, Solange can sing, so let her at it. Less featured artists (Lil Wayne had a decent message in Mad but as a vocalist, he sucks) and more songs like Don't Wish Me Well (a lot of Solange with a cool spacey backup beat). Some beats were better than others - Cranes in the Sky is her big grammy winning song but Weary sounds better. Don't You Wait sounded like it sampled In the Air Tonight - whatever it was, great beat. Overall, the album was good, but it could've been a lot better.

Ah, 90's punk. I wonder why no one ever coined the term brass punk for bands like RFTC or Less Than Jake, The Mighty Mighty Bosstones, Fishbone, etc. who prominently featured horns and sax in their ensemble. I gotta admit that this isn't my scene - but it's not terrible. The brass brings a soothing effect to the otherwise pounding sound. Sort of like adding cucumber to gin to cut the bitterness. I felt like the opening couple of tracks, including their apparent big single Born in 69, were lacking that melody. But I started to change my tune (as they changed theirs) at On a Rope and Young Livers. Definitely a lot more vocal harmony and more well-blended brass and strings through the middle of the album. The sequence of Ball Lightning, Fat Lip, and Suit City was a great listening experience. My interest started to wane from there, with the exception of Come See, Come Saw - bass and brass nicely partnered in the opening of this track and deft pairing of brass and guitar as it progressed. Burnt Alive was a decent closer to the album I guess. I feel like if there was a list of 1,001 musical acts you need to see live before you die, these guys would be high on the list. As for the album, it feels like a solid 3.5 but no more. Too bad there isn't a button for that.

Yep, I get the appeal of putting this album on the list for its pioneering psychedelic sound - Eight Miles High is a great example. But a lot of other songs sounded like others' work - and I don't mean the remakes (Hey Joe - just doesn't hold up to Jimi). 5D felt like a mix of Dylan songs (yes, I know Dylan wrote songs for them before this album). And their arrangement of Wild Mountain Thyme kept making me think Mr. Tambourine Man was about to break out - so sounding like their own earlier stuff (that also owes credit to Dylan). It was fine, but doesn't really make me pine for more of The Byrds. And the Byrds are solid - I should want to look for more. This album doesn't do it.

The hit singles are great - Rolling in the Deep, Rumour Has It, Set Fire to the Rain, and Someone Like You in particular are such powerful and emotional songs. And different emotions - shows depth. I was a bit surprised I didn't like some of the non-hits as much. Still that's like saying a t-bone steak isn't quite as good as filet mignon. If anything, the second half of the album after Set Fire to the Rain might have dragged a bit - until her remake of Lovesong. That was a cool rendition. Once I listened a few more times the non-hits really grew on me (especially Don't You Remember, One and Only). Might be another 4.5 but I'm rounding up because I rounded down on her third album.

I just can't do it. I can't give this album more than a 3. Part of me really wishes I gave Disintegration a higher score because it's definitely the best of the 3 Cure albums on this list so far. I'm not sure what is that different from Seventeen Seconds. It's gloomy and it's brooding, which is cool and all. But not groundbreaking or extraordinary as far as I can tell.

Ferry and Eno are weird. Still, there were some cool parts to this album. Re-Make/Re-Model was a great opener. Ferry's vocals were a bit too much on Ladytron. Maybe ditto for If There is Something, despite some cool musical stylings. And even though Ferry's vocals are prominent on 2 H.B. I thought it had an eclectic and cool sound. Virginia Plain was awesome and The Bob was a close second. The rest of side two was so-so in my opinion, though Ferry actually hit some admirable vocal highs on Sea Breezes. He ruined it with Bitters End though. All in all, a very cool but uneven album.

Ugh, that's tough to listen to. The old lady / high-pitched voice in Fodderstompf (and right at the beginning of Theme), the spoken word in Religion I, the lurching playing style and vocals in general - it all makes this unappealing. I get the boldness of the attitude and the lyrics - it was solid. But it felt like a far inferior version of the Sex Pistols. I'd heard the title track before and Rise off of Album. Those are songs worth listening to, but maybe too radio friendly to be the band's favorites. Still, only one of those songs is on this album and it's not enough to save it.

This is one of those head scratchers, like when a movie on Rotten Tomatoes has in the 90's from critics and the audience gave it a middling response. Whatever the critics were gushing over on this album, I don't get. It is unusual, sure, and the lyrics are cheeky, while at times they infuse some neat Western rock and classical Indian elements. But that doesn't mean it's amazing. Brimful of Asha was popular but it was the remix that really hooked me and others (not the album version). I think Singh is super clever and I got a real kick out of scrolling through song and album titles in the Cornershop collection. But the album is still average at best. Next.

On first listen I thought this is not as good as their follow-up. And after multiple listens, I still believe that's true. But there's definitely a bunch of rocking songs - most of them really. I think Rock n Roll Star, Up in the Sky, Bring it on Down, or Slide Away might have been even better choices as singles than Shakermaker or Supersonic. Live Forever was a good choice as a single - good lyrics and composition from Noel but a bit of those flawed Liam vocals. That might be the biggest place where this album leaves something to be desired - I can picture my buddy from Southampton doing his best Liam impression and singing the words sheeeeine or actsheeeeeion (it's just shine and action, alright?). His vocals got better over time but flaws really on display here. Still, for the rocking it's solid. And no doubt they ushered in a new era of rock.

Couldn't quite place what his sound reminded me of on the title / opening track. But the first few piano bars of the second track Love's Enough made me think Neil Diamond, and his vocals on that track solidified that belief for me. Once I got there, my ears pricked up. I really loved that second track; ditto Another Friday Night and Waiting for the Moving Van. One Night Stand wasn't bad; maybe a bit too much cheese or Sinatra ripoff. Keep the composition but change the lyrics. Family Band was a good start, a bit meh by the end. Ballad of the Ship of State and Midnight Carousel was a bit too much pomp. Oh California was the right amount of pomp. It feels like a 3.5 but I don't know if there's enough to round up.

I like Lenny Kravitz. I even love some of his work (Are You Gonna Go My Way is an incredible song, Fly Away is also great). This album was boring. I kept looking at the clock. Admittedly, it's got some funky elements that you didn't hear much of then, so not a throwaway. But I don't see what the big deal is here. Next.

I didn't love the album on first listen. Didn't hate it either, but I didn't think it sounded that great. The audience sounded grainy and far off and didn't add to my listening experience. So I went and listened to a bunch of Sam Cooke studio albums to remind me what his voice really sounds like when not limited by live sound quality. Solid of course. And when I came back to this album, I appreciated him and his voice much more. I didn't even really notice the audience. Not the most electric live performance I've ever heard, but he was still pretty darn good. Could've done without the bit where he said let's get romantic for a second and then story told about going home and not hitting your woman but whispering sweet nothings instead. BB King story told something similar on his live album a couple years later. WTF?

I really enjoyed the opener Cornbread Moon, it definitely felt like rock and roll honky tonk, with some nice guitarwork. It made me read up on Joe Ely, and I was surprised at how much different stuff he did and how he and the Class were big fans of each other. I might have to check out some of his more eclectic stuff. But back to this album, it felt a little bit bland with a few highs - the opener, Jericho, I'll Be Your Fool, and especially Fingernails. That last one was a ton of honky tonk fun; I could put that one on repeat all day. Honky Tonkin was alright, but not any better than Hank Jr. or Sr. So yeah, I'm curious to seek out more Joe Ely but not because the whole album blew me away, just a few parts and tidbits.

Sorry Tom, I thought you and I had something going there. And then the first track Singapore opens sounding super weird and a lot like the album Swordfishtrombones (which I did not like) - complete with slide whistles and me thinking he sounds like the Cookie Monster again. I've softened on old Tom so even at the second song Clap Hands I thought not bad. But it was a constant yo-yo of weird and decent, with a few real strong tracks - Big Black Mariah (very rocking, I guess thanks to Keith Richards), Hang Down Your Head and Time (both beautiful, and the former sounds like Downtown Train, which is his best), and Downtown Train (others sing it better, but his lyrics and composition are beautiful). And that's one thing with Tom Waits, his lyrics are always top notch. I'd love to see all of his albums redone by strong vocalists just to hear those words come to life with a soothing voice. Anyway, I won't give it a 2 but I can't give it higher than a 3.

I remember when this album came out; it was big. Ms. Jackson got overplayed and over-impersonated but So Fresh, So Clean and BOB couldn't get played enough in my opinion. They were/are awesome; BOB is still one of my favorites from that era. The first 15 minutes or so of the album really rocks. I don't think it keeps that level and pace throughout - probably a bit over-ambitious with all the tracks and almost 75 minutes of album. It's still real solid, with some wicked tempos and beats, but I might rate it even higher if it was tighter.

Well, I learned something. Frankie Goes to Hollywood is not a one-hit wonder. Two Tribes isn't bad, and it's certainly deeper than Relax, but it's not nearly as good. I didn't really get their third big single The Power of Love at first. But maybe I was just tuned into the upbeat tempo of the rest of the album. In retrospect, it's quite a beautiful song. I did like a few of the uptempo tracks - Wish the Lads Were Here, Black Night White Light. The title track is unnecessarily long but has some okay parts to it. Most of their remakes weren't great (War, Ferry) though I didn't mind Born to Run. It didn't sound like the rest of the album though - less synth/electronica and more new wave 80's rock. Not quite sure what makes this album so unique - maybe it was their messaging at the time. All in all, I didn't mind it. Almost 3.5 but not quite.

I found I liked this album better than the Joshua Tree. I read they were trying to do something different and experiment with an industrial sound and I think the opener Zoo Station nailed it - I hadn't heard it before but I dig it. And to be honest, right through to Mysterious Ways is a pretty damn good 8-song sequence. I think One and Who's Gonna Ride Your Wild Horses are two of their best penned, best performed songs in their catalog - really beautifully done, lyrics and vocal and musicianship. The other hits are almost as good (Mysterious Ways, The Fly, Even Better than the Real Thing) and the non-hits are also solid (Until the End of the World being my favorite non-hit - real solid). Like the Joshua Tree it runs out of steam a little bit at the end, but we're only talking the last four songs. I feel like it's close to a 4.5 but I don't think I'm ready to round up. But I must've listened to the album 10-20 times to see if I could get there.

I like their debut album better, but I do like this one too. I feel like I had a copy of it at one time - maybe it was a roommate's. The first 4 songs are great, though I like Modern Man even more than the two singles (title track and Ready to Start). I can't believe they released 7 singles (since Month of May - not their best - was packaged with the Suburbs) but yeah, I do recall all of them on the radio at sometime. They have some songs that are a bit meh, but every time the album dips it picks right back up. Like Half Light I or Sprawl I - both meh - but Half Light II and Sprawl II are both awesome. I'd almost say the album is too long, but the back half has a bunch of real gems with Deep Blue and We Used to Wait (the best single in my opinion). Yeah, real solid effort but not quite a 5.

Surprising I never heard of these guys. But I don't like the Arctic Monkeys so maybe every time I heard Turner's voice I turned the radio thinking it was them. I gotta admit I dug the orchestral sound, right from the opening title track. The booming drum sound was a personal fave (check it out on Standing Next to Me and Only the Truth) but all the strings were great too. Some other favorite tracks were Separate and Ever Deadly, Only the Truth, In My Room, and The Meeting Place. The album had a real old-timey sound - like part Sinatra (the jazz-ish elements), part Marty Robbins (the Mexican, old country sounding horns), part Moody Blues? I felt like it was a bit uneven on the first couple listens, and it might still be. But it kept growing on me and I'm having trouble shaking it. So for the breath of fresh air, I went up a notch.

I struggled with where to rate this album. It's got some real cool, simple instrumentals - sleepy jazz almost. And Joni is at her lyrical best - she really is an amazing writer. But it felt a little repetitive at times. And I couldn't stand her half-singing half-speaking some of the lyrics, like in Coyote, Furry Sings the Blues (channeling her Furry voice apparently), and Blue Motel Room (German measles, ugh). The first two songs aren't bad though, just some cringeworthy parts. Amelia is a standout to me; her despairing motif, the wicked sound, it all comes together so well. I could listen to that one on repeat forever. The title track and Song for Sharon also had a great sound and of course poignant lyrics. A Strange Boy was solid too, so that was a pretty good 3-song middle sequence to the album. Black Crow felt like a departure, almost like Big Yellow Taxi was about to break out. Still I dug the crunchier sound. Refuge of the Roads ended the album on a high note. So I guess if I'm looking back, that's 6 out of 9 that I appreciated, which feels worthy of a 4.

So was everyone in the UK during the mid-2000's going with a throwback sound? It's kind of a shame I got this two albums after that Arctic Monkeys-Rascals collaboration. Hawley is channeling his best Sinatra on the opening, title track. And I gotta say I loved it - really beautiful. Ditto Hotel Room, Darlin Wait for Me, Born Under a Bad Sign, and Just Tonight. Just something about the tempo and his voice. Almost a Morrissey bend to it. I didn't love his more country-sounding Just Like the Rain or The Waters of My Time, though I Sleep Alone was kinda cool. And the Ocean, while softer tempo, wasn't quite the same or as good as some of the other softies. All in all it was really beautifully (and simply) done, punctuated by his instrumental closer Last Orders. Pleasantly surprised.

Meh. Honestly, it wasn't bad. Pretty simple and straight-forward. Maybe it was his minimalist and soft style that made it hard to pick up most of his lyrics but it felt kind of bland. Margaret-Tiger Rug and Broken Heart were a little weird but I didn't mind the sound. Late in the album I picked up more lyrical oddities that might be related to his mental state at the time, like on Dixie Peach Promenade or Lawrence of Euphoria (cheeky, not bad). Grey/Afro was the only real throwaway track - a bit strange for me, but creative and psychedelic, which was his thing. War in Peace was a more conventional psychedelic piece, and I didn't mind it. So were All Come to Meet Her and Books of Moses, and I thought they were great. Overall, I've heard far worse. Maybe I'm in a good mood today. Perfectly average album.

Lyrically, Morrissey is as provocative as ever, but vocally and musically, he and his bandmates seem middle of the road on this one. Even the great Johnny Marr doesn't seem to be do anything innovative most of the time. Maybe they were still used to singles at the time, so putting together a complete and cohesive album wasn't yet their thing. I still really liked That Joke Isn't Funny Anymore, Barbarism Begins at Home, and the title track (even if it is heavy-handed).

Side one is pretty kick ass. Love in an Elevator is quintessential Aerosmith - sexual innuendo-filled lyrics with scorching guitars - and Janie's Got a Gun is surprisingly deep with just as good musical stylings. I didn't really know about FINE or Monkey on My Back but they definitely rock. Young Lust isn't bad either. Side two dips, and reminds me that Aerosmith is better as a greatest hits band than a full album band. But The Other Side and What it Takes are still very good tunes (Dulcimer Stomp is a cool lead-in to the former too), and combined with side one help make up for the so-so middle part of side two. If you don't like rock, this is a 3. But if you like rock, you can get behind this album.

So, this was her tenth album in her first seven years of being a singer. Wow. Respect (see what I did there?). Her voice of course is outstanding. Respect is a massive song and no one does it better than here, though many have tried. She also does a very powerful version of A Change is Gonna Come, even though Sam Cooke's original is electric (and Otis Redding also recorded an excellent version prior to her). Overall, the album feels like an old-time movie. If you're from that era and caught it when it first came out then it's amazing. If you're not then it feels a bit grainy and dated - still cool, but what are all these older folks talking about? I'm not from the Motown era, so to me it was good but not amazing. My apologies if I'm not old enough to fully get it.

I loved the first two songs Schizophrenia and Catholic Block - unique beats and guitar effects, which don't get too over the top. What makes them so good is there is an underlying rhythm that even the most experimental segments of the song tie back to. I think what I'm saying is there's melody even when at times there's madness. But then by the time I get to Stereo Sanctity and Pipeline / Kill Time it's getting to be a bit too spastic, abrasive, or off-kilter. Those songs are alright, but the page is turning on the album. Tuff Gnarl starts off okay but is too self-indulgent in being noisy. Hot Wire My Heart was a cover that we didn't need. White Kross was decent; brought back some melody. It's clear how these guys are a clear link between bands like the Stooges before them and the Pixies and both shoegaze and grunge movement that came after them. So I want to give them a higher rating for their pioneering ways. But there a band I just want greatest hits of, not full albums - because their style gets a bit tired listening to a full album.

I think my rating of this album is driven by two things. First, my own impressions and second, what I read about it. Both get me to the same place. On my own, I love the vocal harmonies and orchestra backing. Some recent albums on this list from UK acts of the 2000's resurrected that sound, and I didn't realize it could be traced to the Beach Boys. I always liked them for their doo-wop but this album had that and more complex arrangements. And in fact, side one was more the fun style I mostly remember them for (including Help Me Rhonda, an oft-played and sung song in my family) while side two was deeper. Cool. Once I read the background, I realized how intentional side one vs. side two was, but also how much more mature the lyrics were on both sides. Also, I love albums and loathe singles (or at least artists who just try to produce one-off songs and can't put a whole album together). So now knowing that this was an early example of a concept album and that this was an attempt for them to break away from their more juvenile stuff, I have a lot of respect for their effort. It just goes to show how hard it is to rate an album out of context and makes me wonder how many albums I've not properly appreciated because I'm just rating on how it sounds to me at the time and not how it represents a sound of what came before it and what will come after it.

Geez that's intense. I didn't hate it, which maybe isn't a surprise because I don't mind Rammstein, but I'm not going back for more. Chalk this one up to another interesting entry from the world of music. Maybe I have a soft spot because I enjoyed my time in Ljubljana (the name of the band in Slovenian).

Two years ago a friend and I were debating the best acoustic/unplugged song from the 90's. His pick was Nirvana's cover of Bowie on this album. Personally, I love their cover of Lake of Fire (in fact, all three Meat Puppets songs) but probably have to give the edge to The Man Who Sold the World. But my number one favorite from this time period was 10,000 Maniac's Because the Night. Still, this album is the best of all the 90's acoustic/unplugged albums (Alice in Chains being a close second for either their unplugged album or the acoustic Jar of Flies) and maybe one of the best live albums ever. Reminder: I generally hate live albums. What is so cool about this Nirvana album is they didn’t have studio versions of half of them. They just came out and played songs they adored, and crushed them in their simple reverence - I already mentioned two, but another beauty for its incredible raw emotion is Where did You Sleep Last Night. And the reimagined versions of their studio-recorded songs are incredible - you wouldn't know how good these guys are at their craft until you hear the deft work on songs like About a Girl, Polly, or All Apologies. If you thought these guys were one-trick ponies, this is your proof they were not. Mad respect.

WTF? I started listening to the first song, I Should've Known, which was her lead single and I barely made it through. Sounds like radio pop drivel - intentionally pandering to the masses through glossy guitar strumming and oohs, ahhs, and bop-bops from backup singers. Sounds like the kind of stuff that Liz Phair got panned for when she toned down her edge in the 2000's - so why are we glorifying Aimee Mann's stuff? That's a hard first impression to come back from. 4th of July at song three was redeeming. Jacob Marley's Chain and Mr. Harris also caught my attention in a good way. The rest of the album was...whatever. Or worse...same drivel as the opener. Not deserving of this list.

Did you know that one who plays the conga is a conguero? That might have been the most interesting thing I discovered from this album. There's a reason why percussionists (i.e., drummers, but congueros too) aren't usually the band leader. Guitars, piano - those are good lead instruments. Percussions are good accompaniment, and good for a nice solo from time to time. I felt like congas and other percussions were the only thing I could hear for the first two songs, except for terrible vocals. Thank god the third one introduced some nice strings. Not as good as that Bongo Rock album, and I thought that was just okay. Like that bongo album, I recognize the novelty here but it gets old fast.

So what should I be more embarrassed about? My love of hair/glam metal or my love of emo rock. Both I am willing to rock out on my own but damned if I let anyone catch me doing it. Although, rocking out to hair metal via karaoke seems to be acceptable and widespread, so I guess Def Leppard goes in the less embarrassing category. I still think Hysteria is the superior album and I gave that one a 4 so this one can't come in above it. But it was almost as fun. Some fun tracks that I didn't really know well beforehand are Rock! Rock! (good opener), Stagefright, and Die Hard the Hunter. Never loved Foolin or Rock of Ages as much as others (still fine) but Photograph slays every time.

I like Daft Punk, and I remember when the big singles from this album, Da Funk and Around the World, came out - I liked them a lot. But I can only take so much. For whatever reason, those singles didn't seem to wear out their welcome. But a lot of songs on this album do. A couple are cool and just right in length (Daftendirekt and Phoenix) but many are cool and just too long (Rock n Roll, Indo Silver Club). Others are just annoying from the get-go (Oh Yeah). These guys are great at what they do, but it's not quite for me - at least not for long stretches.

I don't know why I need to listen so hard to every album by The Byrds to decide what rating to give it. I guess it's because it's always at least a 3 - they're good - but I can never tell if they're THAT good that they should get a higher score. Mr. Tambourine Man is a great song and one of their classics (even if it was Dylan's). So the album starts off great. And to be honest, on multiple listens, I'll Feel a Whole Lot Better and It's No Use are great too (both Gene Clark originals). I still think their strongest songs are Dylan songs (All I Really Want to Do, Chimes of Freedom) but they do a lot to make them and the rest their own. Their harmonies are great and that's the one big appeal on every album. I think Jim McGuinn's guitar plays really well on most of the songs, which really gives it a distinctive sound, and a rich sound when you add in David Crosby's and Clark's guitars. So, take the fact that this is a solid album from start to finish (side one better than side two) and the fact that this was more or less the beginning of folk rock, and that's how I get to a higher rating than other albums of theirs.

Feels a bit (a lot?) like Echo & the Bunnymen, so not surprised The Triffids opened for those guys in the 80's. McComb has a nice, deep vocal style that compliments the big, sweeping musical style of this album. Very 80's (and Aussie) big music rock sound. I don't know where to place these guys in terms of everyone else putting out that sound, but I can't shake that they're an Echo & the Bunnymen knock off. I still enjoyed it a fair bit, and a good album when you need background music, but I'm not giving it any extra stars.

I love Money For Nothing - one of the greatest guitar licks of all time. A buddy of mine got this album off his older brother when we were kids and made copies for us and I listened to it a fair bit. At least, maybe the first three songs, So Far Away From Me and Walk of Life being the other two. Because those three are killer; the former being a little bluesier and the latter being a little poppier than Money for Nothing (pure rock). After that the album drags a bit. Your Latest Trick has a great sax solo to open it, and Why Worry has a decent blues(ish) final few minutes. But both go on too long, as does the album. 54 minutes but it probably could've been 40. I always found Ride Across the River interesting; not as good as the first three but still cool and a better capturing of that sultry blues feel than the rest of songs 4-9. And the title track is decent - again going for that bluesy feel. Overall, the album is good, but could be so much more.

So, I read up on this album and I think a bunch of people need to put their tongues back in their mouth. It's good for a live album but there are far better. Johnny Cash's stuff at the prisons is better from a pure "feel the crowd" perspective. But what I realized after listening to the original version (the one I'm rating) and the reissue with 14 songs is how much of the crowd interaction is cut out. This album is basically just them playing. So I can kind of see how one pundit thought it felt like it was always on the edge of chaos. If you listen to their interactions with audience, it was far tamer and in many cases they were courteous, gentle and thankful. So kudos to the producers for editing out all the reality and focusing on playing and singing. Which, once I listened to the original a couple times, I appreciated how much energy they were bringing. Now granted, this was basically at the encore part of the concert for 4 of the 6 songs so you just get the climax not the rise. Side one is good, and again they're playing heavy (and Daltrey is snarling when singing) and it's cool to hear. But I think it's their winding rendition of My Generation on side two that is the piece de resistance. It even gives in to a cool version of Magic Bus (I don't really like that song normally). You definitely have to listen to it a couple times to appreciate it. And it's good. But not step over your own mother amazing.

I really only know Hallelujah by Cohen, which means I know him as EXTREMELY lyrically gifted but vocally pained. But wow, this album is beautiful and I think I need to go know him better. His vocals weren't even that bad. But his lyrics, damn. I know everyone loves Dylan and think he's the best poet, but I think Cohen has him beat. And the soft musical accompaniment was just perfect. I thought his best were Suzanne, Master Song, So Long Marianne (maybe his most accessible?), Teachers (love his picking and plucking and the Middle Eastern sounding instruments), and One of Us Cannot Be Wrong (masterful lyrics). I enjoyed the others quite a bit too. I was definitely reaching for 4 stars and decided to bump it up.

Earlier I had said I prefer The Bends to Ok Computer but I don't know anymore. This album is still amazing but it's not quite as innovative as their next one. Still, what it lacks in creativity it makes up for in rock edge, beautiful but despairing compositions, raw emotions, and great lyrics. Planet Telex, the title track, and Just show a bit of that rock edge and where they came from on their debut Pablo Honey. But then High and Dry, Fake Plastic Trees, and Street Spirit show that more stripped-down and haunting motif that they kept perfecting from here. I listened to a podcast years ago that said the final version of Fake Plastic Trees came from a session with just Thom Yorke laying down his parts, where he was in tears by the end of it. And man, you can hear the anguish in that song - just beautiful, one of my all-time favorite songs. Street Spirit isn't far behind, gives me goosebumps every time. My Iron Lung is a bit in between, with a little bit more experimental feel to the guitars that they'd take further on Ok Computer. That's just the singles, but Bones, Black Star, and Sulk are other awesome rock pieces while Nice Dream and Bullet Proof...I Wish I Was are other amazingly beautiful softer pieces. A classic album with no holes - when Radiohead really became Radiohead.

This is the third Arcade Fire album I've heard on this list (I knew it was coming) and it's my least favorite. Still, it's solid. It opens real well - I like Black Mirror and Keep the Car Running is very good (it feels very multi-layered in instruments and they blend well). The title track is a bit of a letdown but Intervention might be the best song on the whole album - cool organ and haunting church sound (more of that soaring, multi-layered sound but different sound than earlier). It does the haunting church sound better than My Body is a Cage (which is popular with the kids because it was used in Euphoria), though the lyrics on that closer are pretty darn good. Black Wave/Bad Vibrations is a bit up and down - start is a bit meh but it gets really good about 90s in when Butler takes over lead vocals and Chassagne takes on kickass backing & harmony. The Well and the Lighthouse is another great track in the middle of the album - love the pulsing tempo. Windowsill is another soaring track that I really enjoyed. No Cars Go is another solid, up-tempo track but maybe my least favorite of the album's singles (a little overproduced?). Again, even though it is my least favorite of their big three albums, it's still quite good.

Now that's how you open and close an album. Baba O'Riley with the organ loop and violin (goosebumps every time) bolstering the regular, kickass bass, guitar, drum combo (and ferocious Daltrey vocals of course, with some help from Townshend). And Won't Get Fooled Again with another great organ loop and punishing guitar, bass, and drum sequences and some of Daltrey's best vocals ever (or at least his most dominating, you paying attention now? screams). Townshend really outdid himself with the lyrics and songwriting on this album. And this coming on the back of Tommy. So many other good, notable/memorable songs on the album too - Bargain, Going Mobile, Behind Blue Eyes (even though I never really was a fan). I didn't recognize all of them (only listened to The Who from afar) but there are no clunkers. Love Ain't for Keeping is one of those great depth tracks - simple, but deft playing that shows you how good these guys are. Entwistle's writing contribution (My Wife) is a sneaky good track, one of my faves of these lesser-knowns. Really cool rock sound from the piano and horns (all Entwistle). I really enjoyed Townshend's vocals on The Song is Over and Daltrey's vocals on Getting in Tune - both really sweet, which matches the vibe of those songs. Great, softer one-two punch going from side one to two. And that's all nine songs folks - just awesome from front to back.

This is a hard album to rate. It is so uneven and disjointed. Christine McVie's composed songs are boring and forgettable (except for Think About Me, and maybe Never Make Me Cry). Stevie Nicks' composed songs are far better - Sara, Sisters of the Moon, and Beautiful Child are particularly powerful, admirable songs and Angels is funky and cool. Nicks really shows she can bring it. Lindsay Buckingham's composed songs are so eclectic - he really went for some different sounds (maybe trying to capture what all the post-punks were doing) - but I enjoyed them quite a bit. Particularly The Ledge, What Makes You Think You're the One, Not That Funny (maybe my favorite), That's Enough for Me, I Know I'm Not Wrong (although at this point I realized he's sort of repeating the same sound across tracks), Walk a Thin Line (refreshingly different than his others). Others were just strange (That's all for Everyone, really going for something Brian Wilson experimental with the xylophone) and honestly I never understood what the big deal was behind the title track (not a big fan). At the end of it all, I wonder why they didn't just release 3 solo albums. There's barely any synergy, especially of vocals, on this album yet that's part of what made Rumours so good. Sure, they don't have to do the same thing over and over, but why not different sounds but with more collaboration and vocal harmonies? Those subtleties on Beautiful Child and Walk a Thin Line are awesome. It's just an up and down ride going through the album. Honestly, the first time through I didn't think it was that good - average. But on subsequent listens I found a lot of great songs - it's just that the album is so all over the place it's hard to get a feel for it at first. I really want to ding it for the lack of cohesion, but Nicks and Buckingham still do a lot of great things; Mick Fleetwood too in the background though it was hard for me to pick up on what John McVie was doing. So I guess a 4 (or just above 3.5) but not a 5 is about right.

This is a really good album. I feel a bit embarrassed for having never listened to the Roots before. Kind of reminds me of George Clinton-led bands Parliament and Funkadelic. Not the same sound, though it is funky, but the collaborative effort, the intricate layered sounds, the range and depth of what they do. So Parliament for the late Gen X'ers and early Gen Y'ers. The album descends into a bit of madness with Water (the latter half is spastic) until at least Something in the Way of Things (lyrics very poetic and deep, but weird) but the album is killer prior to that. Rock You and Rolling with Heat (hands down best beats on the album) are absolutely pumping. Thought at Work is no slouch either. Sacrifice, The Seed, and Break You Off have more soul and rhythm - great guest vocals too. The post-Water sequence still has some high points (from Quills to Complexity have some solid beats and rapping), and they go out with a bang on Rhymes and Ammo (just as pumping as the early tracks) and Thirsty (far better electronica than some true house bands). Definitely going to have to listen to more of their stuff more closely.

I dunno. Is this album bad? Not really. Is it noteworthy? I can't figure out why. I guess Fred Neil was a pioneer of folk rock but the Byrds were already on the scene for a few albums, as was the master Bob Dylan. So it's not as if this album was a turning point for that genre, just another example of the emerging genre... and a so-so example in my opinion. With his warbles, Harry Nillson's version of Everybody's Talkin is more memorable. I don't think this album is a 2, but 2.5 stars might be more appropriate. I'm rounding up for some reason.

I'm sorry, I still don't get jazz. I listened to this album a number of times and I know Miles Davis is a legend but it didn't really make me stand up and pay attention. Pharoah's Dance was fine, maybe the final minute or so I caught something really cool. Ditto for the title track. Spanish Key was the best track in my opinion, a lot of different blends you don't always hear (guitar and brass). Miles Runs the Voodoo Down feels like it took some risks perhaps? Sanctuary fine. If I gave the album a four, which maybe it deserves, I feel like I'd only be doing it because I know that's what smarter more jazz-informed folks would do. But it just didn't speak to me, so it gets a naive 3.

Funky and soulful, a different take for Bowie given what I know of his work. Which isn't a ton, but I know him as an eclectic rocker. This qualifies. It's cool, and I mean that both in that it's interesting and that it fits that motif of being cool (chic, smooth). Not his best, as I wouldn't say there's a song between Young Americans and Fame that I'm particularly gaga over. But those two that open and close the album are fantastic and show off his ability to tackle this alternative genre. And the stuff in the middle fits even if I don't have another showstopper to single out. A very solid effort from a virtuoso talent.

Feels like Frankie Goes to Hollywood all over again, in that I learned these guys are not one hit wonders but I still didn't understand why the album made this list. Everybody knows Come on Eileen and I am so sick of that track, though it is solid. Jackie Wilson is a decent Van Morrison remake. The Celtic Soul Brothers sounded familiar and I quite liked it. Like a lot of the album it's really up-tempo and energetic. So I have to give Dexy's respect for that. And I do recognize their fusion of rock with a bunch of non-traditional instruments (horns, woodwinds, violins) and as an English band they do it better than some Celtic bands. So yeah, like the Frankie album I find myself creeping up to 3.5 but I won't go over the edge.

So I love his previous and next albums (The Man Who Sold the World and Ziggy Stardust), maybe my two purest favorites of his. I'm a rocker, what can I say? This was different. And I guess that's why so many people love it - because he did a total 180 from his first few albums and did it repeatedly for the next decade, and kept being a chameleon his whole career. Between the heavy doses of piano and a little bit of fun, Side one sounds like the Beatles and Elton John - not copies of it, but channeling that sound and doing his own thing. Changes is so prophetic for Bowie himself - a classic. Oh You Pretty Things reminds of When I'm Sixty-Four with the jangly but upbeat piano, though it starts by borrowing from the back half of A Day in the Life. It nicely segues into Eight Line Poem (a hidden beauty). Kooks also gives me that Beatles feel, a little circus pomp and whiz. Funny lyrics in advice for his son. Life on Mars? is another classic - a bit of early Bowie mixed with the soon to be Ziggy Bowie in its soaring style and space-y focus, but with an Elton feel given how piano-driven it is. Quicksand also feels like a bit of old Bowie - Space Oddity simplicity and bleakness. And for all those costume changes on Side One, Side Two is then a completely different animal itself and from track to track, with 4 out of 5 homages. I didn't care much for his one remake Fill Your Heart, other than noticing its fairly upbeat tempo. The next three all perfectly fit their inspiration. Andy Warhol is strange (but surprisingly decent). Song for Bob Dylan feels like a Dylan tune (mixed with some Skynyrd Tuesday's Gone) and its lyrics do the man justice, but putting a different spin on his legacy (pleading for his return). Queen Bitch is a perfect channeling of Lou Reed by Bowie. It sounds like a Velvet Underground song only better. It is my favorite track on the album and now one of my all-time favorite Bowie songs. The Belway Brothers feels like it should've been on Side One, or maybe it's meant to close Side Two in the same way as Quicksand - another bleak, stripped down tune. As I was listening to the album (repeatedly) I felt like I was going to land on a 4. But in writing up my comments I found myself admiring and respecting it even more.

I do recall when this album came out, videos all over MTV and Go West was a huge hit. I still have a soft spot for that song. After that, this album is a bit too dance sappy. Don't know what I mean? Listen to I Wouldn't Normally Do this Kind of Thing. Sounds like decent lyrics, but the beat is too uhh tiss. Can You Forgive Her is probably the one other song that I really enjoyed. Powerful beats that match the depth of lyrics. Maybe Different Point of View too. And at least To Speak is a Sin went with a different sad style. But it's mostly average fare waiting for Go West to complete the album.

I know of Ryan Adams and some of his songs, including the opener To Be Young (thanks to Old School) but I've never listened to him. Reminded me a bit of David Gray in his voice even though their styles are very different. This is very country rock. But what they both have is a bit of sad grace in the lyrics and tempo of many of their songs. It also reminded me of recent acts like Band of Horses, who I love, and The War on Drugs, who I only discovered through this 1,001 list but quite liked. I enjoyed this album, easy to put on and stare off or let it blend into the background. Come Pick Me Up was probably my favorite (sad and sweet) though I also quite liked the soft or sorrowful sounds on My Winding Wheel, Bartering Lines, Why Do They Leave?, and In My Time of Need. Shakedown on 9th Street is another good upbeat song like To Be Young. Not sure if this album is more than a 3.5 but that's what I said about David Gray's album and I gave it a 4.

I guess this is why rotten tomatoes has critic and regular audience reviews. Because as much as it's nice to know what the raw appeal is for the everyman, sometimes you need to be knowledgeable to truly evaluate something. I don't know the music evolution of the 60's, but I read enough to appreciate how much this album changed things. And I know enough of Dylan to know that his previous albums and this one are vastly different. Or listen to side one for new Dylan and side two for old Dylan. Side one is awesome; his lyrics are as incredible as always and the energy is great. Subterranean Homesick Blues and Maggie's Farm have line after line of great quotes. Outlaw Blues shows how good an electric Dylan can be. Side two is still great; some of his best acoustic work (Tambourine Man and Gates of Eden are massive). I get it, folk was simple and stripped down and rallying against the man. And it's far more fairytale to rally as David with a simple slingshot and rock (acoustic guitar and harmonica) than decked out in Goliath's armor and weapons (electric instruments). But there's beauty no matter what. And Dylan took folk and rock and roll and he smashed them together - and now we have electric (energy and sounds) songs that really have something to say. So to say he can't be David or that he didn't slay Goliath is BS. He completely revolutionized rock music with this album, and for that it's a 5. I would hope that even just going on feel most people would think it a 4.

See my review for the Hives; copy and paste. That's not exactly true, because this was a true album and not a collection of singles. But it's the same garage rock revival sound. Which I do not mind. And in some ways I don't mind all the garage rock albums that made the 1,001 list - seems a bit overdone in the same way as all the electronica entries, but at least I like garage rock. Still, like the Hives, I don't really know what distinguishes some of the 2000 garage rock bands from the others. I really liked the title track for all its energy and buzzy sound (too bad it is so short, and starts and ends abruptly). Ditto to the two big singles Outtathaway and Get Free (a great rocker). But most of the rest of the album (except maybe Sunshinin) was a bit unremarkable, other than I now noted another band who I can say that Jet copied (see all the softer piano-based songs like Homesick or Country Yard). Of course, the Hives seem to have done some copying themselves - the riffs for In The Jungle feel like Day Tripper meets CCR and I can't put my finger where I've heard some of the riffs in Mary Jane or 1969 (I didn't mind these songs, but they felt a bit recycled). Long story short, I'm not rating the Vines higher than the Hives, even if it is a more complete album.

Oh good. Just when I was questioning the amount of garage rock in the 1,001 list and saying it was only rivaled by electronica, here comes the first of three electronica albums in a row. Granted, this album isn't part of the excess. I thought it was pretty good and inventive. Juanita: Kiteless: To Dream of Love was a very cool opener; well, the last one was okay but the first two had some awesome beats (and fitting vocals). The second long and winding track didn't really do it for me but I was definitely bopping along to a couple songs - Rowla and Air Towel. Pearl's Girl was pulsing. The final two tracks reminded me of Steven Wilson's stuff - Blueski was very guitar-oriented and cool while Stagger felt prog rocky (with more subtle guitar and drums). Solid album all and all.

And then there's this. Sod off British (or any country) electronica. Apparently this was a landmark electronica album but I don't know why. It went even trippier? Softer? It inspired music in Minecraft and other video games? Boring. I found myself waiting for it to be over or not even wanting to wait for it to finish. That's borderline 1 territory. I couldn't take it by the time I got to Aquarius (or maybe that was a really annoying song...Orange! Shut up) and I started skipping to next tracks.

So again context matters. I don't know the history of electronica (or really care, to be honest) but this was a big deal. Kraftwerk came into their own here and so did that sound overall. But outside the opening track odyssey, I found it a bit meh. Even it went on a bit long. So yeah, cool side one, yawn side two. The album's significance gives it a bump from a middling 2 to a midrange 3.

Newman can tickle the ivories, and sometimes his voice and is magical. And the other times his songs are just okay, or even weird. I found this album was up and down. His soft songs (often with orchestra accompaniment) were better. On side one I really liked Sail Away, He Gives Us All His Love, and Old Man - I didn't really care for the others. Side two was better overall - I liked Political Science, Burn On (maybe because I love Major League), and Dayton, Ohio 1903. You Can Leave Your Hat On was good, but Joe Cocker covered it better. God's Song had some pretty shrewd lyrics. The album was good more often than it wasn't, but it still felt about average. Closing in on 3.5 maybe.

Meh. Positive, happy vibe so definitely put this on when you need a pick me up or want to promote feeling good. But it didn't really wow me. First half better than the second half, which dragged a bit. Not surprising that the 5 singles come from the first 7 songs. Perfectly average and decent.

Brilliant. Not perfect, but brilliant. At first I thought side one was a bit stronger, buoyed by some of their best stylings in rock (Come Together - one-of-a-kind and thumping with wicked Lennon lyrics), blues (Oh Darling - McCartney's strained vocals are awesome), and love ballads (Something - Harrison didn't compose many, but this is one of their greatest). They more than make up for a When I'm 64 retread (Maxwell's Silver Hammer - still fun), obligatory Starr offering (Octopus's Garden - still decent), and solid but flawed prog rock attempt (I Want You - beginning and end are cool). But I really came to enjoy side two and the 8ish song medley. Some of the songs don't quite splice together cleanly and so at first listen I was wondering about fit. But as it keeps going different songs really fit together well and it all comes together. On multiple listens that sequence was my favorite part. I know that Here Comes the Sun and Because aren't part of the medley, but the former is another Harrison masterpiece and the latter is a real beautiful Lennon piece (the three-part harmonies are exquisite) that fits nicely next to the style of You Never Give Me Your Money, which is an awesomely arranged piece. The transition to Sun King could be better but bringing back three-part harmonies (and the opening line) helps it connect with the first two songs of side two (again, not part of the medley). And it connects really well into Mean Mr. Mustard, and the whole sequencing between those two, Polythene Pam, and She Came in Through the Bathroom Window is great - it feels like one song with four different twists. Again, a little abrupt as it transitions to Golden Slumbers but the sequence between that one and Carry that Weight is incredible and the two together are beautiful - I really love the former (a sweet lullaby) and the segue into the latter gives goosebumps. Carry that Weight also nicely ties back to , and the latter also nicely ties back to You Never Give Me Your Money and decently segues into The End, which is fitting for the last song (minus a bonus track) on the last album put together while the Beatles were still a band. The separate drum and guitar solos for each member is great. And hey, why not finish on a great lyrical one-liner. They really should've just cut Her Majesty but I'm just nit-picking now. Some flaws, but as a whole, brilliant.

Dang. This week I get Abbey Road followed by Rumours? Another masterpiece. I love Lindsay Buckingham's three songs - Second Hand News (my all-time Fleetwood Mac fave, pop brilliance), Never Going Back Again, and Go Your Own Way. The first two even more than the big hit. The guitar work is just so awesome and the sound just resonates (whether plucking or pulsating). All three are so energetic and fun. Stevie Nicks is at her ethereal best on Dreams and Gold Dust Woman - her voice is just so haunting and her lyrics are awesome. With help from Buckingham, her third song I Don't Want to Know is bursting with energy; great vibe. Christine McVie's songs dipped on Tusk but she brings it on Don't Stop (thanks to some help from Buckingham), Songbird (wow, powerful and beautiful), and You Make Loving Fun (song title says it all). Oh Daddy dips ever so slightly but it's pretty powerful too and now that I know the meaning behind the lyrics (Mick Fleetwood is daddy) it's pretty awesome. And I haven't even mentioned perhaps their greatest song, The Chain, a fierce collaborative effort (musically, lyrically, vocally) from all five (even John McVie gets his due here). This is an incredible album. One of the absolute best of all time.

The whole alternative indie rock Fugazi, Dinosaur Jr., and now Sebadoh thing is a bit too artsy for me. Critics love it but I don't think it's as good as they gush. It's not bad, sometimes really good, but I think there's a few too many of these albums on the list. I really came to enjoy Soul and Fire (nice balance of chords, plucking, and distortion) and Cliche (subtle but well-composed). Sister (good energy but the vocals...), Sacred Attention (also good energy, vocals fine), and Homemade (another subtler but deep piece) were also pretty good. But on other songs the time signatures or experimental touches or vocals are too off-putting; listen to Telecosmic Alchemy, Fantastic Disaster, Elixir is Zog, or No Way Out for what I mean. It's not awful, it's just too much trying to be creative.

Down to Zero was an amazing opening track. Reminded me a lot of Tracy Chapman with her low and sorrowful voice, powerful lyrics, and apt instrumentation (buoyed by solid guitar and piano). I thought I was going to fall in love with the album. But the next two songs were a bit of a letdown, the whole combination of vocals, lyrics, and instruments didn't seem to mesh for me. Her big single Love and Affection didn't do it for me at first but it grew on me (particularly the latter half of the song). So Side one was up and down, but the ups were really, really good. Side two was more even, and probably better on average, but none of them was a standout. People or Tall in the Saddle were maybe slightly ahead. It feels like 3.5 but not a 4.

Another solid effort from Chuck D and the Bomb Squad, and passable efforts from Flavor Flav. I think Flav is better on this album than their debut (911 is a Joke is solid) but overall I still think their debut album is slightly better. Maybe this one goes on a bit too long. A lot of cool sampling here (just listen to the opening track) and a lot of incredible lyrics. Some are tough to stomach (Meet the G that Killed Me...geez). I thought the best tracks for their combination of messaging and beats were Welcome to the Terrordome (despite some cringeworthy lyrics), Burn Hollywood Burn, the title track, and of course Fight the Power (although the version on Do the Right Thing is slightly better, except for the intro).

Just as good as, if not better than The Screaming Trees. Neither band I listened to at all in the 90's and I still have never listened to the Afghan Whigs until now, though I read an interesting article on them a dew months ago. They were grunge but not quite; a little more melody? Still angsty, still flawed vocals. But I really like the compositions and the way the guitars, bass, and drums come together on this album. And it's a solid bit of dark lyrics; the theme runs through it well even if there are hiccups along the way (Be Sweet - a little too forward, even if it was meant to capture a narrator's view). Best tracks were If I Were Going (minus the bees to open and close), title track (crunchy), Debonair, (minus the clap stuff to open; the guitar sound is what does it), Fountain and Fairfax (again, the pitchy guitar), Now You Know (though I get it if others feel like they're repeating that guitar sound), and I Keep Coming Back (droning sound gave this a much different but still cool feel than other songs). I definitely will go check out more of their stuff.

Samba de Bencao and the title track are really lovely and sultry. It's clear how good Gilberto's vocals are from these two songs, and Suba's production is pretty slick too (maybe more credit should be given to the musicians?). I was also a big fan of Mais Feliz (like Shirley Manson and Garbage sultry), Bananeira (great beats), Samba e Amor (great vocals). I'm less of a fan of the songs sung in English because I then realize how bad the lyrics are. August Day Song has some great instrumental again, but then words such as "I like to sing and do these things with you..." Ugh, tragic. Ditto So Nice ("someone to hold me tight that would be very nice" - yeesh) and Close Your Eyes. Sem Contencao also sounded a little too simple. There were times that I was creeping towards a 4 but then other times I was reminded how this album was missing some substance. Perfect for beside-the-pool listening and as much as I like her voice and some of the compositions, I don't think I'm pining to hear more.

Good vocals, because what else would you expect with Tracey Thorn. Ben Watt also provides some nice vocals on The Night I heard Caruso Sing. It feels like typical 80's fare musically - synth and drumtracks, thought some nice piano or guitar (Real instruments) from time to time. This album was nice; not sure how to better describe it. Enjoyable but not overly memorable. I'm not going to run out and listen to more of these two, but I didn't mind my time with this album.

I really enjoyed Agnus Dei, his operatic interest and skills on full display (great musical accompaniment too). It made for such a great start to the album, even though he changes styles a lot. For example, The One You Love was more indie pop/rock but fun, Peach Trees was more straight indie folk, and then Little Sister was back to a classical feel given the piano and backing instruments, though no operatic vocals this time. The Art Teacher and This Love Affair were another two favorites; simple and beautiful piano-driven tunes (reminded me of Adele ballads). And Wainwright's vocals are really strong - I was getting vibes of Jeff Buckley or Thom Yorke. Solid lyrics too. I got a little bored over the last few songs but overall this guy is good and this is a good album.

Psychedelic rock is another genre that I think is overrepresented on the 1,001 list. It's all the same after awhile and I don't see what all the fuss is about. And I am a rock fan. So yeah, these guys do really well to capture that fuzzy guitar sound with some eerie keyboard or synth going on in the background. It sounds like an acid trip. Were these guys pioneers of the sound? I don't think so. They epitomized the sound at the height of the psychedelic craze? Probably. Do I care? I'm not sure how much I do. It's not that this is a bad album, I'm just not sure how much I'd need to squeeze it in on my death bed. Let's go out positively - songs that I really, really enjoyed (above 3 star) were I Had Too Much To Dream, Are You Lovin Me More, and Sold to the Highest Bidder.

I read some of the background and I disagree with this being psychedelic. Neo-psychedelic? Maybe, but I don't know what that means. A sound that inspired bands like REM or the Replacements? I hear that in spades. Let's just go with jangle-pop/rock. I really enjoyed the first track I Wanna Destroy You. Other favorites were Kingdom of Love, Positive Vibrations, Queen of Eyes, and the title track. But looking back it was the first three songs and last two that were good, not sure about the middle five (I Got the Hots and Old Pervert were definitely not good). So while this was a surprisingly good album, it's really only half of it that's good. Feels like a solid 3.5 but not quite sure I should round up. Really wish I could give a half star here.

I didn't even realize the Bee Gees were a band in the 60's. Surprising that they have an album on this list from the pre-disco era. But I guess their best stuff is on Saturday Night Fever or Staying Alive, which they produced but isn't all their own. The album isn't bad, I just don't know what makes it so special - they sound like a knock off of the Beatles on poppier songs like You'll Never See my Face Again (or Whisper, Whisper) or Elvis on the half country/half gospel sounding Black Diamond or the Who on country songs like Marley Purt Drive. All solid tunes, and the title track was a decent prog-ish attempt. So the album is a nice listen, just not sure what makes it unique. Perhaps it's the orchestral backing and motif and I may not be appreciating how novel it was at the time. But it was around the point I got to Seven Sea Symphony that I really got that soaring and orchestral feel - that was a sweet sounding instrumental piece. The album kind of picked up for me on Side Three and Four (except for Give Your Best, ugh). Lamplight, I Laugh in Your Face, and First of May were also delightful songs.

Yeah Jack Elliott rambles alright. Each song has a meandering and possibly unnecessary intro from Elliott (and Woody Guthrie to boot). Then again, it's kind of the charm, giving the album a feel of a live performance and letting him put his own twist on the songs, which are rarely his. I don't mind his simple plucking and playing but I'm not rushing out to find more of it either. Next.

I saw this is pure theatre; it felt like a dark rock musical. And it's either Nick Cave's voice or his face but I kept picturing Matt Berry/Laszlo the vampire from What We Do in the Shadows. Anyway, the heavy material just felt like farce / satire or tongue in cheek; not bothered by it at all and it felt like a unique combination with the musical stylings chosen (lots of piano and pomp). Very unique, and as a genre it's worth being on the 1,001 list to know it exists. Solid 3 and I thought about a 4. The Curse of Millhaven (uptempo) and Death is not the End (somber) were my favorites.

This is Boring. Different Class was up and down but had some memorable songs. This is Hardcore is a snoozefest and it's no wonder I don't recall any of the singles. I kept waiting for the album to be over. There's nothing else to say - boring.

I don't think I knew any of these songs prior to listening to this album. It's a humming piece of music - a lot of great guitar and bass work, with good drum accompaniment. Kudos to Tony Iommi for taking on production. The lyrics continue to be dark, heavy, or desolating and it works especially with Ozzy's vocals. Favorite tracks were Wheels of Confusion (slow start, but it's a droning, emotional tune), Supernaut and Snowblind (both quintessential Sabbath with their pulsing starts to the songs, which keep going), and Under the Sun (rocking end to the album, great beat). Changes is different (sad ballad, not exactly their thing and at first I thought a bit contrived but it is a nice, soft composition) and FX is a throwaway to me, but it's still a solid album.

Now come one. Anita Baker gets an album on the 1,001 list and Whitney Houston gets zero? That's ridiculous. No doubt Baker can sing but there's only one Whitney. And this album has just as much 80's radio-friendly schlock as any Whitney album. Rant over, let's focus on Baker's album. Her voice is fantastic, the soft rock/pop/jazz accompaniment is cringeworthy. I don't know enough to say whether this album is a pioneer of the quiet storm R&B genre or just a well-polished example of it at its height. Yep, I'm putting this album on when it's throwback or guilty pleasure night. But otherwise? I'm not so sure.

Damn, this is a good album. I listened to 50 Cent's hits on the radio but I never listened to his album. There are a lot of great beats and solid lyrical styling on this album. Patiently Waiting is maybe the best song on this album - smart lyrics and a wicked beat. And that's saying something because In da Club is one of the best (at least catchiest) rap songs of the 2000's. P.I.M.P was also a damn catchy single. He definitely goes full gangsta most of the time, and I can't really connect with that (sometimes it's too much). But it's raw and honest, and not as studio-polished as some of the other artists of the time (ahem, Ja Rule who he constantly calls out, though tying it in with being gay in Back Down is shameful). I can't tell if he's pretentious or just confident - probably a bit of both and I'm not sure I believe he's as gangsta as he professes to be (he seems to admit that in the bonus track Wangsta). There's some stuff I don't care for, but again, this album is solid.

Sounds like quintessential shoegaze. I recognize the song Vapour Trail and I like it a lot; always have. I think I thought it was another band though (Catherine Wheel maybe?). If there was a best of shoegaze album (needn't be too long), this song should be near the top. The rest of the seven songs on the album are enjoyable if not forgettable. Seagull was a little too distortion-y but Kaleidoscope and Polar Bear were solid. Overall, the album is a nice listen as far as shoegaze goes. Perfectly average.

You can't grow up in Canada in the 80's and 90's and not know who the Cowboy Junkies are. That said, I was never a fan - not my scene. And that was their more rock country sound of later albums. But to their credit, this is a nice, sultry piece of country jazz. Margo Timmins' voice is perfect for their soft, suppressed style. Still not my scene and it's tough to get me too excited about mostly cover songs. I've heard it now, respect, and time to move on.

Interesting album. I definitely hear the Nick Drake connection - not as good as Drake but you can see where the friends have a similar style. The title track and Drake tribute is a bit hard to pin down but has a cool jazzy sound. Over the Hill is more accessible (and more Drake / Pink Moon-like). May You Never also feels very accessible; I prefer his acoustic guitar-centered version to Clapton's remake. The Easy Blues also had some great acoustic guitar picking and plucking. The very start of I'd Rather Be the Devil had me thinking Pink Floyd; much more intricate instrumentation than the other tracks at that point. Later, Dreams by the Sea has a Curtis Mayfield funk feel with again very different instrumentation, and I really dig it. Maybe my favorite on the album. Go Down Easy feels like another smoky jazz track until he starts singing and his higher pitch gives it a different folk flavor. All in all, the songs are eclectic but I like the variety and not many throwaways. Probably a 3.5 but he's getting a bump for the Nick Drake connection.

Lively Up Yourself is not a song I remember but it is a great start to the album. Then it's followed by the recorded version of No Woman No Cry, which pales in comparison to the live version (thanks to a hokey sounding organ and too much tempo). I usually don't like live versions better, but this is one of those songs. Lyrics are still very good. That track's production disappointment aside, the musical styling on this album is pretty good and so is his social and other commentary. Other favorites were the title track (funky grooves), Talkin Blues and Revolution (commentary), and Them Belly Full and Rebel Music (both grooves and commentary). Good album, but some flaws.

So apparently this is Elton John doing prog rock. I think I get it on an individual song basis but as a collection it doesn't all quite fit. I would've thought there'd be a few more songs flowing from one into another. Still, there are some really good songs with introspective or deep lyrics and booming musical arrangements - Tiny Dancer (who doesn't love this song?), Levon (always one of my Elton John favorites and now I get where it came from - part of some proggy story), Indian Sunset (a new favorite - Bernie Taupin did well on the lyrics for a difficult subject), and All the Nasties (just something about it). Razor Face is solid but doesn't always make sense to me as I try to listen to the lyrics. Holiday Inn almost felt like it was an extension of Indian Sunset given its instrumentation; might've been even better if that was the point. This album made me realize I don't really know Elton John's work as much as I think I do but makes me want to go figure it out.

What did Eminem say about Moby? "You're too old, let go; it's over, nobody listens to techno." I like Eminem's stuff more than I like Moby's but I think credit needs to be given where it's due. Moby made people listen to techno with this album. It's solid. And what he often did was take classic blues singers and make it sound like they were modern rappers. As in, you heard Gwen Stefani do guest vocals on South Side (a solid tune) and then wondered who provided guest vocals on Honey or Natural Blues? Nobody, he just mixed the hell out of Bessie Jones' Sometimes and Vera Hall's Trouble So Hard and made them sound even more classic. Kudos for bringing a bunch of great old songs (see also Find My Baby, Why Does My Heart Feel so Bad, Run On) to a new generation, including me. I don't love everything about the album. I never liked Porcelain (probably his biggest hit), not the instrumentals and certainly not his vocals - he does better when sampling like in Bodyrock (another big hit) or mixing heavier beats like in Machete (cool sound). The album also drags in the last third, though If Things Were Perfect has a wicked bass line and beat and the acoustic guitar (I think by Moby) on Everloving is admirable. Maybe it's because there's less sample vocals and the subdued sounds start to blend together. At any rate, for a guy who doesn't care much for electronica, this was a good effort. Not just monotonous or annoying beats.

Some observations. If 2000's emo thought they were the first to come up with novel, long-winded, and sardonic song titles, they need to check out Morrissey. And really he was emo before emo was emo. A very gifted lyricist and vocalist, and a key figure in the changing 80's music scene. I don't know how much different his solo stuff was from the Smiths, other than the music is lighter and less edgy guitar-oriented. But this is a great debut. I'm also not sure he was able to consistently deliver the same kind of quality solo as he did with the Smiths. But again, great start. Everyday is Like Sunday is my favorite of all his solo songs on any album and one of his best even including the Smiths. Beautiful and haunting delivery. Angel Angel Down We Go Together, Late Night Maudlin Street, Treat Me Like a Human Being (even if he wasn't trying to be, you can see why he was seen as a champion in gay circles), and Dial a Cliche are other good songs with that soft soaring vibe. Suedehead was also a big single and it's very good, but it has a different sound - more tempo, less despairing, and more criticism in its lyrics. Alsatian Cousin and I Don't Mind if You Forget Me are other good songs with more tempo and more of the Smiths feel - more edgy or jangly guitar. Margaret on the Guillotine was another song with much criticism in its lyrics (when wasn't he going after Thatcher?) but a softer style. It's a great tune with a great outro (wish it didn't end so abruptly). A few meh songs, but all in all a good album.

Rubbish. That's what I thought while forcing myself to listen to the whole album...the first time. But I kind of enjoyed the last double-track Rael and looking back I also thought Sunrise was alright (both had some Tommy-foreshadowing riffs), Medac was a surprise (I didn't realize it was a spoof jingle until halfway), and I Can't Reach You was decent after the intro jingle spoof. So, if I didn't think side two was rubbish and the last track of side one, I Can See for Miles, was the only track I knew coming in and definitely liked, maybe I should give it another listen. It was better the second time around. Still, flawed. My big takeaways were this. The Who also decided to do a psychedelic album? Yep, I'll be damned. Can they do it? Yep, a credit to their musical virtuosity. Do I think psychedelia sucks? Yep. Combine that with their whole album concept (faux pop, faux jingles, faux pirate radio) and the lyrics and vocals sound juvenile. But on second (even third) listen I was more forgiving of their instrumentation. They nail the acid-tripping guitar sound on Armenia City in the Sky. About 4 minutes into Rael (during part 2) they create some great sounds (pounding drums, laser guitar, pulsing bass). I Can See for Miles was always good re: instrumentation (and part of why I didn't realize how it was so different from their harder rock...but it is really psychedelia at its best). And as much as I don't care for this genre, they do just as good as the Byrds in their vocal harmonies on songs like Mary Anne with the Shaky Hand, Tattoo, Our Love Was, and Relax. Hell, at times they reminded me of late Beatles albums. Even on first listen I had to hand it to them for creating a concept and sticking to it. As strange as the faux selling out was, they showed they could create pop drivel like others and have it not sound like complete crap. Again, I was kind of nodding along to Medac and Odorono also sounded like a real song not a jingle. But I still don't quite get this album. I'm not willing to listen to it 5-10 times, but I wonder if I did whether I'd give it a 4.

Strange, different, cool. That's how I'd sum up this album - and Nick Cave and his band in general. Not as much theatre as Murder Ballads, but still some sordid tales in there. What I like more is how they go for it on the rock side of things. Not all songs, but there's some great musicianship going on at times. Get Ready for Love is like modern blues rock - great start to side one. Hiding All Away similar but different at the same time - cool, pounding sound with some organ zeal? Messiah Ward was more sweeping (almost Peter Gabriel-like) but very cool. There She Goes, My Beautiful World is one of my favorites on the album - great tempo, great humming guitar and bass with some rocking piano to add a little blues edge. The rest of side one was solid too and then we hit the strange with the last song Fable of the Brown Ape and the first song on side two The Lyre of Orpheus. Just weird lyrics and story-telling (theatric Drake). But interesting beats to go with it, and you know I kind of dug them both. Side two is definitely stranger or more eclectic overall, less rock and more ballad. Maybe not quite as good as side one but still solid and some real winners were Babe You Turn Me On (yowza lyrics but a nice soft beat and I love his atom bomb sound effect right at the end), Easy Money (great rhythm and vocals), Supernaturally (still some rock on side two), and O Children (almost gospel). That last one may be the best track on both sides - deep lyrics, sweeping sound with just the right amount of sharp piano to contrast, and great blend of Drake's vocals and his backing singers. I know right now I'm not going to love everything by Nick Drake, but this one was very good.

I saw Destiny's Child's Survivor was next so I rated it first. Didn't want to be swayed by how much I love rock and love this album in rating those girls. But one thing I said about Survivor is there are incredible rock albums with throwaway lyrics and Back in Black was exactly what I meant. Sex, drugs (or booze), and rock & roll - that's all this album is about. Nothing deeper than that. And it kicks serious ass. A classic for a reason. Still amazed how they pulled this off when Bon Scott had died just a few months before. It's all about the energy - both new boy Johnson on vocals and Angus and the gang on instruments. The riffs and beats are super catchy. But deft enough to admire their musicianship. So many incredible intros too that just suck you right in - Shoot to Thrill, Back in Black, You Shook Me All Night Long, Shake a Leg (maybe their sneakiest best after the first verse). They may not have another 5-star album in their collection but this one is 5+. I don't know how you cannot bang your head to the beats.

Catchy as hell. I mean, the first three tracks were massive hits and that's because they took/sampled the right beats, put them on repeat, and combined them with some of the best pipes in the business at the time. I love meaningful lyrics and this ain't that (Independent Women and Survivor are well-meaning but a little drivel-y) but you have to tip your hat when Bootylicious and its lyric "I don't think you're ready for this jelly" are now both pop culture mainstays. That's kind of this album in a nutshell - trying to empower women and be some new age feminism, sometimes doing that (The Story of Beauty) and sometimes sounding like juvenile schlock (Apple Pie a la Mode, Sexy Daddy) or even taking down other women (Nasty Girl, Fancy). But the beats are tough to resist. Rock is my thing, and there are rock albums out there that are 5-start despite throwaway lyrics because the music slays. This is close to that. The first third is banger and the middle third holds strong (with a different feel in the upbeat Happy Face and sorrowful Emotion) but the songs dip slightly in the last third. A strong 4, maybe it deserves more.

I don't know, I feel like I'm missing something. This album is good, at least average. Cee Lo Green can sing and he can rap, which includes spitting out good rhymes. This album must be on this list for its fusion of hip-hop and rap (and soul? I don't know); I see it as part of that 2000's Georgia hip hop sound (like Outkast). I enjoyed it but I wasn't dying for more. Soul Machine had a cool beat but was a bit bragadocious. Living Again and All Day Love Affair were the real soulful pieces. Glockapella, When We Were Friends, and Sometimes as a trio really show his lyrical depth. Good collaborations with Timbaland (I'll Be Around), Ludacris (Childz Play), Big Rube and G-Rock (Scrap Metal).

I enjoyed this album, but I found the background on the Bakersfield country sound even more fascinating. Gotta give some props to a pioneer of a genre. And it's not one I completely hate, even though I'm no fan of country. A lot of nice wordplay and just when you think I'm going to say one thing, I say something else (Trouble and Me, The Band Keeps Playin On). Act Naturally might be the best example of this (great tune), but it's a bonus live track (released as a non-album single a couple years before the album) so I don't count it. It's also penned by someone else. Still, this style is honest story telling often about relationships or one's own demons, not the cutesy try-too-hard stuff new country attempts. Good sad songs (Let the Sad Times Roll On, If You Fall out of Love With Me, Cryin Time); the plucking and slide guitars, the tempo, the lingering vocals. And decent love songs (Fallin for You, Gonna Let the Good Times Roll); more rollicking, straight forward lyrics. And maybe they're at their best when they go up-tempo (title track, Memphis) - you hear that country & rock combo. Curious if Owens and the boys coined the term Wham Bam (thank you ma'am). I don't know if this is quite worth a 4, but it's a real solid 3.

So what to make of an album that the artist hates and that no one paid attention to for decades? I'm trying to figure it out - I think the angle is I need to hear this because Dion was a teeny bopping doo wopper 15 years earlier and this was a much more mature sound. And yeah I know his big hits and this is way different. So relative to himself you need to hear it. Relative to the music industry? I'm not sure. But I will say this, I really liked it. His voice was captivating and crazy ahole Phil Spector made many of the songs sound soaring. The opener Born to Be With You perfectly captures that soaring feel - it did not feel like a 7min song (nice little sax solo in the middle). Make the Woman Love Me was a great follow-up. And then Your Own Back Yard - kudos to Dion for writing some deep, personal lyrics about his rampant drug habit. Solid song. Only You Know was also very solid (his vocals just resonate) and then there's New York City Song. Absolutely beautiful (and sad) lyrics and vocals from Dion. The song caught me completely by surprise even as I was enjoying the album already. And that's when it hit me as to what this album was capturing - a John Denver kind of folk (with some Spector adds to give it an R&B musical backdrop). That's a good thing on a song like In and Out of the Shadows but a little much on a song like Good Lovin Man. I can honestly say that I will put this album on again (and again) when I need an album to play on repeat for a couple hours. I never would've listened to it if not for this list, but glad I did.

Ugh. The 80's. So much junk and weird stuff happening. The music scene was all over the place. And thus we get this. Somewhat interesting or redeeming that they have heavy sax, brass, and congas alongside the regular instruments. But otherwise I didn't care for it. I didn't hate it and I didn't quite reach for the off button, but it was close. Feels like a coin flip between 2 and 3. It's been awhile since I gave a 2 so there you go.

I listened to the album and then I read details about it. I have to agree with initial reviews - meh. I don't get what retrospective reviewers say and why this album is thought by some to be so great. I felt her earlier album on this list was better. Son of a Preacher Man is a classic. It still holds up well. Many of the other songs don't. Or they're missing the soul that is supposed to be in this soul album. I'm not saying it's a bad album, I'm just not sure what all the fuss is about.

Very spastic. I didn't get it at first and I didn't get the point of the screaming vocals on the opener Skunk (or the closer ). But as the album went on and as I gave it a couple listens I started to get a feel for it. There's a lot of funky rock going on that plays with a bunch of different sounds. But there's a solid rock undertone to it, even with all the distortions, odd changes of pace, etc. This album is unique that's for sure. Not sure I'm going to explore the band more but I did enjoy songs like Identity, Wail, 2Kindsa Love, Hot Shit, R.L. Got Soul, and Get Over Here.

I really enjoyed this. I'm not sure I knew of this band before but I can hear how much they are a go between of 70's punk and lots of stuff after - 80's post-punk and goth rock (the Cure, the Smiths, even REM), hard rock (Metallica), industrial (some of the more mainstream Nine inch Nails), noise rock (Sonic Youth) and even grunge (maybe the grittier side, like L7). The first three songs did it for me. Requiem just comes pulsing in with the synth (a great undertone for the whole song) and then the drums and bass and guitar nail it. They don't always do much on lyrics (maybe just a few words repeated) but this one had more lyrical depth. Wardance is a bit much with the modulated vocals during the lyrics but the chorus is solid and the sound is great. Tomorrow's World felt a bit familiar given the first two songs but still different - not the same synth (more high pitched bell) and awesome scratchy/distorted guitar (e.g., that grunge effect). Not that it ended there. Bloodsport (track 4) reminded me of Elastica - maybe another band inspired by these guys? Again, it's just a simple beat for each instrument but they pound it in the right melody. The Wait (track 5) was almost as good as Requiem - and actually something to say with the lyrics. Complications (track 6) felt like Metallica meets the Cure - the opening has a harder rock sound but it gives way to some almost synth-pop/rock sound in the chorus. Primitive (track 8) had some killer basslines - not quite Primus material (or The Fall's Blindness) but a cross of that and Sonic Youth. I don't know if I quite count Change (track 9) because it was only on the US version, but it is damn good. Great tempo despite minimal lyrics (and I love when they turn up the tempo about a minute in). I've been listening to these guys all week (this album and more). That's a sign of a good album. I love these kind of surprises.

It's not bad, but still kind of meh. I mean sure, boy band member goes solo and puts out a slightly less pop album. But it's still pop even with the rock elements. And it's not like he added anything rock to it; he's not playing any instruments, just singing. So I don't get what the big deal is even though I think Robbie Williams carved out a nice solo career and he showed he has talent. I did particularly like the screw you ode to his former teacher in the bonus track - good lyrics and wordplay. Let Me Entertain You was my favorite actual song - almost a modern Elton John feel to it. Baby Girl Window wasn't too shabby either. A solid 3 but I don't think I can give it more.

I don't know. Am I supposed to give this album more credit for its pioneering of psychedelia or use of sitar? It's a landmark album for sure, but it's just meh. The two hits are awesome (Sunshine Superman and Season of the Witch) but the others are just kind of beatnik blase. Maybe Bert's Blues was ok. The rest I just can't get into.

Well, at least that was only 33 minutes. I actually don't mind the instrumentation - yes it can be manic at times but there are some decent beats, even melodic at times. The guitarwork is actually pretty impressive. But the vocals. Are those even words? Later bands like Slipknot, while not perfect either, show it doesn't just have to be grunting all the time. I get why this album is on this list - every genre needs to be listened to at least once. It's just too hardcore for me. I did think about a 3 though.

I enjoyed this album. It's not a masterpiece but very solid. Stylish beats, like a mix of soul and rap. Cool sound. Pretty deep (and at times funny) lyrics, though I couldn't always figure out what his message was. Like the end of The 6th Sense and A Film Called PIMP. Is he trying to be ironic or sarcastic? Is he playing the oblivious heel on the latter on purpose, so MC Lyte can be the heroine? I guess he got me to think, so some credit there. It's at least a 3.5 and I'm going to round up.

I didn't really get Dinosaur Jr. when I was younger and they were making noise in the 90's. But I like them a lot better now. I still think J Mascis has flawed vocals that can be difficult to listen to sometimes, but he composes some solid songs. I don't think I have ever listened to this album or its only single, Freak Scene. But both are solid. I thought the first three songs (No Bones and They Always Come) really do a good job of introducing that new (at the time) alternative sound, with furious but not quite distorted guitar (and pounding drums) and odd time signatures. And even though the vocals leave something to be desired, the lyrics make you think. They were/are unique but I have a lot of respect for their sound now. And this album does that justice. I'd say Don't is the only song I didn't really enjoy, maybe should've kept Lou Barlow off vocals. Or maybe that's why I like the Barlow-led Sebadoh less.

So indie pop/rock. I feel really conflicted about this genre, of which maybe Belle & Sebastian helped to re-invigorate for its explosion in the new millennium. I like some of the bands in this genre (Band of Horses, the Decemberists) while others I like some of their songs but get bored quickly (Death Cab for Cutie, The Postal Service) or just can't stand (The Dandy Warhols). For the most part I hate that alternative rock is now synonymous with indie rock, such that it's this soft shit that you get when looking for stations or playlists of the alternative variety. Oh right, I'm supposed to talk about the album Tigermilk. I was intrigued by the first two songs (The State I Am In is quite good) but got bored quickly. I was already looking for something new to listen to by song three. That's not quite fair because I don't think this album is bad, it's just par for the course for indie pop/rock and me. I can only take so much, especially when they get too experimental or cute (looking at you Electronic Renaissance and I Could Be Dreaming). When I go back and listen again, indie bands like B&S aren't that different from 70's folk like Simon and Garfunkel. It feels like they're going for a similar sound, they just aren't as good. Not bad mind you, just not as good.

Karen Carpenter has a great voice and it is on full display on the two big hits, We've Only Just Begun and Close To You. But some of the songs were kind of lame (cheesy instrumentals) and didn't get the best out of her vocals; Love is Surrender, Reason to Believe (Rod Stewart did it better), Mr. Guder. Help wasn't bad (no Beatles, but decent). It's better when Richard Carpenter is playing simple piano pieces with Karen belting out across her various vocal ranges (Maybe It's You, Baby It's You - hmmm, very similar). His sole lead vocal performance (I Kept on Loving You) was okay. There are more good songs than lame songs but I don't feel like this is more than 3.5

Tough one. This album is for sure a 4. I remember listening to it maybe 20 years ago and gushing over it, although maybe it was just Suite: Judy Blue Eyes. Or maybe it was a best of album (since I thought I recalled that song being at the end of the album). Anyway, I still love that song and it is my favorite CSN or CSNY song. But geez, Marrakesh Express kills that mood quickly; I hated that song from the get go. Guinnevere helps bring it back. Maybe I would like it even more if it was placed right after Suite: Judy Blue Eyes. It is a sneaky great track in my opinion; very harmonious and beautifully composed despite feeling a bit unusual. I definitely also love the final 3-song sequence of Hopelessly Hoping, Long Time Gone and 49 Bye-Byes. A little bit of everything that this album offers - sweet and sorrowful, deft guitarwork, incredible three-part harmonies, and very clever lyrics. So then what about songs 4-7? That really does it for this album because 5 great songs out of the other 6 makes it an absolute gem. I enjoy You Don't Have to Cry but I don't care much for Pre-Road Downs (different musical style, so some respect but just didn't resonate). Wooden Ships is very solid, with some really neat guitar work. I also don't care for Lady of the Island - and looking back I realize I detest all the Graham Nash songs. The Hollies were right to say no to this song and Marrakesh Express. So if this was CS, it'd be a 5. Of course the other 7 songs wouldn't be the same without some N influence. But Stephen Stills was always my favorite and I love his four songs. David Crosby's three songs are pretty darn good too. So hard. I don't feel this is quite a 5 in its own right, but it's probably a 4.5 and what these guys did in changing folk rock is noteworthy. So as their debut, they get a bump and it is their best album in my opinion, so I doubt I'd give any other one a 5.

I gotta say I'm digging Ryan Adams. I'm not sure what makes his albums so monumental that they need to be listened to before you die, but they are cool folk rocking pieces. Can I keep giving him a 4? That's where I sat after listening once and restarting the album. On multiple listens, I felt like half the album was just okay. I didn't really care for Tina Toledo's Street Walking Blues or Nobody Girl and When the Stars Go Blue is overrated in my opinion. Maybe there was just too much material - he wanted a double album but it was still a bit bloated even with the record company cuts. However, I really freakin' enjoyed New York New York, Firecracker, Answering Bell, and Gonna Make You Love Me (all rocking pieces) and La Cienega Just Smiled, The Rescue Blues, Sylvia Plath, and my favorite Harder Now that It's Over (all beautiful softer pieces). And I liked how Goodnight, Hollywood Blvd trailed out but I didn't love the opening of it as much. I also liked how his vocal style or pitch changes on certain songs (see Somehow Someday for verses, where his vocals sound different than in the chorus and most other songs). Except for the fact that he's a bit of an ahole and a womanizer, he's sort of the new millennium's version of Bruce Springsteen. Not quite as good a lyricist, but he has that Americana sound and musical dexterity. So maybe I get why he's on this list a few times. And I will definitely go look for more of his music (even though my sister will hate me for supporting him). But I still think this album is too up and down and too long to rise above 3.5.

Growing up I didn't love all Talking Heads songs, but I always loved Once in a Lifetime. It was probably the first song of theirs I remember ever hearing. It is still magical. It's the fourth song on this album but damn if each of the ones before it isn't awesome too. I didn't know about Fela Kuti until listening to this list but he rocks. You can totally hear their homage to him and African sounds on these first four songs. Really cool and unique (Crosseyed and Painless might be more second favorite on the album). I don't love the second half of the album as much, probably the beats just aren't as good. But Houses in Motion (best beats of the last four songs) and Seen and Not Seen have pretty neat lyrics and vocals (weird and wonderful David Byrne) and The Overload is sneaky good (the droning sound, fit for Joy Division, doesn't quite mesh with the rest of the album's style but it's cool nonetheless). Very solid album but not quite great in my opinion.

Meh. Disc one was decent, with very different styles from song to song. Afterglow, Long Agos and Worlds Apart, and Song of a Baker were the best, in my opinion. The fuzzy guitar sounds in the title track are admirable too and Lazy Sunday is cheeky fun (feels like an inspiration for Blur). Disc two was strange. Without disc two would this album be on this list? I'm not sure. I didn't mind the strange narration and splicing of songs; it's creative I guess. I don't think it's all that noteworthy though. So an eclectic and admirable mix on disc one and a kooky theme on disc two. On the strong side of 3 but still meh.

Get back to me when there's a 60's Beach Boys album, or best of their stuff before 1965. Sorry if I'm pining for cliché bubble gum pop and what these guys started out as, but they were great at that. This album is fine, and shows they still had talent even when they weren't firing on all cylinders or working together well. But there are far better albums than this, by the Beach Boys or others.

If you're going to do a 2 hour two disc set, it better be off the wall. This was good, but not that good. There are a lot of talented musicians that joined this recorded jam session. It's a cool idea and I get why the album should be on the list - you're not going to find much else like it. But man, 2 hours? I couldn't focus on it that long and it didn't move me so much that I want to give it another go.

Not as good as their first album but then that was a tough act to follow. This is still pretty good; sneaky good. It really grows on you and you start to realize how good Hendrix was at composing songs and you're reminded just how good all three were as musicians. If you like uptempo Hendrix (think Crosstown Traffic from Electric Ladyland), the 3-song sequence from Spanish Castle Magic to Wait Until Tomorrow to Ain't No Telling will be up your alley. Blazing. You Got Me Floatin has similar vibes. If you want more bluesy, slower tempo Hendrix (think Hey Joe) then you need to check out Little Wings, Castles Made of Sand, One Rainy Wish, or the title track. Personally, I think If 6 was 9 is the best song on this album. It showcases Hendrix, Mitchell and Redding - pulsing bass and drum lines to go with sweet guitar licks. And it oozes cool with Hendrix' lyrics and varied vocal delivery. Maybe not their best work, but still very solid.

I know who Billie Holiday is but I don't know her work (never been into jazz) and I would have no clue if you played one of her songs and asked "who this?" I was struck by how raspy her voice was and, after reading, yep it was years of abusing that body and being near the end of her short life that contributed to the sound. I went back to listen to her very first big single and it's not that different - the style is similar, but yeah, she's got a little croak to go with her normal horn-like pitch. Still, she is smooth as satin. And I don't mean vocally. But her timing, her emotion. It's smoky satin. Credit to Ray Ellis and his band too. Quite simply, this album is emotionally powerful. It's like an over the hill athlete or actor who you think has nothing left and they go out and give one final (well, second last) signature performance. Like Kobe's 60 points in his last game, Elway's MVP performance in his second last super bowl, almost anything Clint Eastwood or Helen Mirren have done in the last 20 years. Fictional, but the last Wolverine movie Logan (love that film). And you realize that's why she's a legend. Holiday is flawed but she still finds it in herself to bring it on this album. No, not perfect (as she says on You've Changed "You're not the angel I once knew") but still darn good.

This album is really, really good. Like Metallica Black album good. Which is why I found it so strange that it's average rating is below a 3. Sure, it's thrash metal and that's not everyone's cup of tea. But there is a lot of melody surrounding their frantic playing, which is why I think they were part of the thrash elite. Same as Metallica. They found a way to make what some though was the devil's music a little heavenly. I have never listened to Anthrax before except for their mash-up with Public Enemy, but I loved the first three songs (title track, Caught in a Mosh, I Am the Law). Pounding but melodic instrumentals (so many good hooks), respectable lyrics and vocals, and enough complex/odd time signatures to make you realize these guys had some real ability. The lyrics were edgier and sharper on side two (Indians, Imitation of Life), where the music was just a little less sharp. But still a great listening experience. Anthrax really nailed it with this album. I think it's an absolute classic.

Very British-sounding garage rock. I don't mind it but it's hard to distinguish it from other garage rock bands of that era. Two frontmen who share guitar and vocal duties. Ok fine, but not in some kind of Lennon & McCartney way - feels more mashed-up. I think I knew the song Can't Stand Me Now coming in and it's my favorite. Most polished beat? Most synergetic between the two frontmen? What Katie Did might be the only other song where I stopped and paid attention for a few seconds. Maybe Campaign of Hate or What Became of the Likely Lads too. Feels perfectly average.

I have never listened to this album from start to finish, though I've heard many of the songs on the radio. Wow. It is the definition of seamless. The way all the songs on side one blend together, and ditto on side two. Masterful. And incredible when you think that DJ's put individual songs on the radio and they still sounded great without their connections to the other songs. I always thought the sound effects on Money (even Time) were a bit much but not when you hear the different effects and loops together in one go. Those pieces were some of my favorite parts of the album - the effects in On the Run maybe being the best of all. And the whole theme/concept and the lyrics are incredible. This is songwriting at its finest. Probably my favorite Pink Floyd album of their big three.

I'm starting to think this list isn't all that random, since this Brian Eno came about 5-10 albums after getting the Talking Heads African-inspired album Remain in Light - and the last Eno album came right after Bowie's related album Low. I'm also starting to think that I will never fully understand Eno, but he is intriguing. This album isn't bad, though maybe a bit too spastic with the sampling - like it's too manufactured. I was missing those clear points of authenticity that I could really connect with to put this above a 3. Side one was pretty good. The Jezebel Spirit is awesome. that is my favorite on the whole album. Regiment and Help Me Somebody are other cool-sounding (African roots) songs from side one, though the latter feels less original after listening to the Talking Heads album. Side two wasn't quite as good, though Very Very Hungry (the first on that side) is my favorite. I kind of wish I could hear the song it replaced (Qu'ran). Moonlight in Glory was also decent. So maybe I'm getting to the point where I feel like Brian Eno doesn't really do anything bad, but I don't think this was his best.

I think three of the first four Kings of Leon albums were all on this list and have subsequently been removed. Funny enough it's their one before this (#3 - Because of the Times) that is my favorite. Still, this is probably my second favorite and where I first discovered the band. I remember when Sex on Fire was all over the radio and I was not interested at first. And then I really listened to it and I loved it. Still do; it never gets old for me. Some of the other songs have got old/tired - Use Somebody is one I now radio surf when I hear it and 17 was always a bit of a reach. But I still love how they open and close the album with Closer and Cold Desert (both eerie and awesomely haunting). And Notion still rocks every time while I Want You is one of those great cheeky songs with an off-kilter beat they seem to have on every album. It's not a perfect album but it's a solid piece of rock during an era where rock was dying (and has continued to die). These guys were a breath of fresh air and this album was massive. I don't think I can bump it up to a 5 because they had already started to blaze a trail in the early 2000's with their first two albums, it's just that North America wasn't paying much attention (England was). But in 20 years when we look back and ask what did we define as rock after 2000-2002 and where did rock go by 2020, this is one of those albums (and bands) where we can say, ah there it is. I'm saving my 5 for album #2 (Aha Shake Heartbreak) where they first really figured out their great sound and were still pretty new.

After Cohen's debut album came up on this list and I fell for it, I went out and listened to more of his work. I think his debut is better, and more trailblazing or novel. But his incredible lyrics continue, and when he combines it with his soft plucking (apparently, his "chop") - like on Avalanche or Famous Blue Raincoat - it's spinetingling. The latter might be my favorite song of his whole catalogue. Listening to Joan of Arc was like reading The Power and the Glory or The Grand Inquisitor - such clever takes on key religious figures and what they truly yearn for. If you don't care for lyrics, you probably won't care for Leonard Cohen. Even if you do, you still may not care for him. But I think he's brilliant and deft on the acoustic guitar. His flawed vocals are a bit more on display here (Diamonds in the Mine, yikes; Dress Rehearsal Rag) so I'm not giving it a 5.

Meh. Seems like another album that is hear a lot more for context than sound. And I don't really know that context, aside from what I read. I guess it ushered in a new era of synth pop & fashion (New Romantic) that was about androgenous looks and something softer than punk or glam rock. If they hadn't been one of the first to move this direction, would this album be on this list? I doubt it. I didn't hate it but I'm not looking for more of it. Next.

I don't get it. Tucson and Arizona had a pretty good music scene in the 90's and early 2000's from what I remember but I don't remember these guys. They sound a bit like a softer version of the Butthole Surfers - unusual sound and not quite singing vocals. I was already looking to turn it off on song 2 (song 1 was just instrumental fuzz), feeling got stronger on song 3. On song 11 (of 16) I was screaming come on, when will this end. Is it the worst music that ever existed? Probably not. It's soft and not abrasive. But my god is it boring. I didn't want to turn it off before giving it a complete listen, but I'm sorry, couldn't do it. I advanced through the last 5 songs just to check out some of each. But no.

This was a difficult album to find in its entirety. Anyway, the Title Music was cool - had that caper/heist film feel, especially with its opening riff. After that, it wasn't bad but it didn't grab me like some other soundtracks. Maybe it didn't quite fit cohesively or maybe some of songs weren't as good as others. One Two Cha Cha Cha is kind of fun and can get stuck in your head, even if not all that deep (catchier than Baby Let's Dance Together). Aaina Wohi Rehta Hai had some great vocals. Romantic Theme felt like an old western tune, I kind of liked it. Countess' Caper was also slick with a jazzy cat burglar feel, until it turned polka (meh) and then old western (cool) and then killer menacing before ceremonial and celebratory (weird). Too many style changes perhaps but otherwise really cool in parts. All in all, a fine album but not one that I can't wait to tell all my friends about.

Clearly a 3, is it a 4? I'm always a big fan of concept albums, though I have to get the concept. I think this one was fairly evident after a listen or two. On first listen I was trying to figure out what Victoria was all about - fun song (maybe the best on the album) and cheeky lyrics but what was the point? And it became more obvious as I kept listening. It kind of reminded me of the SF Sorrow album in that certain characters were of to war, but the songs are punchier (Yes Sir, No Sir) or deeper (Some Mother's Son). Overall this album is more energetic and cohesive than SF Sorrow. I didn't love everything but I dug a bunch of tracks, some more uptempo (Brainwashed, Australia, Mr. Churchill says, Nothing to Say) and some a little more sombre (Young and Innocent Days). I quite liked Arthur too and wondered why it wasn't the first songs, so as to set the stage. But realizing this was supposed to be a tv soundtrack, I can also see how this is a recap/closing credits kind of song. I've always thought the Kinks had qualities in the Beatles in them and I think you hear that on this album - different styles, solid lyrics, solid playing, and a thoughtful attempt at putting together an album that is connected from song to song. A solid rock opera/musical.

I assume this album made the list because it was the first time the Monkees got to play their own instruments. And yeah, they're not virtuosos but they're not bad. I think we forget that the majority of humans can't play an instrument worth a lick (myself included), so even average professionals are still well above average. And they could still sing. Overall it was a fun album devoid of any really big tunes (though You Told Me, You Just May be the One, I Can't Get Her Off My Mind, No Time, and Randy Scouse Git were all very solid...and very 60's pop) but also devoid of any true clunkers (even Zilch was kind of cheeky fun). Good for the Monkees to show they could do their own thing and not suck.

I don't know, I just don't know. You prog lovers will probably enjoy this more than I do. Wyatt puts a lot of weird stuff together and it's not always off-putting, though Alifib and the sex-panting or Alife and the voice that ends up sounding like C3PO was. So what's the deal? Is this a good prog album or is it just here because Robert Wyatt was paralyzed before putting it together? If it's the latter, that's a bit of BS because why should we assume that someone paralyzed from the waist down can't do good things? Don't give it acclaim just because you thought he was crippled. I didn't think it was all that special from a prog rock perspective. I found it boring at times. If I didn't know the backstory, I'd say it's a 2. So that's where it stays.

If only this was a best of XTC album, I could probably give them a 4 or 5. They have some songs that I really love (many not on this album and from a bunch of different albums) but they're so all over the place. Their lyrics are usually very good, and this album is no different. In some ways I wish someone else got ahold of them and added different music to back up the vocals or changed the melodies altogether. Take That's Really Super Supergirl. So cheeky and clever, and so ahead of it's time (I think a lot of 90's rock had the song's sardonic MO) but the tempo and the instrumentation is just a bit off. It could really kick ass if remade with a different sound. Other songs, like Summer's Cauldron sound cool at times and then off other times - just as I'm getting into it I find myself saying why'd you do that/make it sound that way? They can do it (harmonize) because they have some nice segues from song to song (Summer's Cauldron to Grass, Ballet for a Rainy Day to 1000 Umbrellas), they're just inconsistent. Dear God is the one song that they really nail - the lyrics are both cheeky (I pray you can make it better down here, I don't mean a big reduction in the price of beer) and incredibly deep (did you make mankind after we made you? and the devil too?) and the musical accompaniment is so on point. Earn Enough for Us is another song where they seem to better match up vocals and music. All in all, like their whole catalogue, this album is an admirable but even collection of songs.

This is not a perfect album but it is a great blues rock album. The combo of Eric Clapton and Duane Allman on guitars gets all the attention (and they are quite the duo) but the combo of Clapton and Bobby Whitlock on songwriting and vocals should not be overlooked (plus everything else Whitlock brought on keys and his background working with Booker T). This band had a great sound, even if not everyone loves Clapton's vocals. They could just jam and you get that epic and endless blues jamming on some very cool songs like the 3-song sequence from Anyday to Key to the Highway to Tell the Truth. In general they do a great job on some old blues classics like Have You Ever Loved a Woman. Keep on Growing and Why Does Love Got to be So Sad are their own creation and more of the new blues sound (thinking Traffic), but it's a great sound. Bell Bottom Blues is probably my favorite of their songs aside from Layla - great desperation blues with an uptempo beat. And then there's Layla. That opening, those riffs. Clapton and Allman are ridiculous on this song. It's too bad they never put together another album because it would've been cool to see what they could do after ironing out some of the imperfections and tightening up their sound.

Yep, this has Bowie's fingerprints all over it. It's interesting and has some cool electronic rock sounds that Bowie was mastering at the time. And it's also cool to see Iggy crank out some lyrics to fit Bowie's arrangements. But Iggy isn't the same vocalist as Bowie so this one doesn't work as well for me. This very well might be one of those albums that really clicks after 5 or more listens, but I'll just wait to listen to Iggy's follow-up. Not bad, but nothing more.

These guys were always smooth. This album is no different - slick jazz hip-hop. But it lacks some variety. The songs blend together, which is cool from a chill vibe perspective but not from a unique thing perspective. The songs that did stand out were awesome - Excursions (perhaps because first song), Show Business (witty/clever lyrics), What? (again, super witty/clever and cool beat), Scenario (good energy). When I sit down and really pay attention, the songs are more varied but the really great albums don't require that effort to truly love. Still a very good album, but not great.

The dueling guitars are awesome, particularly on the first song Lam Tooro. I absolutely loved that song from the first few plucks; the vocals fit so well, they just hum alongside the instruments. But honestly I was a bit disappointed the rest of the album didn't consistently live up to that standard. It's all melodic, even hypnotic, but the other songs didn't feel as fresh or unique by the time I got to the end of the album. I did listen to the album many times though and other standouts that really pricked up my ears were Salminanam, Sehilam, Kettojee, and Ko Wone Mayo. All in all, this was a cool album and one of those I never would've listened to otherwise but am glad I did. Almost went with a 4.

I don't know anything about Tim Buckley or his various musical styles but I found this attempt at funky R&B fused with a debauched sex odyssey theme a lot of fun (love his backing band and that jangly piano). His vocals and approach reminded me of Dr. John and even Nick Cave (goes deep on a theme), and I've been pleasantly surprised by their work. I don't know if it's the album's energy or the complete lack of apology in his cheeky lyrics, but I really dug it. Move With Me is like a raunchier (but still funny) version of Give me Two Steps by Skynyrd. Sweet Surrender shows his vocal range. Nighthawkin' and Make It Right had the intensity and funky beats reminiscent of Disco Inferno by the Trammps or Showdown by ELO. This album is just cool.

Now on this album, the Queen of Soul is on fire. Her earlier album (with Respect on it) felt dated or like it was missing something from time to time. But not this one. Lady Soul yanks your soul right out of your body. My spine tingled (I am not kidding) on 4 out of the first 5 songs. Chain of Fools and Money Won't Change You are absolutely electric (the latter just as electric as its maker James Brown), and it's Aretha's vocals that do it. And then her voice soars on some of the slower ballads like People Get Ready (a great remake) and A Natural Woman. If you don't know why this woman is so revered (I admit I didn't totally understand), listen to this album and now you know. Damn, what an absolute treasure she was.

Good but uneven album. Woody Guthrie's lyrics are pretty darn good, because of course they would be. Sometimes funny or cheeky (Walt Whitman's Niece), sometimes full of emotion (At My Window Sad and Lonely, Another Man's Done Gone), and sometimes real deep (Christ for President). But it's both Billy Bragg's and Wilco's compositions and delivery that were at times boring or so-so. The songs I thought were really well done were Walt Whitman's Niece (actually felt like a collaboration in harmony), Way Over Yonder in the Minor Key (heard it before and always liked it), Birds and Ships (because man oh man is Natalie Merchant's voice beautiful), and Hoodoo Voodoo (fun and energetic).

Yawn. Their song America Snoring seems to aptly describe this album. Nothing terrible, nothing overly special. Also, I'd like to think I know 90's rock but I don't know who these guys are at all. They're in that whole Wilco camp, which is more alt-country rock. Regardless, I'm not going to listen to more of their stuff. A 3 might be generous.

If Sonic Youth would just stick to the great stuff and avoid going on too long and or being too full of itself with its experimenting, this would be an amazing album. Like look it me, I'm making this annoying scratchy high pitched sound (or singing gibberish) just because I can - see Nic Fit and Creme Brulee. In contrast, Tom Morello would drag his amp plug across his guitar but make it sound melodic. That said, the first half/9 songs is really good. When Kim Gordon sings, especially on on Swimsuit Issue and Drunken Butterfly, there's this great combination of screw you and what do I care. And the music twists and turns but it fits just right; ditto on the Thurston Moore-sung 100%, Theresa's Sound-World, and Sugar Kane (these ones are so smooth). And there continues to be some gems on the back half - On the Strip (great first half to the song, then gets a bit decadent), Chapel Hill, and Purr (bonus track Stalker also good). I guess there were only a few annoying songs. It could've been tighter but there's more to like on this album than others of theirs. They finally won me over for a full album.

A solid punk band and album. Too bad punk isn't totally my scene. But I definitely hear that transition from punk to goth rock. I think they're actually pretty good musicians (the bassist is quite good on several tracks) and they often start their songs with some really good melodies. I Just Can't Be Happy Today is a great example of all of those previous points. But they usually feel the need to kick it into frantic punk overdrive, which sometimes isn't what's needed. Like most punk, the vocals are also flawed. Still, there's more to like on this album than not like. I have a feeling their debut album will find its way onto this list too.

I was trying to explain System of a Down to my 13 and 14 year old the other day. Not easy to do when you're trying to get them into rock because this style is so in your face. But I love everything they stand for - politically-charged lyrics, complex (or complicated) musical and vocal arrangements - even if I don't love everything they do. And yep, they can go overboard and be downright scary sometimes. But mad respect. This album isn't perfect and they get better after this debut, but thank god these guys emerged in the nu metal scene so it wasn't just Limp Bizkit or Korn that were the torchbearers. The two singles, Sugar and Spiders, are gems.

You know, the critics reviews weren't acclaimed on this one, so a bit surprising for it to make the list. Sure, this is the album where Youssou N'Dour became more widely known and then a bunch of artists wanted him to guest appear on their albums. But as an album it's just fine. I think we already had some really good examples of African music (maybe not Senegalese) by this time, but then again this was just before Paul Simon caught a lot of flak for misappropriating the African sound on Graceland. So maybe it was trailblazing? It doesn't make me want to go listening to his entire collection but I didn't mind listening to it.

So, krautrock, that's a new term for me. Not sure that's an appropriate term anymore, although the first half of it was a term used very much in my hometown (large German heritage, but North Americanized) and applied to the line my great uncle played on in the NHL. Anyway, like the k-word which had its time and isn't really cool anymore, this album is the same for me. It sounds dated and flat; maybe it's the psychedelic undertones. Side two, which was just the song Halleluhwah, was kind of funky and interesting. But then it got real weird on side three and four. I'm definitely not craving more of this band or this genre. I'd probably give the first two sides a 3 and the last two sides a 2, but I'll round up because of the pioneering nature of the album.

It all kind of sounds the same, like slightly different versions of Cars. I thought Observer might be an alternative recording of the track when it first started playing. I mean, I guess this was a turning point in electronica and new wave, taking pure machine (or close to it) from bands like Kraftwerk and making it softer and poppier. It's fine and all, but I'm ready for a new album (not by Gary Numan).

550 albums and no Tim Buckley and now two albums in 10 days? Come on randomizer. He's clearly unique, talented, and creative. But I didn't like this folkish effort nearly as much as his R&B funk effort on the later album. He probably didn't need each song to be as long as they were. Buzzin Fly really resonated with me though and Gypsy Woman had its moments.

A nice surprise; interesting album with some cool pieces. I did not know Paul Weller went this way after The Jam. It has a distinct 80's British feel - like George Michael meets Sade meets Howard Jones. Sometimes that was good and sometimes it was bad. The good - Mick's Blessing (nice upbeat kick off to the album), The Whole Point of No Return and My Ever Changing Moods and You're the Best Thing (I recognized the last two but all are nice attempts at soul and good vocals for a guy I thought had limited vocals), Strength of Your Nature (oh so funky and cool), Here's One That Got Away (feels reminiscent of The Jam), and Headstart for Happiness (jazzy feel reminiscent of Chicago). The bad - Blue Cafe (I think I know what they were trying to do in setting a mood but I found it boring), A Gospel (terrible 80's rap), and Council Meetin (again, I get that they're trying to set the mood musically but as an album closeout, I thought it could've been better). More to like than dislike, but not quite a 4. Probably a 3.5.

Strangely melodic. Jazz rock is it? I guess, as there's definitely jazz. Not quite sure where the rock is other than side C, but then I don't know what else I'd call it because it's not just jazz. Not the worst thing I've ever heard though side A was a slog. Sides C and D were better.

It's a fine album but I don't know what sets it apart from other Elvis Costello albums, or rock albums in general. Costello has a lot of albums on this list, does he need so many? I'm trying to figure out what made this one so special. Reading up on it, a bunch of critics described it as grungy but if they were trying to insinuate it was an early incarnation of grunge, I highly disagree. In the end, I don't think Elvis Costello makes bad albums I just thought this one was about average and not overly unique.

This is a solid album and shows just how good Bowie was, as he had Reed give it a certain flavor that really works. I only knew Walk on the Wild Side growing up, and then later thanks to commercials I discovered Perfect Day, so saying Lou Reed is glam rock seems weird - neither is quite glam though I've always liked both. Still this album has that feel, like a Donovan (or Bowie) album and it's good. Vicious might be my favorite and Andy's Chest has a nice glam rock sound but Lou Reed's signature weird lyrics. Hanging Round is a little more conventional on both sound and lyrics but still a bit weird, in a good way. That's side one and it is borderline outstanding. Side two doesn't quite do it for me in the same way - too vaudeville or circus sounding? The ones that weren't so pompy were much better - Satellite of Love, Wagon Wheel, and I'm So Free (that one deserving of side one). Lou Reed is strange and too smart for his own good, but he has talent and really put it together on this album.

Pleasantly surprised; thought this was going to be awful though I had no idea who the artist was or what the music was going in. The beats are awesome and Kool Keith/Dr. Octagon can rap. And yeah, the lyrics are weird or depraved, but all in the spirit of fiction. So I didn't mind it at all (better than rapping for real about slaying b*tches) especially because, again, the beats are awesome...at least half the time. 3000, Earth People, and Real Raw are all killer tracks. I'm Destructive, Halfsharkalligatorhalfman, Blue Flowers (revisited), Waiting List are also solid. But the album goes on a little long; it gets off to such a good start but then the middle is a bit ho-hum. Tightened up and capped around 45min and this could be really, really good.

Nice voice with that country drawl to it (Goin Gone was my favorite song). Decent backing band that provides a lot of different sounds - its like celtic country, which has a nice twist to it. The album did grow on me over a few listens - it's an easy listen. Still, it feels more like an album you can put on in the background and let it play. Not going to be distracting, sets a good mood, but a bit of set it and forget it.

I never understood why people got so turned off by this Radiohead album and the closely linked previous album Kid A when they loved OK Computer so much. To me, it's the natural progression from all the experimenting and electronica in OK Computer to these two. Now if you want to bitch and moan that it's different from The Bends, fine. But it's still a good album. Not my favorite of theirs, but the first half still has some beautiful soft pieces (Pyramid Song), some crunchier rock pieces (Knives Out), and several that just like OK Computer nicely blend rock and electronica to almost sound rock, even if it's looped beats from time to time (Packt Like Sardines in a Crushd Tin Box, You and Whose Army?, I Might Be Wrong). Yeah, I zoned out a little on the last half of the album but the last song Life in a Glasshouse is really cool with the jazz and trumpet sounds. Not quite Radiohead at their peak, but still real solid.

This is a very solid album. It feels like a White Stripes album, probably because Meg always took a backseat to Jack and this is all Jack. It has those rocking songs with lots of tempo and unique guitar sounds (Sixteen Saltines, Freedom at 21, I'm Shakin), those softer songs with other sounds like piano (Blunderbuss, Hypocritical Kiss), and those in-betweeners that change tempos and styles and sounds as they go along (Missing Pieces, Love Interruption, Take Me With You When You Go). As much as I liked all those songs and this album, I find something holding me back from a 5. Not sure if it's some kind of bias where I don't want to gush over every garage rock artist or Jack White solo from the White Stripes. Or maybe the last third of the album dipped just a bit.

Oh, I'm sorry, was that a full album of 12 songs and not just the same one on repeat? Not a lot of variety and a bit boring. Yep, the brothers can harmonize and play just fine, and stick to a theme (don't mind the grim nature) but change up the formula from time to time.

The lyrics were my favorite part; cheeky and like song 2 (So Tough) says, they deliberately seem like they don't take it serious. The music and beats leave something to be desired. If this is the pinnacle of white reggae then it should be left to non-whites. Typical Girls and Adventures Close to Home were better musically (or more passable) and just as witty as others. Overall, they blazed a trail for girl punk and riot grrrl, but later groups improved on the sound a lot.

Meh. Lemper's got a decent voice and the whole album felt like a cross between old-timey jazz (Sinatra style) and baroque or orchestral. I didn't mind it, enjoyed certain parts a fair bit, but I'm not going to go out of my way to look for more of her stuff.

It's better than I thought it would be, given that I didn't really recognize any of the songs in the chart listing, even the singles. Not to say I don't like Aerosmith, but they once again showed not to judge their book by their cover. Still, the album is flawed. What it does well is bring some heavy, crunchy sounds - especially guitar. You can hear it on songs like Back in the Saddle, Last Child, Rats in the Cellar and Sick as a Dog - maybe even Get the Lead Out or Lick and a Promise. Like a precursor to hard rocks like Motorhead. But other songs were just kind of off - not bad, just not clicking the way the others did. So 4 songs I really dug, 3 not so much, and 2 I'm not quite sure. It feels like the album is at best a 3.5 and I just don't know if I can put it up there with other 4's.

This album is definitely unique. Not awful, but a bit unusual. I don't know that being different is enough reason to get on this 1,001 list but whatever. Average at best, and I'm ready to move on.

I love Mark Hollis' voice, so deep and reverberating. And the stripped down musical approach is cool, though I didn't mind their more synth-heavy previous work. And as much as I like the first three tracks Happiness is Easy, I Don't Believe in You, and Life's What You Make It (their big single from this album ), Hollis' vocals do kind of sound similar. I didn't enjoy their next biggest single as much (Living in Another World) - it was okay - or the back half of the album. Again, it was okay, but lost a bit of steam. An enjoyable album and a reminder that they weren't just a one-hit synth wonder with It's My Life, but not a great album by any means.

Still not blown away. I feel like The Stooges got too many albums on this list (one likely would've sufficed). No doubt this is a big album in the evolution of punk, and I liked a few songs a fair bit (Search and Destroy, Penetration, the title track, Shake Appeal). But I can't quite get to a 4.

The release of Somebody Told Me was a major moment in 2000's rock; it felt familiar to where things were going with pop punk and emo but it was completely different at the same time. The guitar, bass, and drums layered with some synth (especially in the intro) - it was so unique and cool. And then Mr. Brightside did something similar and was equally unique and cool. And I know those songs stand the test of time because almost 20 years later my 14 year old son asked about the former when it came on the radio and my 13 year old daughter asks about the latter anytime she hears it or anything that sounds like the Killers. So how about the whole album? It was groundbreaking and cool, but was it as awesome as those two big singles? All These Things That I've Done was also a pretty big single, and it shows a more operatic, deeper side of The Killers even if it wears on me at times. Their final single Smile Like You Mean It is okay, but it's bested by lesser known tracks like On Top, Change Your Mind (feels like Brit Pop), Midnight Show, and the final track Glamorous Indie Rock & Roll, which is an absolute gem that I just rediscovered (it may be my favorite on the whole album; raw rocking sound). The rest of the tracks are okay and I feel like their follow-up Sam's Town was a more even collection and a better album overall. I own this album and I do enjoy it, but I'm trying to decide if it deserves a 4 or 5. I think it is an undisputed 4 but 5 feels like too much. The two big singles and the last track though, they're 5's on their own.

This is another one of those albums that humbles me and shows I don't know as much about rock as I think I do. I knew nothing about it or even the band, and how can that be? Especially because I love Living Colour and Fishbone reminds me of that sound, though fused with a bit more ska. Their cover of Freddie's Dead is an awesome opener. Other beauties were Question of Life, Mighty Long Way, Bonin in the Boneyard (oh that bass), One Day (oh that guitar), Ghetto Soundwave (oh so funky), and Change (a nice softie). Still, this album has some so-so songs. Pouring Rain was a not as nice softie and I was kind of surprised Ma and Pa was their second single because it's a bit pedestrian and the lyrics aren't overly strong, which is the weak point of this whole album in my opinion. And then when I started to read about the band I was surprised that of all their albums this one made the list. Reviews of it were middle of the road, even retrospectively. Meanwhile their follow-up The Reality of My Surroundings was a smash both with critics and the public. And I listened to it and it is superior. I guess this album was more groundbreaking in terms of its timing and defining their sound, but it feels like Reality should've been on the list too. All in all, Truth and Soul is a strong but flawed album.

Cool sound. The opening track Firesuite felt like a modern/2000's version of shoegaze - but the good kind (like the best of Catherine Wheel) and not the bad kind (like the worst of My Bloody Valentine). But it felt uneven from there, or at least I wasn't as captivated by most of the remaining songs as I was that first one. Catch the Sun reminded me of the Foo Fighters, and that's a good thing. Break Me Gently and Melody Calls both had cool beats reminiscent of other music I can't quite put my finger on (Coldplay maybe - Sea Song definitely had that vibe) but the vocals were so-so (skip the muffled effect on the former and don't let the drummer sing on the latter). This is an album that feels like maybe it grown on me and become a 4, but it didn't quite captivate me enough to test out that possibility.

Newsom sounds like a cross between Bjork and Kate Bush, but she can play the harp. Her lyrics are strange as hell but I guess weird can be wonderful. Let's just not get carried away. I'm not about to go claiming this is the greatest album you'll ever hear or needs to go on the top X list of the 2000's. Still, as far as weird and different goes, it's worth being on a 1,001 list.

I did not dislike it as much as their debut album. And I kind of like their second album, which will likely also be on this list since it's the best and this list likes to get carried away with certain artists and declare all their albums brilliant. If you like this album, check out Hum's return (Inlet in 2020) after a couple decades of nothing. Like that one, this album brings back shoegaze with a lot of droning/humming, fuzzy sounds but avoids the screechy sounds that really made 80's and 90's shoegaze irritating. And that makes for passable, almost entrancing background music. Best songs were she found now, new you, and nothing is; maybe only tomorrow too.

I wish I had got this album before all the kids got ahold of Running Up that Hill via Stranger Things and all the adults tried to be cool by playing it incessantly. Now I feel jaded and like I have to knock that song or this album down a peg or two to show I'm not getting swept up in the once-again fad. Still, that song was a massive hit in the 80's and likely one of the few remembered songs of Kate Bush before all this nonsense from a couple years ago. It is a solid tune but I think Cloudbusting is the superior single. The Big Sky wasn't too bad either. Side one is so typically 80's with the musical accompaniment (i.e., fake music as my sister calls it). But it's solid. Side two gets weirder. Dream of Sheep is a beautiful, simple piece that focus mostly on Kate's voice and piano. But then the synth comes back as well as backup singers with intentionally weird or haunting voices (Under Ice, Waking the Witch, even Watching You Without Me). I get that side two is more of a concept album telling a connected story. But it's a bit like Thriller gone wrong for that three song sequence. Jig of Life has a cool Celtic sound and The Morning Fog had some good energy, despite slipping back into a predictable 80's formula. Feels like a 3.5 but I'm rounding down.

14 songs in 15 minutes? Wow. But kudos to good punk, they play so frantically and pack a ton into short songs that make them sound a lot longer than they really are. Again, punk isn't my scene and certainly not hardcore punk, but this band and album is good. It's got a lot of that screw you punk ethos with plenty of cheeky lyrics. Favorites were Beverly Hills, Wasted, World Up My Ass, Paid Vacation, and Live Fast Die Young. I'm not quite sure it's a 4, but given how much of a pioneering album this was, I rounded up.

From the opening few seconds of Know Your Product (what a beauty) I was thinking ska punk like Goldfinger, Rancid, or the Johnstones (maybe Fishbone too? - I don't quite see them as punk though). It's the horns. I was surprised in my quick read not to see these guys tossed into that genre, they're just seen as early punk. Anyway, this album brings a lot of energy and the horns fused with the strings and drums give it a nice melody. Even when the horns aren't there they've got nice melody to go with their tempo. It's smoother than other punk and the album hummed along for the first half, though it did feel a bit repetitive by the middle onward. My other favorites besides the opening track were Lost and Found, Private Affair, Orstralia, Misunderstood. Great start to the album but it couldn't keep that pace. Torn between a 3 and a 4.

So this is the third Nick Cave album I've got in the last little while. And while I have enjoyed his and his band's music, I'm starting to wonder what the difference is across all of his/their albums. The songs always have integrated, sprawling lyrical themes - with a bit of darkness/occult and explicit (even sexual) imagery. The compositions are also always soaring and his deep voice fills it. It's cool and unique and all. And I really like some of these albums. But do they all need to be on the 1,001 list? This is his seventh album so I'm not sure it's trailblazing. I didn't mind it and I'm certainly willing to listen to more of his stuff. But I don't know what makes it distinctive.

Per Wikipedia, it is hotly debated whether this album or Bridge Over Troubled Waters is their best. To me, it's no contest - the latter and not this one. This one still has some great songs in America (lovely, but not as good BOTW the song or The Boxer), Mrs. Robinson (yes, top 2 S&G songs of all time), Hazy Shade of Winter (but third best of these three). And it has some nice musical / orchestral elements, but it just doesn't deliver as consistently as BOTW. The two Bookend Themes are sort of throwaways (they're incomplete, despite being beautiful) as is Voices of Old People. Paul and Art still harmonize like no one else and there's a lot to like. But love? Nah.

Beck does a good job of playing sad and mellow. Reminds me a bit of Leonard Cohen or some of the other folksy artists of the 70's. Lyrics aren't as excellent, but still good. And so, is this album on the 1,001 list because it represents a departure from Beck's normal style? I don't know, that feels like a reach. I didn't mind it, and it gave me a greater appreciation for Beck's skills (even though I respected him already). But it's an average album at best.

Very divided on this album. It is trailblazing and has some good songs. But it's bands like MGMT and albums like this that killed regular rock. And so as much as I do enjoy some of this new indie rock/pop genre, I find it and the various artists and albums more uneven than more typical rock. So it makes me miss the consistency of other (purer) rock genres. A definite 3 but I couldn't go higher because I found I only really loved Time to Pretend and Kids. There's that inconsistency. A bit too much synth or 80's vibes coming through most of the album.

So my first reaction was "never heard of them". Then I saw they had some decent-charting UK singles and quickly listened to them before diving into the album - still thought "never heard of them". As I was listening to the first song the whole way through I started to read up on the album and saw this review from Spin "This is the first album I've heard of late that rejects the techno-pop banality we've been drowning in without being overly self-conscious in its minimalism or wearing a chip on its shoulder". Are you f'n kidding me? I apologize for all the times I've used big words in my reviews here. That is as pompous as pompous gets. Also, what the hell did you just say? In the words of Barney Gumble (Simpsons) "go back to Russia" (well, Oxford sociology class really). To me, their sound reminded me of REM (e.g., Perfect Skin) but at times with a bit more blues (e.g., Speedboat) or Waterboys-like Celtic stylings (e.g., Rattlesnakes). Coincidence these two bands debuted around the same time? I don't know but this album was a pleasant surprise. On top of their sound, the lyrics were really poetic. No problem giving it a 3 on first listen. On multiple listens, it felt like the first three or four songs were a lot stronger than the rest of the album. A 3 is where it stays.

My god can Clapton play the guitar. And he always surrounds himself with great musicians. The opening licks to Motherless Children are awesome. After that, they really slow it down on side one, which works for Give Me Strength (you probably didn't believe Clapton's voice could tug on your emotions like that until Tears in Heaven came out decades later) and Willie and the Hand Jive (just as good as the original) but never really won me over on I Shot the Sheriff (Marley's version is superior; this version sounds a bit hokey). Still, side one is solid. Side two is a bit more hit or miss. It opens nicely with the loud and heavy blues of I Can't Hold Out and it closes with a couple rollicking remakes in Steady Rollin Man and Mainline Florida. But in between Please Be With Me and Let it Grow are just okay; I like the tempo but Clapton's vocals are so-so and his back-up singers save the two. And yeah the latter definitely has times where it sounds too much like Stairway to Heaven. Conflicted. Side one is a 4 and side two is a 3. So do I round up or down? Total coin flip and I understand if you go the other way.

This album was fun, and a perfect example of what I think as punk - irreverent and a little bit goofy but still some musical ability. Look no further than their cover of I Got You Babe, especially the last verse - two macho dudes singing with an almost questioning voice and kissy noises. I loved it. I also loved their cover of California Sun (the drums kick ass). The vocals are always limited but they have some nice musical harmonies on songs like Master Race Rock and Teengenerate. And the start of The Next Big Thing kind of made me think of Alice Cooper. But Cars and Girls totally made me think of the Beastie Boys before the Beasties existed. Just a couple all Jewish bands doing what they love and not taking themselves too seriously, and rocking out while they do it. Even more than the Beastie Boys, I'll bet people had no idea what to do with these guys or what to think about their music. And for that trailblazing work, it's a 4 for me. Because they aren't the most talented band and this album isn't much more than average and fun. But stepping out and doing that when barely anyone else was? Many kudos.

I feel like Madonna needs more albums on the 1,001 list though I can agree with the two chosen. She is the Queen of Pop for a reason, and it's not just that she sang catchy songs. This album really showed how a good a songwriter and lyricist she was, even though I think her previous album True Blue was the first demonstration of that. Live to Tell (my all-time Madonna favorite) and others from that album (Papa Don't Preach) show how mature she was already. I guess she completely put it together on this album and Like a Prayer might be my second favorite Madonna song for its depth of lyrics. Express Yourself ain't too shabby either and I've always liked Cherish even though I view it as a simple pop song. I don't own any Madonna albums and don't know many songs besides her biggest hit singles (the 3 previously mentioned are the only ones I know from this one), so other deep ballads that really impressed me on this album were Promise to Try, Oh Father, and Spanish Eyes. Till Death Do Us Part also has good lyrics but I can't decide if I like the up-tempo, Mario Bros-esque musical accompaniment or not. The album is not quite perfect, as I found her collaboration with Prince (Love Song) boring, Dear Jessie wandering, Keep It Together underwhelming, and Act of Contrition annoying.

I guess bossa nova was all the rage when this album came out. Maybe because this album came out. Either way, I don't get the craze. The album is fine, fairly smooth, but it's just not overly inspiring or distinctive for me. I it on a few times and had no idea when it was over and other songs had crept onto my playlist. So there's not really anything that stands out to me and says "this is what these guys do that others don't." Once again it probably shows how naive I am about jazz.

I was really hoping for an uptempo album today. Something that I could put on and rock to the beat with, and then let the suggested tracks to follow the album play out. Wash, rinse, repeat for the whole day. I love when that happens - a nice surprise. This was not that. It was cringeworthy from the beginning. Yeah, I get that the high pitched sounds were probably what they were going for with IBM (it sounded like what you hear when you call a fax machine, and this was before we would've known that sound). But man, the whole album was grating. And when it wasn't putting the weirdest objects together to generate the most unusual sounds, it was a bunch of Brits going on about drivel (Valley of the Shadow of Death, Death Threats), or it was both unusual sounds and drivel (Hamburger Lady, Hometime). Admittedly songs like Dead on Arrival and AB/7A were cool, but that was too rare an occurrence. I tried, I really did, to get through it all without skipping any parts. But I couldn't. That was terrible.

I still like Fiona Apple but this album didn't quite do it for me. I've been waiting for a 5 lately and this wasn't it. Could it be a 4? Maybe but I didn't find all the percussion stuff that amazing. It was fine but didn't have me saying wow. Her voice still kicks ass (she does some weird things with it though and I'm not sure I was into it) and her lyrics were good as always (more wry than on her debut which was all serious all the time). The first 5 songs were pretty good even though they sometimes went on a bit too long. I don't know, something just didn't click with me. Maybe I'm missing something.

Interesting. British electronica meets classic Indian. When Singh stuck to this formula, I really dug it (Butterfly, Sutrix, Eclipse, OK). When he went more straight ahead electronica, I cared less (first half of Traveller, Mombasstic, Light). Not that they didn't have some Indian or Asian elements, but they were more whimsy or airy (too much flute?). And when he didn't really do either and just went weird, I didn't enjoy it (Decca, last third of Soni, Vikram the Vampire). So, there is some really cool stuff and I can see myself putting this on again or sharing with my Indian, West Indie, and Sri Lankan friends, there were a few too many points where I was not impressed.

Great beats and great voice; Frank Ocean is almost a modern day Stevie Wonder in that regard. But terrible lyrics. Sierra Leone starts as a teenage sexual odyssey (fine) but all of a sudden pivots to singing about the narrator's baby daughter (that's f'd up). Keep it separate. And maybe it's that disparity in tone that I found jarring, where some songs have a sweeter tone (Pyramids, Bad Religion) and then other songs go full thug or explicit (Pilot Jones, Crack Rock, Monks) and I felt like one of the two wasn't authentic. Forrest Gump was too silly, and I'm sorry if I didn't get the joke or deeper meaning. Maybe I'm overreacting to the lyrics because the sound is super smooth. But the themes of the album were all over the place. The smoothest songs in my opinion were Thinkin Bout You, Sweet Life, and Lost. A definite 3 and maybe a 4 on another day, but today lyrical content mattered and I wasn't convinced.

This album is both better and worse than you first think. Given its tribute to Skynyrd, I think it's worth noting that they don't take advantage of their three guitar band like Skynyrd did. I still think they have some catchy simple beats (most of the time in fact), but it's not top work or ability there. They have some thoughtful lyrics (and sometimes not) and make a nice attempt at describing "the duality of the Southern thing" (kudos to The Three Great Alabama Icons) to those not in the know, but it's a bit of an exaggeration or trying too hard sometimes. As far as rock operas go, it's probably an A for effort or idea and a C for execution. Again, it's all linked around Skynyrd and the South (with multiple appearances of Neil Young and George Wallace) but it doesn't all come together right. It's a double album with a lot of bloat and with some wandering pieces. They probably could have done it in one album and 30 less minutes. There's a few different vocalists and they are all flawed at best. That said, I think Patterson Hood's scratchy vocals fit the whole sound and at times (like on The Southern Thing) I thought you wouldn't want anything different - like listening to a Dinosaur Jr. album with their flawed but fitting vocals. I preferred side one more (Ronnie and Neil, 72 (This Highway's Mean), Dead, Drunk and Naked in addition to those previously mentioned) though the opener on side two (Let There Be Rock) and a couple toward the end (Life in the Factory, Shut Up and Get on the Plane, Angels and Fuselage) were solid too. At times I thought about giving it a 4 but I think that's maybe a bit too generous. But it's definitely worth at least a 3.

I mean sure? Let's throw Bastille and the 1975 in there too. Who else you got in England that puts pop and dance, and maybe rock together? At least I've heard of the other two bands. I'm not sure what makes this album (or this band) special. Especially because this was their third album and is pretty late in the game as far as this genre goes. So I'm not sure what makes it groundbreaking. Their sound is easy on the ears but it's not overly complex or impressive in its composition. Meh.

I definitely recognized Nature's Way. I never minded that song, though I wouldn't say I loved it either. I definitely did not recognize why this album needed to be on the 1,001 list. Put this in the category of plain vanilla albums that neither offend nor excite. It's a 3 for me, though some of the better songs for me were Animal Zoo, Mr. Skin, Street Worm, and Morning Will Come.

I didn't mind their other album on this list, and I like this album a bit more. This also seems to be the album where they first made their mark in combining celtic folk and punk, and so that deserves a slight uptick in rating. It's not a 5-star album and maybe not even a 4, but there's been so few above-average albums on this lately that I might be feeling the need to give one away. Some of the songs that I thought perfectly epitomized that Celtic-punk sound (i.e., the Irish Rovers but demented) were The Old Main Drag, Wild Cats of Kilkenny (despite the shrieking), A Pair of Brown Eyes, Sally MacLennane, and Billy's Bones.

So two Stan Getz albums in my last 10 albums? Come on randomizer, do better. And Desafinado is on both. I still don't care enough about this genre and find myself bored. That may be harsh, but I definitely am not excited. I did finally notice Getz' sax playing on the last song Vivo Sonhando, and he is quite good. But it's still nice background music or the soundtrack playing at a high-end restaurant, nothing more to me.

It was a little unusual at first but this album grew on me. I didn't love Can either (Czukay's band before he went solo) but also didn't hate them and found their work innovative. Same here. I guess hew as most known for being one of the first to introduce sampling and that is here in spades. I think if anything, it's a bit manic and sometimes used unnecessarily. But at other times the clips he inserts are spot on. And then coupled with his funky beats, it can be quite interesting - the last half of Hollywood Symphony I thought was his best work on this album. Maybe the last half of Oh Lord, Give Us More Money too. Almost had a bit of a Talking Heads feel with the frantic beats and sampling (at least later TH or David Byrne efforts). All in all, a bit too strange? I found myself reaching for a 4 but couldn't quite do it.

This album starts off great - the first two songs have wicked funky beats. From there, it was up and down. Songs like Planet 10, Takes More than 41, To the Moon's Contractor, and I Feel like $100 had too much experimentation and airy beats (and annoying voice modulation on the first two). Songs like Bladerunners, No. 1 Street, Red Eye to Jupiter, and Welcome to the Afterfuture had some excellent rapping (fast, clever rhymes) but lyrics that at times would make a prostitute blush. When those lyrics weren't about sex, I was intrigued. When they were about sex, I was embarrassed. Still they were generally some of the better songs. Feb 4, 99 had the most poetic and stinging lyrics. All in all, very good lyrics (with some hiccups), a decent futuristic theme throughout (though I didn't always love the beats that came with it), and inconsistent delivery. Feels like 3.5 at best even if it was a nice surprise.

Essentially on his deathbed, Cohen's lyrics are as sharp as ever. His voice, which got progressively worse over his career, is at its worst. But I guess what would you expect? His collaborators do a good job on the instrumentals. The title track is awesome (haunting), and the follow-up Treaty is pretty good too (lyrics try a bit too hard?). On the Level and Travelling Light are pretty darn good - the former might even be described as upbeat. Leaving the Table feels like a retread of the first couple songs and the reprise of Treaty also feels too repetitive. But It Seemed the Better Way and Steer Your Way are also a couple nice, soft, sorrowful pieces. So, around two-thirds of this album I found a nice emotional (albeit sad) connection with. As far as death albums go, this one is solid. If I remember, I might just ask for one of them to be played at my funeral.

Soulful and energetic. At least as good as his other album on this 1,001 list (Like Water for Chocolate). Not sure it's all that different from his other album, or hip hop soul, but it's good. This one might be a bit more consistent than previous albums. Great lyricist. Best tracks were Be, The Corner, Go, Testify, They Say (when Kanye isn't rapping), and It's Your World Part 1 (though Part 2 was touching).

I still remember when My Name Is came out. Big. Eminem may be a sick, demented mofo and his lyrics can be a bit much but man they are also damn funny. Take 97 Bonnie & Clyde, a murder ballad about his baby mama written as if he was talking to his baby girl about it (\"Mama wants to show you how far she can float\" and \"There's a place called Heaven and a place called Hell. And a place called prison and a place called jail. And dada's probably on his way to all of them except one\"). As long as you can take his words as satire and fiction, you will laugh and you will be impressed with his wordplay. Public Service Announcement, Guilty Conscience, My Fault, and Bad Meets Evil are also super clever/witty. Dr. Dre also created some great beats on this album. That being said, it gets a bit repetitive in all of its F this and F that, F Kim, F my mom, F other celebrities. The album is longer than it needs to be and I think it would be even better if it was tighter. Still, it's a landmark rap album from a guy who said F it I'm just going to write what I want no matter how gory, abrasive, or offensive because it's just art. Like the Tarantino of music.

I've never listened to Jamiroquai beyond a few singles but this is a very cool album. Oh so funky. Like Stevie Wonder and George Clinton reimagined for the 90's. I really enjoyed every song except for maybe Music of the Mind (not quite as funky) and Blow Your Mind (song gets long and aimless). I also loved the didgeridoo on When You Gonna Learn and Didgin Out. Other favorite songs were Too Young to Die, the title track, and Revolution 1993 (it may be long, but on point). The album is almost a 5 for me.

I do like Franz Ferdinand (the band) but they are one of the bands where I really like some stuff, don't care for other stuff, and then certain stuff I like but it soon grows tired. This album was exactly like that on the first couple listens. But I didn't have time to rate the album so I just kept playing it over and over. And it grew on me, and some stuff that felt tired actually got better. It's an imperfect and perhaps not quite worthy 4, but a 4 nonetheless. Great songs from the beginning are Jacqueline, Take Me Out (because yeah, that's why most people first paid attention to these guys), This Fire (also a big hit from the get-go). And great songs after several listens are The Dark of the Matinee, Auf Achse, Cheating on You, Darts of Pleasure, and Michael (so much so it might be my favorite on the album - great beat and cheeky, gender-bending lyrics that I came to know them for).

Lame. Actually, I kind of liked the first song Obatala for its worldly beats (ditto some of the other songs when they went that way - Soweto). But I found the hip hop (if that's what we're calling it) boring and/or tiring in all of its repetitiveness. I especially disliked all the radio DJ snippets that acted as interludes. If McLaren was the first to pioneer hip hop interludes - thanks for nothing. At least now I know where Eminem's "two trailer park girls go round the outside" comes from (Buffalo Gals). Also, 80's hip hop is kind of trash in my opinion - same weak ass rapping style. And there it was on World's Famous. Barf. The wikipedia description made it sound like this album was going to be super cool. I was disappointed. Maybe it's worth a 3 but I can't stop focusing on the negatives.

As a massive alternative and grunge rock fan, who until recent years knew little of where that sound came from, I was really looking forward to an entry from The Replacements. I've read a bit about them and listened to a few songs that come up as suggested plays when I'm done listening to related bands. But I saved listening to a full album until now. I hear their original punk influence on We're Coming Out (the sound) and Tommy Gets His Tonsils Out (the sound and the irreverent lyrics). And I hear their indie/alternative influence of contemporaneous bands on I Will Dare (think REM, which makes sense given Pete Buck appears on guitar) or Favorite Thing (think Husker Du) and of bands that came later on Unsatisfied (think Gaslight Anthem) or Seen Your Video (think The Doughboys). It is a good but not quite great album, and yet I still feel like it was everything I was hoping for - because it helps fill in a musical hole between the 70s and 90s rock I listened to in high school. 70s rock was classic rock and deservedly vintage (thus cool) while 90s rock was modern and heady (so of course cool). But 80s rock that got the most play seemed to be either hair metal or yacht rock and felt a bit goofy - fun (I love it, don't get me wrong), yet lacking depth. This album helps connect the dots so I liked it as much for that as I did its own rock qualities.

Does one big single (Holding Back the Years) make for a great album? Between Mick Hucknail's sultry voice (and piano work) and the rest of the band's jazzy sound, this does feel like a throwback to 60's soul and Motown. But not quite the same thing. I'll admit the album got better on multiple listens, but there's a cap on my admiration for it. Besides the big single, Heaven was really, really good. Come to My Aid, Money's Too Tight to Mention (a remake), and No Direction were also good. Songs like Jericho and Open Up the Red Box kinda stunk in my opinion.

I recall when Morrissey made his comeback with this album and the lead single Irish Blood, English Heart. I freakin' loved it and wanted more of it, or at least that song - it is a rocker with great lyrics. The rest of the album didn't seem to get as much airplay despite charting well. Listening now I will say this. Wow, Morrissey still doesn't hold back does he? That lead single is scathing of certain English traditions, as you can imagine someone with Irish heritage would feel. But right from the album opener America is Not the World he is dishing it out. I get what he's going after and that song has good lyrics, but in true Morrissey style it goes a bit too far at times (suggesting Americans abroad are seen as big fat pigs). And if he hasn't pissed off the Yanks and the Brits after two songs, why not piss off the Catholics on song three with I Have Forgiven Jesus. I'm sure my mom would loathe that song. But I don't mind it, or any of the barbs he slings on this album, because I understand Morrisey's poetic license. And he is a great poet even if he pushes the boundaries too hard. This album really made me think and I enjoyed that, a lot. Although there were only a few other rocking songs (How Can Anybody Possibly Know How I Feel, I Like You, First of the Gang to Die - I recall this release too), I also enjoyed the soaring and/or despairing tones on other songs (Come Back to Camden, I'm Not Sorry, The World is Full of Crashing Bores, Let Me Kiss You). And the closer, You Know I Couldn't Last, goes between soft, soaring, and rocking and I love it (gave me goosebumps in the soaring choruses). Great lyrics to boot. This album is just as good as his solo debut, if not better. Morrissey is still a dick, but he is a musically gifted dick. I really couldn't get enough of this album.

WTF? This is music only a Cockney lad or lass could love. I get that it's meant to be humorous and light and that if the accent kills me I should focus on the music. But I didn't love the music. Sometimes it was tolerable or even appealing, but more often not. I also get that this entry on the list is another one of those "you won't hear anything else like it" albums. And you know what? I'm thankful for that.

Never been a Linkin Park fan but I do like some of their songs. I am well aware of this album but never listened to it cover to cover. It is smooth. And for me, even observing from afar, that's what always set them apart from other nu-metal bands. There's a lot of melody to their anger and frantic musical stylings. Papercut is a great example of this and opener to the album. One Step Closer is a bit more abrasive, and I don't love every segment of it, but I always get amped by "shut up when I'm talking to you!" I should've listened to this album a long time ago. It is excellent. I especially like how the rapping (by Mike Shinoda) and singing (by Chester Bennington) mix together. They also do a good job mixing standard instruments and synth and turntables. On top of the other big singles (Crawling, In the End), there are so many other great songs (With You, By Myself, A Place For My Head - maybe my favorite). No holes, except maybe Cure for the Itch. No wonder it is diamond-certified.

I don't really get the appeal of this new age, post-modern pop. It just sounds like rain drops or faucets and synth, on repeat. This is not the first band or album of this genre that made the list and I don't know why they keep showing up. Or at least why more than one or two are on the list.

Interesting album. As far as rap albums go, especially pioneering ones from the early 90's, I didn't think it was all that special other than noting that Ice T is a very good, smart lyricist. However, that was the first 16 songs, ending with MVP. When I heard that one I thought it was odd because it sounded like an album closer given that it's a shout out to other artists. But I think that was the point, and the point of the rest of the 8 songs was almost to be like an EP of new or experimental material. Lifestyles of the Rich and Infamous has lyrics that suggest that and Body Count is all about his heavy metal band and rock rap. And that was essentially the feel of this last 8-song segment - more rock rap than just rap. And it was really, really good. Those two plus Escape from the Killing Fields and Pulse of the Rhyme might have been my favorite on the whole record. Once I listened to the last part, I found myself enjoying the first part more on second listen, looking for and finding other songs where he varies the music and instrumentation. So I appreciated songs like Mic Contract, The House, Fly By, and Midnight even more. Maybe this album overall is no better than a 3.5 but I'm going to round up for doing some different things with the music and his clever lyrics.

My god, the lyrics. Terrible. Not sure what I mean? Listen to Parade. How many different parades can you list? I know that Gilberto isn't responsible for the lyrics, just singing them, but they are so juvenile. And this isn't a kids' album. She has a nice voice, but I would say it sounds like most of the other samba singers from that era. The music was light and fun, but still sophisticated in all the different instruments being arranged. Maybe it would've been better if all the songs were in Portuguese so I wouldn't know what she was saying. A perfectly acceptable 3, and for those who don't get stuck on the lyrics like me, maybe a 4.

The back story is fascinating. If you don't read it first, you're probably wondering what the heck is going on with the jaded, strange lyrics. But knowing the back story, I understood a man pouring out his sadness and frustration (and sometimes love), and the beats were super funky. And it's Marvin Gaye so the voice is incredible. In the end, it's actually the unusual lyrical content that is what makes this album so unique and cool - a breakup (er, divorce) album to end all breakup albums. He captured it to a tee.

You know, Rod Stewart has done some pretty good covers/cover albums in his time. This is solid, and the few originals (title track, Lady Day, Jo's Lament) are pretty good too. Kudos to the Faces for all their musical contributions on the album. It's All Over Now is the best cover. Country Comforts might be the worst, and that's only because I like Elton John's version so much. But I do have a soft spot for that raspy Stewart voice - it must be why I like the Stereophonics so much (similar vocals). Ironic that they both have covered Handbags and Gladrags?

This is a big, pioneering album in rap and I love the combination of rap and rock like on the groundbreaking Rock Box (picture any Beastie Boys song and it can be traced to this song). But you can still hear the old stylings of typical 80s rap in the stilted way Run and DMC rap. And for as good as Jam-Master Jay is (particularly on the so-titled song), sometimes the beats are too simple and drum track oriented. I think Hard Times sort of captures those weaknesses, despite its quality lyrics and aims. It's Like That will always remain a classic and it does better than Hard Times at pushing lyrical and musical boundaries (rapping still a bit stilted). Other than the songs I already mentioned, Wake Up is the only other one I want to give a shout out to. I thought I would absolutely love this album but it's just good. Maybe 3.5 on its own but definitely rounding up for how it changed the whole rap genre.

Let me start by saying Mariah has one of the most incredible voices of all time. She shows it off on some of the softer tracks or ballads like Butterfly, My All, Close My Eyes, Whenever You Call (those are my favorites). She absolutely deserves at least one album on the 1,001 list but this is a strange pick for me. Yes, it solidifies her metamorphosis into a new genre. But she started that transition on the previous album Daydream. And if we want to reward her reinventing herself, why not the even more surprising album The Emancipation of Mimi, which was her comeback 8 years later. Or just take her self-titled debut, when she and that voice came out of nowhere. I don't know, this album just doesn't feel like it capitalizes on Mariah's talents like it should even if her songwriting improved (per the critics). It feels a bit like the hip hop is forced in on songs like Honey or Breakdown rather than nicely blending. There just seemed to be a bit more harmony on some of her previous album collaborations (e.g., with Boyz II Men) than here with overlays of P Diddy or Bone Thugs-n-Harmony, though the latter collaboration is better. And The Roof and Babydoll are also fairly hip hop, but sound better to me because they focus more on Mariah with subtle contributions from backup female singers. I don't think this album is quite a 4 but it's at least a 3.5. And I'm giving her a bump for that voice.

This is why you gotta use the links to read up on albums and bands. I did not know there was a genre called slowcore, which these guys helped pioneer, that developed about the same time as grunge but as a counter to it. I think the only bands I recognized under that banner are Low and Mazzy Star, both one hit wonders to my knowledge. And I can honestly say I prefer grunge and not her sister slowcore. This album is okay, and I do enjoy sad songs. But something about the minimal musical stylings or the slightly alt-country sound just doesn't take hold of me. I could definitely let it play, probably on repeat. But I'm not sure I'll pay attention to anything in particular. Kudos to AMC for blazing a different trail though.

Interesting that this album directly followed the one from American Music Club. Both dismal and sad, but not considered to be in the same genre. This apparently is more gothic, in the spirit of Nick Cave. And I do agree there is not the same minimalism here - or at least the music and the vocals don't feel as subdued as slowcore. Is it the jangly piano? Still, it also has some alt-country undertones. I liked it better than AMC - more melodic. But still roughly average.

The three big songs on this album are truly incredible. After the Gold Rush and Only Love Can Break Your Heart are soft, poetic tear-jerkers while Southern Man is an angry, rocking piece of social commentary that in part helped spawn one of Lynyrd Skynyrd's greatest hits Sweet Home Alabama. Those two songs are forever locked together in rock lore. I think those three songs (tracks 2-4) come so quick and loom so big that I was quick to dismiss the rest of the album as just okay. Tell Me Why and Til the Morning Comes (tracks 1 and 5) might indeed be propped up by how close they are to the big songs. But Oh Lonesome Me (track 6) and Birds (track 8) are two other great sad pieces, while Don't Let It Bring You Down (track 7) and I Believe in You (track 10) are sad in a cleverly twisted way - you think they're about hope but really they're dark and bleak. It shows how good Young is as a lyricist and they're just as emotional as the pure sad songs. When You Dance I Can Really Love (track 10) is another great rocker on this album. I guess in the end it's Cripple Creek Ferry that I don't really like - I wish he had just left that off the album. To me, this album is an easy 4 but when I truly give the lesser known songs a careful listen, it's a 5.

I was divided in my feelings on this album. It is definitely funky and has some great parts to it. Everyday People is a well-deserved classic and its B-side Sing a Simple Song is an even more up-tempo funky rocker. The title track is a pretty good opener but some of its lyrics sound a little bit basic by today's standards. Don't Call Me N..., Whitey and Sex Machine both have some great funky grooves but run on too long and use the voice modulator (or whatever) too much. In the end, I found myself bored too often, looking at the clock to see how much of the song or album was left. So good but flawed.

I recognize the band name and the parts of the song Lorelei, but nothing else. They must've came up randomly after I was listening to other 80's acts. Elizabeth Fraser sounds a bit like Kate Bush, only stranger. I never thought I would say that. I also hear some Siouxsie, which Fraser may have been going for given her adoration. I just don't know about this album, or group. Pioneers, but leading to two genres I don't really like - dream pop and shoegaze. So kudos, I guess? Sure, put wispy sounds together with fairy-like singing and it can work. But not always, and there were definitely times where I felt the music and vocals didn't fit right. I know their 1990 album is coming on the 1,001 list so maybe that one will impress me more. I just couldn't get into this.

There are some real rocking songs on this album - Blue Orchid, My Doorbell, The Denial Twist. They are some of my all-time White Stripes faves. And then there are a few real strange ones - The Nurse (the musical arrangement), Instinct Blues (rocking, but the lyrics...??), Passive Manipulation (stop letting Meg sing). You know, the kind that Jack and Meg White like to have on every album. Why I don't know - maybe so they're not seen as formulaic? Just give me more rockers. That's not fair. I also like some of their slower tempo tracks like Forever for Her (Is Over for Me), White Moon, As Ugly As I Seem, Take, Take, Take, and I'm Lonely (But I Ain't that Lonely Yet). They generally have clever lyrics (two songs about Rita Hayworth that don't sound idiotic) and strike the right balance between off-kilter instruments and straight ahead rock. I'm pretty sure I had a copy of this album at one time. It doesn't feel old despite being almost 20 years later. Not perfect but real solid.

I definitely know who Emmylou Harris is but I couldn't tell you anything she sings. And then I hear the first few bars of The Pearl and I know that voice, but I can't place from which song. Heck maybe my dad used to play this album when he was going through his country folk revival just before I moved out of the house. He was a Linda Ronstadt fan so maybe I know some of Emmylou's songs with Linda and Dolly in Trio. Or maybe I'm remembering one of Linda's song and thinking it's Emmylou's. Or maybe I just heard different singles of Emmylou's over the years and didn't realize it was her. This was her 19th album after all. Which I think makes this album somewhat hard to rate, because you kind of have to know her style to know how much she departed from that on this one - going from covering and reimagining others' songs to writing and playing her own. But even without that background, I really liked this album. Pleasantly surprised. She's got a classic voice and for a first-time main lyricist, her songs are quite thoughtful. The instrumentation is good too and fits the lyrics, vocals, and emotions in the songs. I might have to go down an Emmylou rabbit hole.

I guess if the 1,001 list is trying to capture the transition of 90's rock from grunge to more straight-ahead alternative rock (or back to pre-grunge indie rock like REM and the Replacements), this album fits and the timing in 1996 is right. But this album is average at best. Eels also sound like so many other bands of that era, either in vocals and/or softer rock tempos (the Toadies, Marcy Playground, Vertical Horizon, Tonic, The Verve Pipe, Fastball). I'm not convinced that these guys blazed the trail for others and like most of these other bands, these guys had one or two hits, not necessarily on the same album (go check out Eels Mr. E's Beautiful Blues from their 2000 album or Souljacker Part I from their 2001 album). Other than Novocaine for the Soul, which is solid, I don't know a single song off this album and don't think there's anything else overly memorable. If you don't like 90's rock, there's probably nothing here for you.

So are we going to see C&C Music Factory on this list too? I can see this album spawned several hits but 3am Eternal is the only one I recognized. And yeah, that one is a classic - or at least the first 30-45 seconds. After that I can only stand so many repeats of "KLF, uh huh uh, uh huh uh huh". What Time is Love? is also a cool song (and maybe jogs my memory of KLF) as is the closer Justified and Ancient (part of which is also used as the opener in the North American album version). Their other hit Last Train to Trancentral is decent too - a bit of old school Kraftwerk with new age house thrown in. I can see a crowd of ravers or Ibiza partygoers going crazy for some of these songs, but I'm not sure altogether it's a stellar album.

The first 5 songs, nicely book-ended by the well known Stop and Been Caught Stealing are spastic and full of energy; they really rock. Even before it was a thing, grunge at it's finest. Or so I thought. But then whoa, the last four songs. Jane's Addiction showed they can really play. And the lyrics and music are so much darker or deeper - just a bit tortured. That is truly grunge at its finest. Three Days is a soaring epic, with lots of great Navarro guitar work but also great bass lines from Avery. 11 minutes and you wouldn't even know it. Of Course is a cool improvisation of the Klezmer style. Farrell showed he could really compose great songs. This album is a step up from their first album but I can't go all the way to 5 stars. But part of me felt like going there.

I wasn't blown away by the opening track Wonder Wonder and that had me thinking his dad is better. But Survival was wicked from the get go - 3 minutes before any vocals and it kicks ass. And the album just hums along through to Nawa and Pretty Nonsense. Maybe because Fela was so political I was also a bit disappointed in the more idealistic tone of the first song. But Femi ups his game and the sharp lyrics as the album progresses. Some notable songs with lyrics to pay attention to are Stubborn Problems (a bit cheeky at the beginning), Live for Today, and Changes. I still think his dad is better. But this was pretty good, especially upon multiple listens.

Difficult album to rate. First, persisting, and overall impression? A 3.5. Why? I'll start with the bad. It is so stereotypically 80's with the production and musical engineering - from the repeated use of that synth drum slap sound (Miss You Much, Love Will Never Do, Alright) and other cheesy drum track effects (State of the World, Escapade, Black Cat) to finger snaps (Lonely, Come Back to Me), those short shrieks made famous in It Takes Two (Rhythm Nation, Alright), that howling/whistling synth sound on Lonely (you know the one, can't place which other 80's song does the same), and some Kenny G-sounding sax to close out the album (Someday is Tonight). But the 80's was also fun if not eccentric, and this album is that too. And Janet brings the energy. Rhythm Nation, Miss You Much, Alright, Escapade, and Black Cat in particular - with her borrowing her brother's move on that last song and going with a pure rocker (courtesy Extreme's guitarist). She is also fierce - not just her delivery but she went with her lyrics and her message and mostly brought it (some of the interludes or songs are too light-hearted). She does the soft stuff pretty well (Love Will Never Do, Come Back to Me, Someday is Tonight), almost as much as the heavier social commentary songs (State of the World, Livin' in a World). No doubt the album is uneven and Janet let the producers get too much say in its sound. But she was told don't do this and it'll bomb, and she did it her way and instead became a superstar. Kudos to that.

Wasn't sure what to think of this album. It is cool. How cool? Still thinking about that. But the first song that came up randomly after the album ended was by Run the Jewels and those guys kick serious ass. So if DJ Shadow's weird brand of hip hop from the 90's helped clear a path for Killer Mike and El-P then that is a big deal. His sampling doesn't feel like sampling, it feels natural. And it's 100% sampling! I really enjoyed his songs with a harrowing or ominous sound - Building Steam with a Grain of Salt (that heavy but simple piano presence), What Does Your Soul Look Like Pt. 4 (that funky bass and weird vocal), Stem / Long Stem (that soft and heavy percussion along with different strings), Organ Donor (that organ - watch your back!), Midnight in a Perfect World (the gloomy vocals and piano). Not a perfect album by any means, but not average either. Feels like a 3.5 is in order but since I can't give that rating and I don't want to give it a 3, I rounded up.

The title track is incredible. I only discovered it in the last year or so and I marvel at it every time - Eddie Hazel's guitar is just pouring out sorrow. Wow. The rest of the album is solid but not as good as that. Wars of Armageddon is another epic but it feels more spastic or less cohesive. Can You Get to That has a nice opening guitar lick and it's a solid song overall though the vocals don't hold up as well as the rest. Hit It and Quit It is funky and probably my third favorite on the album after Super Stupid, which has better vocals and lyrics and some more wicked guitar playing. I want to give it a 5 for how good Maggot Brain (the song) is but it's not close enough to perfect.

I didn't mind this band or album but I wasn't blown away. I'll tell you though that Public Service Broadcasting, a band that came up several times on random listen after this album was done, did blow me away. Similar genre but that band and at least one of its albums deserves to be on this list. I think my problem with Hookworms is they can't hold up for a whole album. This album starts off great. Negative Space has a sort of Kraftwerk feel to open and it's got a nice electronic or spacey rock groove throughout. Static Resistance has a more modern alt rock feel (rivaling Arcade Fire) and it's even better than the opener. And then Ullswater has such a great opening synth rock riff (reminds me of the Decemberists) that carries into the rest of the song - it might be my favorite track. It also nicely segues into The Soft Season but that's about where it turns for me. I felt the rest of the song droned on and while it seamlessly segues into Opener, that also droned on - both literally (given the synth) and figuratively (given the long, boring first 3.5 minutes). I found the rest of the album repetitive or a little plain. Again, I didn't mind it but it started off so well and then ended up a little meh. Better than a 3 but not a 4.

First listen - meh. Second listen - a lot better. I don't think it's an album I can keep coming back to, but it's energetic and joyful. It epitomizes the early 80s, which is probably why it made the list. But it's not bad. Fun or emotional beats, good harmonies, and pretty smooth. And it's certainly more than just Karma Chameleon - It's a Miracle is an even better fun one, Church of the Poison Mind is their deepest or most complete one (beats, lyrics, vocals), and That's the Way and Victims are two good piano-heavy softer yet soaring songs.

I love rock. I love guitars and this band has two of them on lead. I love drums and this band has two of them. And yet I've never been a fan of the Allman Brothers and I don't love this album. I don't hate it either, but it didn't captivate me. Maybe it's a problem of listening to a recording of something live, rather than being there live myself. But I don't feel the energy of the crowd. They can jam, which is admirable because it means they can just go off and yet follow each other and make it sound cohesive. But at some level it's just a bunch of songs that go on too long. I'd say at best a 3.5 and I just can't round up.

So, released in 2009 and made the 2011 list of albums to hear before you die. Seems a little soon for that. An album needs either legacy, complete surprise and admiration, or sheer innovation to make a list like this, no? This isn't the first category and I'm pretty sure it's not the last category either, so is it really the middle one? Not in my opinion. I guess almost all critics loved it in 2009 so maybe universal acclaim is justifiable. But maybe it was just trendy to say you liked this album at the time - does it hold up? It's fine, and somewhat melodic. But it's no more than average for me. Next.

Some songs on this album really struck a chord. Into My Arms and People Ain't No Good are both beautiful, sombre pieces with incredibly thoughtful lyrics. The former is more touching and uplifting if you pay close attention. Far From Me was also struck a nerve in a good way. Cave really is a great lyricist - all the songs are very well-written. But he also has limited vocals and while on one hand stripped down instrumentation should work with that voice, it also puts it front and center when sometimes it feels like it needs to be hidden. Some of the songs just didn't have the right feel - There is a Kingdom is a great example. I love the lyrics, Cave's voice is ok, but the melody is a bit off. Where Do We Go Now But Nowhere? and Green Eyes had more appealing simple melodies but paired with Cave's blunt language (often found on other albums) I found it a bit odd. For as much as this is a departure from the usual style of Nick Cave & The Bad Seeds, and there is something to be said for uniqueness, it wasn't consistently my cup of tea.

This album has a very trippy vibe - stellar Madonna vocals (and lyrics) but also some very slick techno production. I remember when this album came out and rightly put Madonna back on the map. But I never listened to anything beyond the singles Ray of Light, Frozen, and The Power of Goodbye. They are all very good, but the real gems are the opener Drowned World / Substitute for Love (trance-like beat and Madonna's vocals pierce the soul), Swim (more slick beats), Shanti / Ashtangi (very cool Indian sound) and Little Star (what a beautifully written tribute to her daughter). Two other good but not quite as good songs are Candy Perfume Girl (reminds me of Garbage) and Mer Girl (a little disturbing but something eerily captivating about it). Not quite a 5, but a very, very good album. Kudos Madonna.

Feels a little like the Scottish version of Talking Heads. Not as good mind you, but some similar eclectic beats. After one listen, I felt like the album was uneven and got a bit boring - a 2.5. It got better after a couple more listens but it's no more than average. The title track gets kinda catchy on multiple listens, A Million Pleading Faces is probably the best track and has the most Talking Heads-feel, although I Can't Help Myself also has a decent TH-feel, Flesh of My Flesh has some cheeky lyrics and a decent beat, and Tenterhook has a nice simplistic musical approach. The album is definitely no higher than a 3 and maybe 2.5 is about right, but rounding down to 2 feels a bit too harsh.

The beats, oh the beats. This may have been the beginning of gangsta rap but that genre was never as smooth as this album. Dre, DJ Yella, and Arabian Prince lay down some incredible tracks. A sampling masterclass. And then there's Ice Cube. No disrespect to Eazy-E and MC Ren, but Ice Cube is absolutely ferocious. The lyrics can be cringe-worthy at times but they're also pretty damn witty/funny. Some of the songs drag a bit (8 Ball, despite all the cool samples) and F Tha Police isn't as good as everyone says (good yes, particularly the skit pieces, but lyrics are up and down and the beats are average). But the great ones shine - title track (those beats - best song on the album), Gangsta Gangsta (great lyrics, funny too), If It Ain't Ruff (those beats), Parental Discretion iz Advised (such a funky bassline), Express Yourself (sampling to a tee), and I Ain't tha 1 (hilarious lyrics and great poppy beat). At times I was reaching for a 5 but couldn't quite do it.

Like the Joshua Tree, this album starts off with a killer track. Sunday Bloody Sunday is one of U2's absolute best. Unlike the Joshua Tree, the opening 3 song sequence isn't as good - New Year's Day is another classic but Seconds is not the same calibre. Still good but not great. Again like the Joshua Tree, the album ebbs and flows after song three and at times it was a bit meh. Like A Song, The Refugee (though a bit off-kilter), and Two Hearts Beat as One are solid. Not sure about the others, though "40" is a good softie. I lie the edginess of the album's themes and this was the start of U2 superstar status. Is that enough to round up from a 3.5? Tough call.

Solid album and proof that I really don't know Yes. But that's what happens when you grow up listening to radio and not albums themselves. Funny how much I love listening to full albums now. Parts of I Get Up I Get Down sounded familiar to me but I definitely do not know the 19min, 4-part sequence it is a part of (i.e., Close to the Edge, the song) or anything about this whole album or its prog rock legacy. I really liked the first song/sequence. The second one, And You and I (only 10min) was pretty good but not as good - my favorite elements were the soft parts with lots of plucking (first 90s, around the 6min mark). Siberian Khatru was a bit so-so for me. Maybe it's because it doesn't lead you in or lets you fade out, whereas the other two sprawling tracks feel more like a journey from start to finish - with a discernable start and finish. It might finally be time to listen to Yes albums and not just singles.

Hmmm, so what's the big deal about Motorhead live? Other than holy crap these guys can actually keep that pace for a whole show. Or wow, Ace of Spades sounds the exact same live as it does on their album. It's pretty polished for live and at times you can feel the energy of the crowd (though usually only at the start or end of songs). But in the end, it's like an early best of Motorhead, recorded live but not feeling like live. So enjoyable, yeah, but not quite sure its overall significance.

A little trippy in terms of the synth or programming. And very trippy in terms of Bjork's vocals. But not in an "oh my god I love this" kind of way. More in a "huh, how about that?" kind of way. The strings throughout the album were a nice touch. But I'm not feeling the need to go listen to more Bjork.

Yikes. The lyrics are crude as hell and embarrassing at times. I wonder what Snoop says about his young self, given his old self is a bit more reformed. But it's not much different than Eminem - can you put aside the abrasiveness of the lyrics to evaluate how clever they're put together or how well they're delivered? Snoop has always been smooth and his pace is unmatched here. The beats from Dre are very good and that funky style is perfect for Snoop's vocal style. But his lyrics are underwhelming. I don't find them clever as much as I find them arrogant, as if he's the baddest (or only) gangsta rapper that ever lived and he's trying to convince everyone of it. Yeah yeah, he passes women around like they're joints, and he passes joints too. Oh and he puts a cap in anyone who tries to step. It all gets tired. And I couldn't care for any of his interludes - unnecessarily crude drivel. I love the sound some of the time but I found myself bored on second listen. There are better rap albums.

What is a listen to Steve Earle without Copperhead Road? That shows my bias. This album sounds like someone turned the country up on a John Mellancamp style of rock. At least the first six songs - the last four sound more like country-first (a little softer or a little twangier). Whatever the case, I don't mind it. I still pine for Earle turning up the hard rock on his style of country rock but I can get behind this style of country music...from time to time.

I noticed I had two punk albums to rate back to back (Black Flag debut being the other) so I listened to both a few times before rating either. On first listen of the Adverts, I thought decent punk album, reminds of other early UK punk albums/bands. Reading up on them I was surprised they had a rep of one chord or base musicianship. Yes, they don't do a ton but I thought they had a good sound for a punk band. After listening to Black Flag, I was ready to come back to them - hardcore punk is too hardcore for me. I prefer the more melodic punk of bands like The Adverts, combined with their sly lyrics. Whether the Black Flag contrast or not, this album really grew on me. I already liked the opener and closer One Chord Wonders and Great British Mistake a fair bit. But songs in between like Bored Teenagers, New Church, Gary Gilmore's Eyes, Safety in Numbers, and On Wheels started to stick in my head in a good way. So after all my listens, I'd say at least a 3.5 and I'll round up since they were punk pioneers.

Again, like The Adverts album, I listened to those guys and these guys a few times before rating either album. Black Flag definitely has more musical dexterity. But it's just kind of angry music and Henry Rollins and the rest of the boys yelling. And maybe that's what sets hardcore punk apart from other punk genres but it's not quite for me. But then the Circle Jerks (with Black Flag's former front man) have more melody. I'm sure Black Flag inspired many other bands, especially those who got a confident and intelligent front man to talk/yell lyrics rather than sing them (or play any instruments). Like, I wouldn't be surprised if they were an inspiration for Rage Against the Machine. But de la Rocha had more harmony, and obviously Black Flag doesn't hold a candle to the musical ability of Morello, Commerford, or Wilk. Respect to Black Flag's energy, clever lyrics, and stick it to the man attitude. But aside from Rise Above, TV Party (very shrewd), and Gimme Gimme Gimme I'm not sure there's any other songs I want to return to. Them being pioneers of hardcore punk was what solidified a 3 and kept me from thinking less than that.

I didn't mind this album - it had some nice grooves, clever lyrics, and the songs fit together well (cohesive). But I didn't find there were any songs or parts of it that were particularly memorable. Maybe the underlying beat in Bring the Pain or All I Need, or the twist on I Will Survive that marks the start and end of Release Yo Delf. But even those things I couldn't remember when the album was over so there was nothing calling me back to the album. Feels like good background rap/hip hop music.

So after recently listening to Motorhead's live album on the 1,001 list, I can tell the immediate difference here. Improvisation. Motorhead played all their hits with no frills and no detour from the album's sound - 10 songs in 40 minutes (4min per song). Admirable, but where's the demonstration of their musical virtuosity? Deep Purple is the exact opposite - 7 songs in 76 minutes (11min per song). And there is so much jamming, and improv, and creativity. Just super cool moments in the show. Like Ian Gillan imitating Ritchie Blackmore's guitar screeches with his voice in Strange Kind of Woman - and the audience call and answer at the end of the song. Or like Blackmore changing the tempo and beat of the signature licks on Smoke on the Water to kick off the song - or his wicked dueling with Jon Lord on organ in the outro. Or like Ian Paice's 6 minute drum solo barely 100 seconds into The Mule. Or like 15 extra minutes of Space Truckin such that just when you think it's about to wind down after 5min, it winds into an 8min jam session and then a 2min almost-breather at the end of which the audience thinks it's over...before the band launches into another chaotic 4min free-form. And at the end of that the audience pauses for almost 10 seconds because they think maybe it's still not over. Or like the plane/drone or high-pitched guitar sounds that give way to spastic organ playing (and a hint of Louie Louie) at the start of Lazy. And forget the remastered version, you need to listen to the original 7-track version (Martin Pullan mix on Apple music). I could go on and on. Bottom line, Deep Purple let it all hang out and it's pretty freaking cool. I'm still not a fan of live albums but I feel I have to give this one a 5-star rating.

Meh. A little bit of a trippy sound, decent vocals. Not sure everything has to be high-pitched or like she's inhaling though. Got a little monotonous. I guess I didn't dislike it. More background music.

Not a great start to the album - that piercing squeal to kick off Non-Alignment Pact is excruciating. The rest of the song wasn't bad though - kind of a fun, rocking beat. The album is a bit strange, but on first listen I'd say I didn't get to another song where there were unbearable noises (Thomas' singing and his oboe?) until song 6 and Life Stinks. But the very next song Real World also started with some annoying music and/or noises and unlike the first song it didn't really get better. Sentimental Journey was downright awful. There were moments where I was reminded of the Talking Heads or Pixies, but not quite measuring up. I was intrigued and conflicted enough to give it a second listen, mainly to see if I could justify giving the album a 3. I couldn't quite get there.

Sparks was late to the glam rock party, and maybe only invited so some music execs could cash in on the trend. But this is a damn fun album. Especially the start (This Town Ain't Big Enough for Both of Us, Amateur Hour) and end (Thank God It's Not Christmas) to side one and the end to side two (Equator). The album reminded me a lot of the energy on T Rex's Electric Warrior - that album is still better overall but I enjoyed this album almost as much. Russell Mael's vocals are deliciously high-pitched and eccentric. Reminds me of the Darkness from the 2000's - a throwback glam rock band who maybe learned their stroke from these guys. Ron Mael's lyrics are quite cheeky and his keyboards combined with Adrian Fisher's guitar create such a big sound. I have to admit I'd never heard of these guys before but I was pleasantly surprised.

I liked it, but it feels like a hard album to love. It's very heady. It's got a dark feel, almost like listening to a comic or graphic novel. Which is cool and lots of respect to the concept album and to GZA's lyrics. But similar to Method Man's debut album that was released around the same time and that I just listened to, when the album is over I'm struggling to remember what was so cool or what will keep me coming back for more. Feels like a 3.5.

Such a strange album, from one of the fathers of strange Frank Zappa and his Mothers of Invention. But it's not so strange that it's bad. As a parody or satire of Sgt Pepper, it's pretty good. Put the albums side by side or back to back - and watch how this one ebbs and flows, even abruptly twists and turns. Sgt Pepper is not that different. It's just that Zappa goes with irreverent lyrics and themes. But when he/they really go after hippie culture or either side of the political spectrum, it is quite clever and enjoyable. Case in point Who Needs the Peace Corps (pretty good beat and oh the lyrics - "I will love everyone, I will love the police as they kick the s%*t out of me ... I will go to a house where there is a rock and roll band because the groups all live together ... and I will stay there with them and I will get the crabs but I won't care."), Absolutely Free (satire at its finest, just listen), Flower Punk (a direct takedown), The Idiot Bastard Son (yikes, but listen close). There's also some songs or song combos that have such weird musical twists and turns or themes but it just works - Concentration Moon, Telephone Conversation to Bow Tie Daddy (there's supposed to be a link there right?), Harry You're a Beast to What's the Ugliest Part of Your Body? (the first one doing more experimental splicing like the Beatles whereas the second one is the most melodic on the album...at least the first half), Lonely Little Girl to Take Your Clothes Off and Dance (both catchy and off-kilter in their own way, seem to fit together). I've written a lot, because there are things to pay attention to and to love about this album. Don't just cast it aside as too strange. But still, it remains rather strange and when you're not listening so intently, it can be off-putting. I think that's what kept me from a 4.

Meh. I was excited to see the name Traffic come up but the album wasn't anything special. It's not bad mind you but other than Feelin Alright?, which was probably what had me excited before I started listening, I didn't find anything that really grabbed me.

Looking back, I didn't rate 1999 higher than a 3 mostly because I didn't like the instrumentals. My one big knock on this album is the instrumentals - far too much drum track and synth in his simplified musical approach. It just sounds too 80's. That being said, he has a lot to say in his lyrics. Sometimes it is insightful commentary on the times and other times it is a twisted or explicit love song. The former is better, but the latter is at least clever. I'm not sure I loved his alter ego Camille and altered high-pitched vocals either like on Housequake or If I Was Your Girlfriend. But I did love the energy and beats of the former and appreciated the lyrical perspective of the latter. And then the title track, Starfish and Coffee, and the Cross were absolutely outstanding songs - mainly for the lyrics but the instrumentation was decent, or awesome on the Cross (hands down the best song on the album, mostly Prince and his stripped down guitar but also real drums). It, Hot Thing, Forever in My Life, U Got the Look, and I Could Never Take the Place of Your Man were other good songs - mainly the energetic sound. Adore is interesting. A classic slow jam style, a bit depraved, but kinda catchy like all good slow jams - uhhhh. Overall, it's a tough album to rate because for every great song, I felt like the next track was a bit boring. One for me, one for no one. Still, that might be a bit harsh. And I do think it's a better and more mature album than 1999, certainly it is ambitious. Still waiting for Purple Rain, but I think this is a pretty good album despite its weaknesses.

The album is better than I thought, given my teenage son and I just had a conversation about one-hit wonders where Soft Cell's name was mentioned. This album is more than Tainted Love, though that song dominates - what a classic. They are also on the early side of the big synth-pop movement of the 80's but I'm not sure that's enough to push them out of the average rating. The album is aptly titled given the content of the lyrics and they do well with their theme. Seedy Films is decent in that regard but Sex Dwarf is the real gem - lyrics just as likely to make you blush but with a techno beat that kicks serious ass. Entertain Me (after the vocals-only intro), Chips on My Shoulder, and Secret Life are also pretty good and techno groovy. Bedsitter and Say Hello, Wave Goodbye are also decent though a bit more subdued in sound. So I find myself at about 3.5 and trying to decide which way to round. I'm going to give them the bump for being new on the scene and because if you listen to the album a few times it really grows on you.

I still don't like psychedelic rock. On first listen I found myself bored, but I think I was listening too closely. On second listen, I was mildly entertained. The musicianship is pretty good, the lyrics aren't bad either - a bit hippie, a bit protest. I'm not going back to more from these guys mind you, but they were true pioneers in the genre. So for that reason I won't go lower than a 3. But I'm also not going higher.

So this is known to be one of the first post-punk records. I totally get it. The first few songs depart from the typical punk formula, adding in some snyth, pomp, and multi-layered beats. Definitive Gaze has such a cool, new (wave) sound with the keyboards front and center and then My Tulpa and Shot By Both Sides seem to foreshadow all the late 80's and early 90's brit-pop and rock (looking at you Stone Roses, Supergrass, Kaiser Chiefs, and Manic Street Preachers). It feels like punk but not quite the same - again, a fuller sound from the combo of instruments. Recoil was the one song that sounded a little more like straight-ahead punk - there's still more chords going on, but the manic tempo and limited vocals stand out, which is quintessential punk to me. Burst is not the best song on the album but it shows the new direction they were going. Not really new wave, definitely rock, but something unusual about the main riffs combined with stilted drums and slower, haunting vocals. And a longer runtime that ebbs and flows. I think that is part of what became known as post-punk. Motorcade is a bit similar, but also has elements that sound more like punk and the Dead Kennedys. Just a really interesting blending of genres and sounds. But then The Light Pours Out of Me steals the show in my opinion. The opening/main riffs (and vocals) sound a bit like a Stooges song, but the chorus and bridge add in more of that new wave or melodic post-punk sound - just from a bit of keyboard and different chord structure. It's not the greatest album ever made and it has its warts, but it does a lot of cool things that are even cooler given how novel it was at the time.

Strange that some deserving artists have no albums on the 1,001 list and now Goldfrapp has another...and it's not Black Cherry (or Supernature). It's definitely a departure from the new age glam/synth rock direction they had been on in the two albums prior to this, but it's not that different from their debut album. Mind you, this one is better than their debut, I'm just not sure we needed both on the list. It's wispy, Alison Goldfrapp brings strong vocals (as always), and she and Will Gregory bring in some extra instrumentation that gives it that serene sound, like a movie score. For sure a 3 and for sure some ups and downs. On balance? I listened a few times before deciding. Favorite songs were Clowns (great acoustic guitar base, and nice orchestral string arrangement that makes it feel fairy tale), Little Bird (also wispy, but thanks to synth and vocal effects), Road to Somewhere and Eat Yourself (both with a simple beat, more strings, and captivating Goldfrapp vocals in the verses), A&E and Caravan Girl (both with a more upbeat, poppy feel). No real clunkers. It was definitely worth a few listens and I could see myself coming back to it, or other Goldfrapp albums.

I don't own this album but I own their follow-up Demon Days, which I rushed out to buy after hearing its lead single Feel Good Inc. I remember being underwhelmed. This album is more of the same - outside of its lead single Clint Eastwood, it's kind of meh. I mean, it's a unique combination of rock and hip hop and electronica so kudos to Damon Albarn for pioneering something new. But it's kind of boring at times. For example, I really like the beats in M1 A1 but then the line Hello...Is anybody there? that is repeated for the first half of the song is grating. Re-Hash is similar except that the beats are annoying (especially the overlays) and the lyrics repeat throughout. I didn't find the other singles all that remarkable (Tomorrow Comes Today, Rock the House, 19-2000), which is maybe why they didn't make a dent in North America. 5/4, Punk, and maybe Double Bass or Starshine were the other songs I can specifically say I enjoyed. Yes, this was completely different than anything that had come before it, including the whole virtual band motif, but the music itself is just average.

I've listened to Siamese Dream about a thousand times but I don't know if I've ever listened to this album, both sides, all the way through. Side one starts off nicely with the title track, a lovely instrumental, mostly piano piece that flows perfectly into Tonight, Tonight - perhaps their most artful and skillful song with its orchestral backing. And while it abruptly turns into heavy grunge at song three, I don't mind at all because the next few songs - from Jellybelly to Zero to Here Is No Why to Bullet with Butterfly Wings - is just incredible. Hard, gritty guitars, pounding drums, angsty lyrics. Grunge perfection. And there's still 8 songs to go on side one and it just keeps humming along - favorites are An Ode to No One (pulsing), Galapogos (sweeping like Tonight, Tonight), Muzzle (crunchy, a well known single), and Porcelina... (another sweeping tune). But this is a double album, which is ambitious but also dangerous if both sides don't hold up - might've nailed it with the best in just one album. And this album is a bit of that, as the back half of side two lags a bit. But the opening 6 song sequence is almost as good as the opening 6 song sequence on side one, with 1979 and Thirty-Three (softer) alternative classics and Where Boys Fear to Tread, Bodies, and Tales of a Scorched Earth more grungy goodness. Side one is without a doubt a 5. Side two is about a 4, but definitely better than a 3. And I'm rewarding the ambition of a double album with a 5. This is a classic from the brief grunge era.

It's not their best album, but it's their first album of all their own material. And it's pretty damn good material. If asked why you need to hear this album before you die, someone would probably say there was this group that changed music forever and this was the first time it was their lyrics and their compositions. That gives this album a bump. Plus, anyone born prior to 1990 probably knows more than half of these songs - that's how big they were and how much they have lasting power. I'd say 5 of the 7 songs on side one and at least 2 of the 6 on side two are classics. Easy to listen to, easy to love.

I recognized the name of the group. Other than that it was all new to me - the songs I know of theirs aren't on this album. I really liked the opener Halfway Home - cool pumping beat and poppy vocals fit it well. It's not exactly rock to me, but it's good/close enough. I didn't like the vocals on Crying - too much high-pitched? Too much like a Spoon knockoff? I didn't mind the song overall, or the next few. But I didn't find another song that really grabbed me until Golden Age. Funky bassline. I came to see this album as very eclectic - lots of different styles. Some I dig, some I'm not sure. Red Dress was cool - rap, funk, rock. Shout Me Out had a nice up-tempo rock feel. I like these guys but I don't love them. Ditto for the album. At least a 3, maybe a 4 on a different day.

It doesn't quite have the highs or big tunes of The Queen is Dead but it's more consistent. And it is quintessential Smiths, even if Johnny Marr didn't want to have a jangly guitar sound all the time. Side one is great. A Rush and a Push and the Land is Ours has what sounds like a jangly piano, and some powerful, guttural Morrissey vocals. I Started Something I Couldn't Finish has some strong guitar riffs, more guttural Morrissey, and perfectly clever/witty lyrics and delivery you come to expect from him - my favorite part being where/how he sings "And now 18 months hard labor seems...fair enough." Death of a Disco Dancer has some lyrics that seem to have a deeper meaning (like common folk want to live in bliss and not talk about controversy...but who do disco dancers represent?). It also starts with a neat sharp sound (piano keys?) and ends with some heavy drum work from Mike Joyce; really solid. Girlfriend in a Coma is my favorite - another quirky death song that sounds cheery given the poppy musical accompaniment. A classic Morrissey and Marr combo. Stop Me if You Think You've Heard This One Before sounds like soaring songs by The Smiths and yet there is something different and cool about it. I didn't love side two as much, though the opener Last Night I Dreamt That Somebody Loved Me (except for the too long intro) was beautiful and despairing. Just wow. I Won't Share You was similar in its despair; not quite as good but solid. I find myself becoming a fan of The Smiths.

True story - my wife and I dressed up as Taylor and Kelce for a Halloween party but I was Taylor. I was so worried someone would ask me to sing something of hers that I listened to this album endlessly for about 2 weeks to learn some of her songs. I never got bored of it. It is damn good. I was well aware of it when it came out and it was then I really started to notice how talented she was. But now that I've listened to the album not just singles? Wow. And this was all to give a big middle finger to critics who said she wasn't country or pop. She showed she could do pop as good as or better than anyone. Just yesterday Bad Blood came on the radio while I was driving my 11 year old son and his buddy to hockey and his friend said Taylor is so over-rated. I told him nah, she's just rated...exactly right. She is the greatest music artist of our generation. If you still don't think she's that good, listen to the following songs and tell me those aren't super catchy, smartly written songs - Welcome to New York, Blank Space, Style, Out of the Woods, Shake it Off, I Wish You Would, Bad Blood, Wildest Dreams, How You Get the Girl. I pretty much named all of them on the album (9 of 13 and not just the singles). I also thought her softer songs (This Love, Clean) were really beautiful.

Rate the album or the man/group and their impact? The album is decent and at least a 3 in terms of its pure sound. But it's the influence of their sound that is what sets the album apart. One of the first groups and album to feature lead and rhythm guitar, bass, and drums. So I feel like I'm giving the album a bump for pioneering that format, a format I quite enjoy. And then every rockabilly artist out there (looking at you Elvis Costello) can probably thank Buddy Holly for creating a singing and playing style. It's far from a perfect album and has some so-so songs. But it also has some absolute classics - Oh Boy and That'll Be The Day. And also some other good ones - Not Fade Away, Maybe Baby (a pretty big single, but not as good as those other two), It's Too Late, Tell Me How, I'm Lookin For Someone to Love, Send Me Some Lovin (it's a bit different from the rest).

I first became aware of the Black Keys around 2006 when they released Magic Potion. I still think that is their best album, such a smoky basement blues rock sound. This is probably their next best album but also the last time I listened to a full album of theirs. I got tired/bored with their sound after this. A little bit of the same with the album Brothers - loved it at first, then came down from that high, whereas I could still listen to Magic Potion ad nauseum. Lots to like still on this album. Favorites are Everlasting Light (just a pumping bassline and beat), Next Girl (grungy), She's Long Gone (that smoky blues rock sound of theirs that I fell in love with), The Only One (just has this allure), Sinister Kid (lyrics are a bit meh, but it oozes with energy), These Days (just a slower paced blues song, something about it). Tighten Up and Howlin for You are good and their catchiest (hence they were the big singles), but they got overplayed and sometimes I'm just a bit tired of hearing those two. Make no mistake, this was a big album and there's a lot of blues rock and garage rock (or those two fused) in the last 15 years that is thanks to these guys and this album's success. But it still has its flaws.

Cool f'n album. Great lyrics and some wicked, rockin samples in songs like Real and Pressure (favorite track). And kudos for calling out some of the crude and prejudiced attitudes in other hip hop work - listen to Hurt Me Soul. It is also a sharp commentary on the state of the world. He shows you can be edgy and deep without being an ass. The Intro (with his sister at the start?) is powerful and a window into his insightful worldview. The Instrumental feels like a Linkin Park song - uptempo rap rock, real solid. He Say She Say has a softer jazz/piano sample, which plays nicely into the lyrics about a kid starting to falter as he grows older without good family support. Kick, Push is ok if you like skateboard culture but Kick, Push II is super clever looking at real life issues. A few songs were a bit ho-hum but I really enjoyed it. I wish I could find the stuff he did as Japanese Cartoon (his rock side project).

So the first time through I thought "I remembered this album being better than that." Not sure how I missed it because on listen #2 I didn't get to a single so-so song until song 8 - Porcelain. The first half of the album is full of 4 massive singles - Around the World (my favorite, such energy), Scar Tissue (cool lyrics and beat), Otherside (lots of depth and dexterity to this song), and Californication (did I mention depth? they tone down the tempo and up the edginess especially lyrically) - and 3 other very good lesser knowns. Parallel Universe and Get on Top bring such bumping guitar and bass work, even if the lyrics slide back a bit to more juvenile versions of the Chilis, and Easily is less spastic but still a great beat. All I can say is these guys are way better with John Frusciante - he is such a great guitarist and songwriter. But let's think about the second half of the album. Emit Remmus is ok but I Like Dirt, and later Purple Stain, bring the tempo back, thanks to Flea's bass (and not Anthony Kiedis' lyrics). Right on Time is also up-temp but not as good. The rest of the songs get a little broodier, with Frusciante going into some different places. I'm not sure I love it all but I do love Road Trippin, which was their last single. It's a very good album, but not perfect. A great comeback for the Chilis and Frusciante but I can't give it a 5. A very solid 4 though.

What amazes me the most, other than how this album is so revered, is how Alex Chilton can be the same deep soulful voice of The Box Tops' The Letter. He has totally gone into a different vocal range and even sounds limited or strained, whereas in the Box Tops he sounded like he had no limits. I'm more looking forward to listening to Big Star's debut album. Because this just sounds like a disjointed bunch of songs pining after the sound of the Velvet Underground, or the Byrds. And I don't just mean their cover of Femme Fatale - which is actually one of the best songs on this album - but other songs where the instrumentals sound like some combination of psychedelic, folk, and avant-garde. Other songs where Chilton and the rest sound like Lou Reed/VU are Kizza Me (which I also quite like), Big Black Car (thumbs down), Holocaust (bleak, but impressive), Kanga Roo (not bad), Take Care (meh). Songs where they sound like the Byrds are Thank You Friends (pretty good), O Dana (cheery), Stroke it Noel (grandiose). Some songs have their own (sometimes weird) flavor - Jesus Christ, You Can't Have Me, Nightime and Blue Moon (touching), Nature Boy and Downs (they're running out of steam here). Till The End of the Day is one of those songs that has a sort of a 60's / 70's feel but is also unique, and I get why Big Star and Chilton in particular were an inspiration to 80's post punk and new alternative. It's not a bad album despite being all over the place. I just don't get how it's some masterpiece that depicts a man's descent into madness or a group's descent into breakup. Reading critics reviews is like having some art lover tell you that a swath of paint across a disheveled canvas is brilliance. I just don't see it. But I guess it's here because it's a jumbled mess that isn't a complete audio disaster. Fine, but moving on.

Beautiful. Just calming and lovely. The coolest part is when the santoor and the slide guitar come together. Both are played with such dexterity but also in perfect harmony. The flutes also bring such a positive vibe. Nomads in the Valley is the epitome of all this, if you need a specific example. This is the album you didn't know you needed, especially if you were having a bad day.

And Nick Cave gets another one as part of The Birthday Party? Come on. Just because he's unique doesn't mean we have to hear everything he's done. Hard to listen to. Had to turn it off after song one (She's Hit) and come back to it later. It was still unlistenable. Maybe Several Sins I wasn't fully turned off by? I guess the instrumentation is fairly complex? Like a different style of death metal. Apparently they got the sound they were looking for. Why they were looking for it I don't know. Before I die I want to listen to melodic albums. Even if they're less unique. Got any more of those?

I like John Martyn. I've decided that after listening to two of his albums. He's got a cool, soft sound and he's a darned good guitarist. His voice also tugs at you. Still, this album is just good - enjoyable but that's about it. I gave his other album a bump and I won't do that here. Favorite songs were Dealer (pushes the line with his guitar work), Big Muff (funky guitar and bass), and Couldn't Love You More (so cool, best on the album).

Yawn. That's probably not fair as these guys have a pretty nice folk alternative groove and the vocals are easy on the ears. But I'm just not excited about anything I hear. Feels like a good fit for any indie Michael Cera movie ever done. I'm ready to move on though.

A nice surprise. I really enjoyed the bluesy punk sound. I feel like bands like the Toadies or White Stripes emulated elements of this sound, in a good way. Edgy, spastic, energetic. Though at times a bit much. For the Love of Ivy is a great tune and Black Train is solid too but the lines "I was hunting for N*%'s down in the dark" and "I left a N*% lying dead by the river" are head scratchers. Is Pierce a bigot or was this just part of the fiction in their roots motif? Jack on Fire is another great tune but the line of "I will F you until you die" felt unnecessary. Still, putting those cringeworthy moments aside, there were a lot of great tunes - Sex Beat (it grabs you - reminiscent of punk but not punk), Promise Me (captivating herky-jerky jangly sound and haunting violin), She's Like Heroin to Me (like rockabilly Velvet Underground), Fire Spirit (most punk-like but with more melody), Ghost on the Highway (classic blues undertone but completely reimagined sound). I listed almost every song on this album but there's something keeping me from a 5. Maybe some of those unhinged moments? Maybe Pierce's so-so vocals? Maybe the last couple of songs? Still, a very good album and one worthy of this list.

It's just a lot to take in with Slipknot. Audio/sensory overload. I think I had the same reaction to their debut album The drums are ridiculous, in a good way - such pace and deft sound. But between Corey Taylor's growling and the pulse and level of the rest of instruments (mostly guitars) it's a bit nauseating. It's a shame because these guys are super talented and the lyrics are quite good. But it's hard to grasp or enjoy the lyrics and music with the sheer angry noise factor. They need more melody, which they show they're capable of on Psychosocial (a really good song), Dead Memories (a bit meh though), Vendetta (solid), Snuff (a real nice softer song and change of pace) and on parts of Sulfur (not bad) and Gehenna (but when the melody isn't there, it's too much). I have a lot of respect for Taylor because he has a good vocal range and shows his multidimensionality between songs and with his side project Stone Sour (some real tender moments there, similar to Snuff). I'd just like a little more consistent blend of it within songs.

I didn't hate it. But I didn't really get was so special about it either. Honestly, seeing a second album from Dexys had me scratching my head and reading up to see why they are not the one hit wonder I think they are (and that one hit was on the album I already rated). Apparently this album was panned on release. So why bother with it on this list? If Dexys did something cool with adding soul and horns to punk on their first album, fine...and then continued going soul to produce a big hit with added strings, fine. I guess. But recognizing this album (their third and final) is a bit much. Much ado about nothing more than average.

It's a very solid debut but it's not as good as Paranoid, released later that year. Granted, the title track is just a perfect reflection of the album cover and their whole dark, occult motif especially with it's gloomy, rainy start and downtuned guitar. It is a true gem. So is the Wizard, although it is completely different - uptempo, frenzied, and with a variety of tempos and sounds (even Ozzy harmonica) from the get go (not just toward the end). I wish it was easier to find the original European release because the bandmates praise the sheer simplicity of the original recording. I found it on Youtube, though I'm still not sure if it's any different from the North American pressing other than swapping out Evil Woman (a remake) for Wicked World (its B-side and Sabbath original). One thing I noticed is there's dead air between some of the tracks (maybe that was just the way the contributor uploaded it) so you more distinctly know the end of Behind the Wall of Sleep (Wasp is still a tiny intro medley) and start of N.I.B. (Bassically is again still a tiny intro medley but it is awesome - all Geezer Butler on those bass licks). N.I.B. is a super clever song - kudos to Geezer for the lyrics (the devil falls in love) and Ozzy for vocals that set the mood, and of course Tony Iommi for some kickass power chords and plucking. While I like that the North American version went with Sabbath originals only, Wicked World is so-so and maybe feels like not quite the right fit. Evil Woman had bass lines that fit better given the preceding Bassically/N.I.B. The final medley of Sleeping Village to Warning is cool (with A Little Bit of Finger being the 53 second plucking and slight vocals intro to the former). All in all, it was really only Wicked World that was a minor letdown, and I welcome the reason for it. Plus, this album is probably the first heavy metal album - completely different than anything before it and influencing so many albums and artists after it. For that, I'll overlook its weaknesses and rate it as high as Paranoid.

This is a very good heavy metal album and while I'm not a metal fan, I recognize its importance in the genre. In some ways it almost generated a formula that was followed too closely. Like, because of the typical song progressions here, heavy metal bands felt the need to start a song with a simple, melodic, and catchy beat, and then amp up the tempo and frenzied beat after a brief intro, complete with mixes in of high-pitched or screaming vocals and a long bridge of the most frenzied yet intricate guitar (or drum or bass) playing. Don't get me wrong, Iron Maiden are one of the best at doing this and the addition of Bruce Dickinson is his vocal ability soared them to new heights, but sometimes this approach gets a bit tired or over-bearing. I do have to give them credit for their lyrics - whether dark, fantastical, or political they are quite intelligent. And while sometimes the heavy metal sound can be a bit much for my ears, they have some absolute classics here in Children of the Damned, the title track, Run to the Hills, and Hallowed Be Thy Name. The others are pretty good too - not a single bad track. I thought hard about a 5 given this album's place in the whole heavy metal genre.

I'm not sure CCR ever put out a bad album. They are just too good at playing those instruments. And John Fogerty has such a distinct voice; it's captivating. I'm not sure anyone ever matched CCR's style - that swampy bayou sound. It is on full display here, especially in their odes to prior versions of songs like Before You Accuse Me and I Heard it Through the Grapevine. Unlike prior CCR albums they decide to jam like on the former Marvin Gaye remake and Ramble Tamble. I can't decide if that's a good thing or a bad thing. They showed even moreso they can play, but at times I just wanted them to move on. Still, there are so many massive hits here which is all these guys did, produce big catchy hits. Travelin Band (throwback rock and roll), Lookin Out My Back Door (rockabilly jangly greatness), Run Through the Jungle (grungy), Up Around the Bend (that opening riff! goosebumps), Who'll Stop the Rain and Long As I Can See the Light (both classic ballads). It's not quite perfect but it gets close and this is probably their finest work. Feels like time to give 'em a 5.

I don't get the historical, cultural, or musical significance of this album. The Bee Gees finally had a big hit? And I definitely don't get its significance as far as quality goes. It is at best average. There are some nice harmonies and soaring or orchestral instrumentals but it's a lot of the same thing over and over throughout the album. And you can hear right from the opening lines of the big hit How Can You Mend a Breaking Heart the halting vocal style that Jimmy Fallon and Justin Timberlake poke fun at on SNL. It's a bit cringeworthy when it's real and so I didn't really enjoy that song as much as I remembered. The title track's opening harmonies reminded me a bit of the Beatles, but fair or not I felt like that was a bit of a cheap knock-off. I feel like I might be jumping all over their vocals a bit too much so I'll just dial it back to this being an average album. I did give it a second listen and I didn't mind it. If you weren't a fan, this album wouldn't turn you off but it also wouldn't turn you on. And if like me you gave it multiple listens, it might just grow on you.

Why is so much of what is on the 1,001 list from the last decade or so electronica? Is that really the only stuff that is really unique and noteworthy these days? I hope not. I didn't mind this album, but at times it got on my nerves - beats just droning on, same old vocals blending in with the beats, annoying effects. The lead vocalist reminds me of so many other vocalists from this era - Foster the People immediately comes to mind. So, not unique. Some songs really stuck out and got me grooving - How Do You Do?, Night and Day, Ends of the Earth. A couple others were better than average but not quite great - Motion Sickness, Don't Deny Your Heart. A little too inconsistent for me.

Still waiting for an XTC album to knock me off my feet. They are quirky and unique and Andy Partridge really does pen some interesting lyrics. But I just find these guys too uneven. I was surprised they were still producing albums in 1999. I thought Greenman was a standout; it was the first time I took notice since the WTF lyrics in Easter Theatre. Really cool composition and followed by the very sharp Your Dictionary - quintessential XTC. But then back to uneven and strange with Fruit Nut. They're just a bit too eclectic for their own good. Maybe this was their Pet Sounds or Smile and I just didn't get it.

Side one is the Beatles at their best - sometimes poppy and/or catchy (Drive My Car, You Won't See Me), other times deep and/or skillful (Norwegian Wood, Nowhere Man, Think for Yourself), and other times soft and/or beautiful (Michelle). Side two has some hiccups including the opener What Goes On, a faux country ditty sung by Ringo (he just doesn't do it for me), and Run for Your Life (lyrics are beneath them). Still, there are some really good songs on this side including Girl, I'm Looking Through You, and In My Life (an absolute classic). I'll overlook the hiccups for the sheer importance of this album, both in terms of the Beatles becoming mature artists and making the production of complete albums a key objective for musicians. I love albums and loathe artists who can only produce one-off singles, so I wouldn't have my love and none of us might have this list/book without it.

I got into classic rock during high school, including Supertramp, and everybody knew it. My girlfriend at the time, who was part of her school's radio club, made me a mixed tape of Supertramp's greatest hits. I'm pretty sure my older sister bought me Crime of the Century (on cassette) for my 16th birthday. It was 1995 folks - which means I was coming in decades later...and still listening to cassettes despite cd's being a thing then. Their greatest hits are dominated by this album and Breakfast in America, but both are awesome. Maybe the hits on the latter are bigger household names than the hits on this one but this album is a bit more seamless, flowing from one song to the next. Bloody Well Right might still be my favorite Supertramp tune and Dreamer is also high up there. School is a great opener and the title track is a great closer. Hide in Your Shell is underrated - powerful, emotional lyrics and so many lovely twists and turns in the nearly 7 minutes of runtime. Still a great album all these years later.

Bad Company was another band I was a fan of when I first got into classic rock. And there was nothing a few of my friends loved better than to ask each other whether we knew/liked the song Bad Company - to which someone would reply "you mean by the band Bad Company off the album Bad Company?" There was some reverence there but also a realization of the pure cheese of it all. Which kind of goes to this entire album - they do some straight-ahead hard rocking and Paul Rodgers has the big vocals to match, but the lyrics are a little juvenile. But what can you say for a band whose biggest song is called Feel Like Makin Love? The point wasn't to be Shakespeare put to music, it was to ooze machismo, sexiness, and cool. And they do a pretty good job of that. Can't Get Enough of Your Love is such an energetic, rocking tune while Ready For Love is a sexier rock ballad, punctuated by sultry guitar work. The title track is maybe their best and most complex work on the album, both musically and lyrically. Still, there's still more than half of an album to fill out after that. I know Rock Steady and Movin On fairly well, and they're decent tunes but not as high quality musically as the others and my god, those lyrics. I'm sure these guys got laid a lot, and maybe that's all that mattered. As much as I liked Bad Company, I liked their hits scattered across multiple albums and they don't have enough stuff to hold up an entire album. 3.5 at best but I gotta round down for the cheese.

Terrible. That's what was going through my head after the first few songs, especially Bap De La Bap, which seems like the worst parts of Joy Division and New Order (and David Byrne) brought together. Terrible is still what I thought when I reached their so-called big hit Party Fears Two. Their other hit Club Country was better. I get that they epitomized the new wave sound happening at the start of the 80's and they have paved the way for bands like Culture Club, the Cure (in their mid-80's evolution), etc. But this is not my scene. Too over the top. Too shite. Not complete shite, but not good enough either. It's music and trends like this that make us want to pretend like the 80's never happened. What were we all thinking?

Great voice and I enjoyed the playful nature of the whole show and recording. Vaughan adlibbing and singing she missed her cue in Willow Weep for Me or doesn't know the words to How High the Moon (but is going to sing it like Ella Fitzgerald) was endearing, and helps bring out the connection to the audience, which the recording captured well. You can imagine yourself sitting at a table listening to the whole performance.

So two jazz albums back to back but two very different artists in Sarah Vaughan and Nina Simone. Vaughan's vocals are like a bird. Simone's vocals are fierce, which perfectly match her personality and legacy. Read up on her backstory if you don't know anything about her. Simone tickles the ivory too and she's pretty good. Most of the songs are covers but check out Four Women, a Simone original - what an emotional performance with a thunderous ending (and the lyrics are sublime). The next two songs, What More Can I Say? and Lilac Wine, are softer pieces but drip with just as much emotion (and the former has its own thunderous moment). And once those songs got their grip on me, I could not take my ears off the album. Well, except maybe Why Keep on Breaking My Heart - the style didn't seem to fit with the rest of the album. The title track that follows brings it all back though. I think this is the only album we get of hers on the 1,001 list and that is a shame because she is mesmerizing.

No, no, no. Almost 2 hours of "drum and bass". That's a bit much. He should've stopped after disc one, which was already about an hour. It's not the worst thing I've ever heard, but I don't need 2 hours of it. And honestly, after a few songs I was kind of done with it because it just felt like the same thing over and over. I had to quit the double album version after 10 of 14 songs. And the only reason my rating isn't lower is because the single album version has 4 fewer songs and I might've made it through that one.

This may be where Peter Gabriel truly became Peter Gabriel the solo artist but the only song I know is Games Without Frontiers - a classic. The sound of the opening track Intruder is off-putting but the lyrics are thought-provoking, which of course they would be for Gabriel. I'm not sure I can take that for a whole album. Luckily I didn't have to. The rest of the album has some strange, unique musical stylings but it's much more melodic - and the lyrics continue to make you think. Some highlights were No Self Control (the marimba kicks ass), Family Snapshot (love the tempo changes), And Through the Wire (edgy, rocking), and Biko (we know where Gabriel went on future albums with African-inspired music but the political commentary make this that much better). This album definitely gets better and better on every listen. I'd say it's more or less a 3.5, but I think I'd probably creep up with a few more listens so I'll give it the bump to a 4.

I just did not enjoy this album as much as their follow-up Closer. It's cutting edge and all - listen to the Replacements or Sonic Youth or REM or the Jesus and Mary Chain and you hear Joy Division in what they do. But disappointingly part of it's cutting edge is their producer Martin Hannett's tricks in the editing room. And then there's Ian Curtis' vocals - they feel so front and center and they're so one-dimensional and depressing. Bernard Sumner, Peter Hook, and Stephen Morris can play - I particularly enjoyed Disorder, New Dawn Fades, She's Lost Control, Shadowplay, Interzone. I want to rate this lower than Closer and so a 3 is what it should get even though it's closer to 3.5. But when Curtis isn't heard, it's just so commendable. It's vintage, it was one of a kind, it's iconic. They get a bump.

Hard pounding, frenetic, angry. Yep, this metal is heavy. Metallica is very good on this album but not great. They're not one-dimensional but they could be more multi-dimensional - it's missing a bit of harmony or a bit of something else than it's usual routine. Even the band itself remarked at the time they were still trying to figure out how to truly play in synch. The title track has come on the radio a lot recently and I kind of shrug my shoulders after awhile. Like yeah, I heard that before or for the last few minutes. What you don't get on the radio is the interlude about halfway through, which is the kind of thing the album needs more of - some change of pace. But it's almost like a separate song, not quite integrated as well as it could be. And it does make the song 8.5 minutes long, which is a bit much. Same issue as And Justice for All - too much decadence and songs that carry on a bit too long. Master of Puppets (the song) could've had all its twists and turns and been done in 5 minutes. Battery has a cool little intro but then it's just discarded, like it was a tease, for a purely pounding rest of the song. I didn't mind the intensity of the song, but imagine if they could find a way to keep flowing that deft guitar harmony from the intro with some of the pounding beats later on? Welcome Home is a nice change of pace and I appreciated the thoughtfulness of the lyrics - I think I was also looking for a bit more of that throughout. I shouldn't be so negative because it is a good album. There are some very smart lyrics and songs that grab you with their pulsing beats - Disposable Heroes, Leper Messiah, Orion (no vocals). I just wanted a bit more variety in sound and a tighter, more intentional delivery.

On one listen this felt like a clear 4. It's regarded as one of the greatest live albums of all time and I agree it's very good. But is it worth a 5? Well, I had it on all weekend and it definitely gets better with multiple listens. Van Morrison is clearly enjoying himself on stage and at times you can hear how much the audience is too. Side one take a bit to build because the performer-audience connection is less audible. Morrison and his band (until the songs end) still bring it on Warm Love and Into the Mystic and you can hear the audience energy more on These Dreams of You (piano really starts to shine) and you can hear the band and Morrison improvise too. But the covers really shine and keep taking the performance to another level. Morrison and the band really lean in on the Ray Charles cover I Believe to My Soul as side one ends and then they are electric on Help Me (song two of side two). But it’s as the album pivots from side two to three that the album absolutely takes off, as they transition from the incredible Muddy Waters and Sam Cooke covers (I Just Want to Make Love to You and Bring in on Home To Me) and Domino right before. The energy grabs you and you can feel like you're there. And Morrison turns into the greatest showman with a band that matches. The sax and faux siren on Take Your Hand out of My Pocket, the tender piano and strings and passionate singing on St. Dominic’s Preview and Listen to the Lion (minus those silly accents). And then side four blows the roof off. It sounds like all of it was encore, but man oh man. The crowd goes wild for the two Them hits (Here Comes the Night and G-L-O-R-I-A) and rightly so – Morrison owns the stage at this point, yowling, prowling, and improvising. But his vocal play and his and the band’s connection with the audience on Caravan and Cyprus Avenue, wow. They’re just eating out of the palm of his/their hand as he does call and answer, instrument solos, or stops and starts. The repeated “so you know it’s got soul” in Caravan, the fan call out of “turn it on” and sultry Morrison reply of “it’s turned on already” on Cyprus Avenue before he launches into “it’s too late to stop now”. It makes you wish you were there. So all that to say, yeah, it’s worth a 5.

Didn't mind it. It felt like a variety of hip-hop, soul, R&B, and electronica - of course with Indian backdrops. I think I liked the non hip-hop songs better (like Letting Go, Nadia, or Anthem without Nation), and the less singing the better (like Homelands, Tides, or Beyond Skin). Serpents and The Conference were both a little strange - wonderful and annoying at the same time. I could see myself letting this play in the background but it didn't quite get me out of my seat.

This album and this group. They are so eccentric. But so fun! Honestly, what they do here is up there with what the Talking Heads were doing at the time. It's off-kilter and it's one-of-a-kind, and yet it's ushering in a funky new wave era that sounds similar in some ways. I've got to give them credit. Kate Pierson and Cindy Wilson's vocals on Rock Lobster are awesome - the warbly ooh's throughout and all the animal sounds near the end? So strange but so good. And the beats to that song are so catchy. This is where Ricky Wilson (guitar) and Keith Strickland (percussion) - who together composed most of the album - plus Pierson (organ & keyboards) are better than you think. For example, the opening 2.5 minute instrumental to Planet Claire is so good (including Pierson's vocals made to sound like synth). It's a completely 60's campy / beach party / superspy motif (as is Rock Lobster), but it works so well. And they do good work on other songs too - particularly, Ricky Wilson, his low-tuned guitar is awesome on 52 Girls, Lava (so good), and Hero Worship (again, so good). And then back to the vocals - throughout the album, the girls' separate vocals and vocals in harmony, along with Fred Schneider's distinct and quality speak singing just works. Honestly, if you like Karen O from the Yeah, Yeah, Yeah's then you have to appreciate the loud even screamy vocals of Pierson and C Wilson on this album. These guys have to be some of the strangest cats ever to come out of the 70's (their lyrics are just out there) but there is something about this album. I really enjoyed it.

I am very much aware of this album but have never listened to it beyond the title track (part 1) and Do You Realize. The vocals almost remind me of Band of Horses but this is about 5 years before those guys hit. The combo of electronica and stripped down guitars/bass and drums? Not sure how I feel. At one level, it seems like typical early 2000's fare as I can think of a few other rock bands who went this direction with drum tracks and extra synth layers to add to the sound. At another level, it's a little ahead of it's time as this whole electronica and rock combo became a big thing by the end of the decade. And I don't really love that genre. So I guess some kudos for being pioneers (I may be wrong about that) but it was a bit meh for me in terms of sound. Not going back for more, and it doesn't make me want to seek out their earlier or later work.

This reminded me a lot of The Dictators both in terms of the shrill, at times cartoony vocals and the irreverent and/or goofy lyrics (Boys are Boys and Girls are Choice, Drunken Maria, That's My Girl). But these guys predated The Dictators by at least a decade. I will say wow, in that I can't believe this kind of punk music (or whatever it was) existed in 1966, although there are times where they go for a more psychedelic sound of the times (Shut Up). I think it was also bold for a bunch of guys in the US army to sing about the stupidity of the Vietnam War (Monk Time, Complication). It's raw and unpolished but it's completely unique and trail-blazing. The bad is balanced out by the good.

Feels a little pretentious to put out a 3-disc album just because the lead (Stephin Merritt) thinks he is a good writer. They could've stopped after disc one, which wasn't bad - some bad moments (Punk Love) but also some good moments (A Chicken With Its Head Cut Off). Disc two got off to a terrible start (Love is Like Jazz at song two - what was that?) but it had some good moments (When My Boy Walks Down the Street, Papa Was a Rodeo). Disc three was more of the same. I most preferred when their pianist/drummer Claudia Gonson sung (Acoustic Guitar was a particularly notable vocal performance by her). Shirley Simms was also great on Come Back From San Francisco. Not that Merritt's vocals are bad - sort of a cross between Nick Cave and Matt Berninger (The National). Sometimes it worked really well (I Don't Believe in the Sun, The Book of Love, The Death of Ferdinand de Saussure) and sometimes it didn't (Promises of Eternity). In the end, did I need 3 discs and 69 songs? Probably not, but it wasn't the worst 3 hour experience I've ever had.

Now these guys did trip hop or the Bristol sound right. I've been pretty lukewarm on the rest of this genre, but this album feels markedly better. I'm not entirely sure why. Maybe it's Beth Gibbons' vocals - her voice tugs at you. A perfect match for the spacey sounds. Maybe it's that they also used some of their own instrumentation and that mixed with the sampling gives it something extra. Listen to the end of Mysterious or the start of Sour Times - there's some extra percussion or rattling or something that really works. Some other particularly good songs include Wandering Star and Glory Box.

I don't know about this. It almost sounds like a Pavement knockoff, except that their frontman (Stephen Malkmus) had already left Silver Jews by the time this album was produced and he wasn't the main singer/songwriter anyway. That's David Berman's job and he does pen unique lyrics. But at times it's just smart man nonsense - like if he puts two cryptic or quirky sentences side by side that makes for clever writing. I found it a bit tiresome. Ditto his voice and the musical arrangements. It's the same monotone delivery attached to the same metronome-like alt-country timing on almost every song. I know Leonard Cohen and Tom Waits have flawed vocals, but they can compose songs in a variety of distinct ways and they do attempt different vocal stylings - and pull it off from time to time. Transylvania Blues was different - both stylistically and for its absence of vocals - and Let's Not But Say We Did was more uptempo. But the rest felt monotonous. And not good.

I know who Lan Del Rey is but couldn't have told you anything she sings. I think I've been missing out because she's quite good. Good voice (almost classic), good lyrics. Mind you, the album has a sort of Taylor Swift style, and that might be because Jack Antonoff is central in producing both. I also struggle to tell the difference between her voice and contemporaries like Phoebe Bridgers, Olivia Rodrigo, even Billie Eilish and Miley Cyrus. Now part of that might be that she inspired the first three or that music execs today want all their female singer songwriters to sound the same - e.g., doing that high-pitched almost whispery singing. Or maybe I should blame autotune, which is used to over-effect on Tulsa Jesus Freak and maybe makes everyone sound similar these days. It would be a shame if her voice is pure fabrication, which I don't think it is, but that song made me wonder. It seems Del Rey has earned a lot of praise and honestly I'm not sure if this is considered her best album so I'm a little skeptical of it being included on the list. But whatever, maybe she's good enough to have one album on this list. I did listen to this one on repeat and enjoyed the experience. Favorite songs were White Dress, the title track, Let Me Love You Like a Woman, Wild at Heart, Yosemite, and For Free.

This is one of those albums where if you were just given it and asked to listen without being told anything about it was you might say "not bad, so who is it?" The baroque or orchestral style is cool, kind of feels like the Bee Gees (maybe I wouldn't have chosen them if a couple of their albums hadn't come up recently). But it's John Cale. "What's that now?" Of the Velvet Underground. "Shut the front door?" I admire Lou Reed's solo stuff but the sound is still so different, he's just a clever lyricist. This? Well, the musical backdrop is so prominent that the lyrics get lost initially and I still haven't quite followed them. But the music is so warm and inviting. Apparently if I went looking for more John Cale (which I might) I wouldn't find anything else like this. Without that context and his VU background, would this Cale album make the 1,001 list? I don't know. It's got a good feel but it's not overly special. Favorite tracks were Child's Christmas in Wales, Hanky Panky Nohow, Macbeth, the title track, Half Past France. Graham Greene was kind of cheeky, had an almost Jimmy Buffett sound. Feels like a 3.5 at best but I'm rounding up for the pleasant surprise.

These guys sound oddly familiar but I'm not sure I knew any of their stuff before. I definitely don't recognize the name. Vocals sound a bit like Dan Auerbach/Black Keys, and they also have a bit of a garage rock feel, but the 4-piece instrumentals sound more like southern rock of Kings of Leon or Goodbye June. I quite liked when they jammed, especially on Back at the Farm; the southern tinge played out nicely. It's Him! and Street Joy were also pretty kick ass - again, sounds so familiar. The album dipped a bit in the middle for me but picked up again at Bess St. I think I'm going to have to explore more of their stuff.

Same as always with Sonic Youth - complex, unique, interesting - except this time without any real good songs. It felt like an off-kilter goth record without enough melody to the doom and gloom. Far too many overly abrasive or droning songs like In the Kingdom #19, Secret Girl, and Marilyn Monroe and not enough songs like and Shadow of a Doubt, Starpower, and Bubblegum. I guess Tom Violence wasn't okay too. I've given them a bump in the past but I feel like I need to take off a point on this one.

The album asks a good question, though an even better one might be what's so special about that noise? Boring, cheesy 80's hip hop / house combo. Splicing together a bunch of samples does not a good album make. My Telephone wasn't bad and I guess there were some other decent moments. Too few and far between though.

Mostly I put this on in the background and let it run, which is really what ambient music is good for right? I didn't hate it, but wasn't fired up about it either. I really only pricked my ears up at Green Calx, which had some cool NiN kind of industrial sounds. Schottkey 7th Path and Delphium were kind of groovy too.

Brel has a good voice and brings some nice energy, but I found myself bored at times. I don't know if it's because I can't connect with the French lyrics. Maybe it's the musical style - it sounds so dated or like a stereotypical backdrop to any scene set in Paris with the prominent accordion and violin work. I'm probably not being fair or don't understand the chanson genre so I'm giving it an average rating, but I just couldn't get into it.

I don't know what it is about Bob Dylan albums, they never completely get me. This one is solid and his lyrics are very, very good. About as good as they get. It just seems tiring at times. Was it that the instrumentals didn't vary enough? Maybe I didn't need the double album? Still, even on side one I was a bit bored with One of Us Must Know. That said I didn't mind the 11-min long, one song only (Sad-Eyed Lady of the Lowlands) side four. The hits (Rainy Day Women, Just Like a Woman) are classics for a reason but some of the others didn't hit the same highs. I can't rate the album higher than Highway 61 Revisited, but it's also better than average - I mean it's part of his peak period where he was firing on all cylinders. Just not quite my style I guess.

The epitome (start?) of slow jam. The opening twang of the title track is iconic, the song is a beauty. Side one is pretty awesome, even if Keep Gettin It On is a little too close of a reprise - If I Should Die Tonight is a soulful gem that if you don't know, you need to know it. Side two isn't as good, though Come Get to This and Distant Lover are solid and sultry. You Sure Love to Ball tries too hard but Just To Keep You Satisfied is a nice soaring ballad. The album is a clear 4 and part of me doesn't want to go higher because it's not as good as What's Going On. But given that thousands if not millions of babies were conceived thanks to these jams, I'll give it a bump. The album just oozes sexiness. There may not be another album quite like it.

This album was better than I thought it would be. A one-hit wonder in my mind, for Scooby Snacks, they brought more than that on this album. I especially liked the funky upbeat tempos and use of the trumpet, as well as some catchy guitar riffs. The opener Fun Lovin' Criminals was a lot of fun for those reasons, and the second song Passive / Aggressive was a little boring but fun for those reasons (when turned up a notch) in the choruses. Despite ripping off Smoke on the Water and Free Bird (I guess sampling for this rap rock album) I also found Bombin the L fun and funky with a cool guitar and trumpet combo. Similar for King of New York. Not the same combos, but Bear Hug and Crime and Punishment were kind of cool too. And so many tracks that felt perfect for a Tarantino or Guy Ritchie crime drama/comedy. It just felt...stylish. The title track was a good example of that. Still, I don't think I can give the album a 4. There's far too many better albums and I don't think this one is that notable in the grand scheme of things. But I enjoyed it. And that's more than I thought I'd say when I saw the album pop up.

So is Scott Walker the English version of Jacques Brel? The opener Jackie (translated from Brel's Jacky) made me go there (he covers a couple other Brel songs), but the whole style of vocals front-and-center made me go there too. Walker is more baroque, you can hear that in the musical accompaniment right away. I enjoyed it. And I enjoyed Jackie - such cheeky lyrics especially for 1968. Curious how much it changed from the original French lyrics. By the time I got to the end of the album I felt like I knew exactly where the styles of artists like Interpol, Franz Ferdinand, The Arctic Monkeys, The Fratellis, and similar others came from - Scott Walker. Big voice, bombastic sound, goofy but clever lyrics. He's like Neil Diamond except doesn't take himself too seriously. Are either of these things why his album needs to be heard before I die? I don't know if it's a must hear, but it was fun enough for a few listens.

D'Arby or Maitreya, as he goes by now, has a great voice. It can be guttural or high-pitched. He can do so much with it. But I'm not sure he's as good a lyricist. Some of the songs felt a bit hokey (just listen to the opening lines of Let's Go Forward or Dance Little Sister). And very dated - classic albums are timeless but this album's time is clearly the 80's. Wishing Well is such a fun little tune (a deserved hit) but it is so 80's. I don't think any other songs get close to being that memorable. As Yet Untitled is very mature (stripped down and all vocals, decent lyrics) and Who's Loving You is an energetic remake, but neither is as catchy. This album was ok.

Listening to this album I can't even remember what Walter Becker sounds like. Donald Fagen feels like the voice of Steely Dan for me. And this feels like Steely Dan. A real upbeat, adult contemporary version of Steely Dan. On one hand, it sounds like muzak or quintessential 80s (blending jazz and synth). But man is it such a positive vibe. If you can get past the eye rolls on the opener I.G.Y. and just listen, the whole album is a nice trip down memory lane. It's Fagen's memories, but it feels like it could be yours. The production quality is off the hook, and that might be one of the reasons the album is on the list; it's so smooth. Some nice jazzy funk on a bunch of songs like Green Flower Street, Ruby Baby, and New Frontier. A different but cool jazzy sound on songs like Maxine and the title track. I dare you not to smile listening to this album.

I am officially a Rufus Wainwright fan. It only took the first two songs on this album (its 2 singles apparently) to get there. Well, that and having enjoyed his follow up Want Two. Oh What a World displays his beautiful vocals and lyrics, and his Tom Waits penchant for unusual but appealing baroque or avant garde sounds. His vocals and the musical stylings on I Don't Know What it Is remind me of two of my lesser known favorite rock singers & bands - Kelly Jones of the Stereophonics and Bernard Fanning of Powderfinger. Wainwright has such a knack for creating these songs where you don't know whether you should feel happy or sad. The music itself is big and uplifting, but the lyrics are either emotionally vague or despondent. Some examples aside from the first two songs are Vicious World, Movies of Myself, and 14th Street. At other times he goes a little more despairing in tone, but it's soaring and beautiful - examples are Pretty Things, Vibrate, Want, and Dinner at Eight. I'm not going to claim it's a perfect album, but it was quite good. And this guy is awesome.

The hits are great (especially Take It Easy and Peaceful Easy Feeling) but the rest of the album is a bit meh. And some of the lyrics? "I believe we can chug all night, I believe we can hug all night" (from, ugh, Chug All Night) - terrible. These guys charted a new course for rock and I understand it started with this album. But that breezy, harmonized country rock sound is far from perfected here and is sorely lacking on most of the non-hits. Meisner's songs were the best of the non-hits - Take the Devil a bit bluesy and Tryin a bit more hard rocking. They got way better as they continued to work at their craft.

It's a decent album, but I'm not quite sure I'll go back for more. It's not just alt-country, it has some eclectic elements blended in that give it its own spin on that Arizona alt-country sound - some horns (Close Behind and Across the Wire), some strings (mando on Pepita), some accordion (Sunken Waltz), some different steel guitar (Quattro), some trip hop sounds (Black Heart), some other stuff I can't place. I didn't love it all but I didn't mind it. And if this is part of a unique genre (I certainly haven't heard much like it) I don't mind having been introduced to it.

I've listened to 700+ albums on this list and hundreds or thousands more on my own. I feel like I know more than the average bear and like I've given some on point insight about albums. But an album like this makes me feel sheepish because I still don't understand jazz. It may be the greatest jazz album of all time, so they say, and I couldn't pick it out of a police lineup. It's good but I can't pretend to say I listened to it and thought 5-star. Davis and his trumpet have some standout moments (Blue in Green might have been my favorite song overall for his work) but I also really took notice of the piano work (starts of Freddie Freeloader and All Blues were quite cool - I guess not the same pianist).

It's fine but not overly spectacular. Cool spooky electro-synth vibe, and apparently a pioneering album for synth. Ok, but still just okay in my opinion. Part 2 was my favorite track, with some different beats about 100s in; not sure what all the fuss was about with Part 4 (the "big" single). Kind of reminded me of that Mike Oldfield album, and others too I guess since Jarre has been dubbed the French Oldfield. Seems justified to give the albums the same rating.

I know of King Crimson but can't say I know any of their songs. If you like prog rock, you undoubtedly love this album. If you aren't a prog rock fan, I think you'll still appreciate it as very good. I'm in the latter camp. For me, it's the mixing of sounds that is so interesting and cool. It gives it a medieval sound. And so a lot of credit to Ian McDonald's work on the flute (I Talk to the Wind), sax (21st Century Schizoid Man), and Mellotron (Moonchild) among other instruments (so many on Epitaph and the title track). Robert Fripp's plucking and playing on guitar also gives it that vintage allure and there's something about Michael Giles' timing and dexterity on the drums. The lyrics are pretty good too (really make you think), which I should hope given that Peter Sinfield's only job was to write lyrics. I can't say I noticed Greg Lake's bass all that much but he shows some nice vocal styling going from snarling on 21st Century Schizoid Man and the title track to more soothing on Epitaph or Moonchild. But then we get that noodling (as it's called) on Moonchild - band members just playing around with sound. I just. I'm sorry, I don't get it. Is this part of prog rock experimentation? At first I was bored as the song slowed to a crawl not even 3 minutes in and then I was a bit puzzled about 2 minutes later when the noodling made me think Mister Rogers' trolley was going to come by. Maybe it's experimental genius but to me it felt like 7 minutes of aimless play (not heaven) that I probably could have done without. Thankfully it was followed by (and closes with) the title track, which was more like the opener 21st Century Schizoid Man (a true masterpiece - the sax layered over guitar and the lyrics, chef's kiss) in its energy and ferocity. You really feel the emotions in both songs. Although again I could probably have done without the last 3 minutes of experimentation. Still, that fusion of rock (guitar, bass, drums) and other sounds (keys, winds, horns/brass) on this album is a revelation.

Reminded me of The Gun Club with that jangly punk sound. But not as good. I guess I should expect multiple entries for a genre and this one (psychobilly apparently) gets another. At times I also thought about Nick Cave, probably more for the lyrical imagery (horror, occult) but also some of the vocal snarlings. Vocals also reminiscent of Iggy Pop. Not bad, but again not as good as the referent artists. Still some good beats to tap a foot to and they do a decent job with the rockabilly thing. Garbageman and I Was a Teenage Werewolf were my favorite tracks. They do a decent cover of Fever too.

Who Do You Love parts 1 and 2 are cool homages to Bo Diddley, as is Mona. They show the chops on guitar of John Cipollina and Gary Duncan and do acid rock in a way that is not annoying and/or tiresome. I'm not sure if I can say the same thing for the rest (15ish minutes) of the Who Do You Love Suite (i.e., side one). Those songs in between (almost solos for each band member) have some cool moments (distortion in the middle of Where You Love, pretty bitching guitars on all of How You Love) but it feels a little drawn out. I guess I could've done with a 15min jam session instead of a 25min jam session. Side two is more of the same - recorded in studio but produced to feel like a 25min jam session. While I'm good with the 7min Mona and the 3min Maiden of the Cancer Moon, I got less and less captivated as that side went on and I find myself a bit bored during the 13min Calvary. This album almost feels like a 3.5 - there's some great musicianship but it just kind of drags at times. Maybe if it was tighter I would've been more of a fan. Or maybe I'm being overly critical and not appreciating the musical mastery these guys produced. Whatever the case, I gave it an average rating. And I think the fact that I didn't really get into any of the similar tracks that Apple suggested afterward made me feel confident I was making the right choice.

I have a lot of respect for Cat Stevens. This album is soft and sweet and it completely captures the folk rock genre of the 60s and 70s. He really nails that breezy (sometimes upbeat) vibe in the instruments combined with somber motifs in the lyrics. But I don't know if this album really does it better than some of his contemporaries like Harry Nilsson, Simon & Garfunkel, Joni Mitchell, Gordon Lightfoot, James Taylor, Jim Croce, Carly Simon, Bill Withers, etc. I immediately thought it's a 3 but wasn't sure if I could go higher. That said, it gets better and better on every listen, and songs like Where Do the Children Play?, Hard Headed Woman, Sad Lisa, But I Might Die Tonight, Longer Boats, On the Road to Find Out, and Father and Son really stick on multiple listens. Wild World already stuck (I feel like it gets way more airplay than the others and I knew it intimately already). I guess that's 8 out of 11 songs that really stuck with me so maybe I need to give the album an upward nod for how infectious it is. If 3.5 stars was an option, I'd go with that.

So here's what I said 700 albums ago to The Sonics debut, which was mostly covers - Meh, a bunch of covers is not my idea of a must-listen album. And that is regardless of who the artist is. The Stones provide only one original to the 12-song album. One! And it was probably the worst on the album. I've heard some cool cover albums, where the artists do something really different. I don't hear that here. Granted they do crank up the tempo on most songs so it has a slightly different flavor. And their ability to play their various instruments is on display as a result. But it's not so different that I'm thinking wow. It still mostly sounds like a tribute to the R&B and blues artists these guys adored, and Mick Jagger sounds like he's trying to sound like Chuck Berry. Side One is better because I'd say on side two they are bested by the originals like Berry, Marvin Gaye, Gene Allison, and Rufus Thomas. All in all it's fine, but wake me up when we get to Aftermath. I can't believe these guys rocketed up to superstar status before they mostly wrote their own material. Bo Diddley must be rolling over in his grave.

There are some really good songs on this album - Care of Cell 44 (sounds familiar but I don't recognize the name), A Rose for Emily, This Will be Our Year, and the big classic Time of the Season. Friends of Mine wasn't bad either. But there are also some clunkers - Beechwood Park, Hung Up on a Dream, Changes. These songs have too much of that buzzing or wispy psychedelic sound. Butcher's Tale was a mixed bag - some very clever lyrics but the organ has such an eerie sound, like the harpsichord on the Stranglers' later-released Golden Brown, which I always found annoying. The album was better than I thought it would be and got better with multiple listens. But I don't think I can go above 3.5.

Because this is the second Public Image Ltd. album I started to read up on them more and learned a lot. Yes, Johnny Rotten (John Lydon) is their lead singer but I didn't realize the Clash's Keith Levene was on guitar or Jah Wobble was on bass. It is such a different album than anything else, and that's both a good thing and a bad thing. That said, I do hear where other post punk bands came from (New Order, the Fall) and where the 80's went to. Metal box feels like an appropriate title, it sounds tinny and like screeching metal at times. It's very stripped down and yet abrasive, and this can make it very hard to get into. But man oh man does it have some unique, cool work on guitar (Albatross) and bass (Memories). Even synth (Socialist, Radio 4). And Lydon is still a clever lyricist. Still, it all kind of drones on and on - both within and across songs. The album could be tightened up so much and sound far less monotonous or uninviting.

Meh. Not a fan of Gram Parsons' voice and would've liked to hear more of Emmylou Harris' voice (not just harmonizing with his). Return of the Grievous Angel was a slow and uninteresting start, in my opinion. Hearts on Fire was okay and I didn't mind Love Hurts (but they sounded awful similar and I still prefer Nazareth's harder rock version of the latter). I Can't Dance and Ooh Las Vegas had some nice energy and the live recorded Cash on the Barrelhead / Hickory Wind was raucous - cool to hear. Not my cup of tea but 2 would seem harsh. Still, not sure what the big deal about this album is.

This album was playful - the tone of the songs, the silly (but still amusing) lyrics. I kind of enjoyed it. I did a lot of background reading because Syd Barrett's story is so unusual. I didn't expect this style given the first couple Pink Floyd albums and given that Barrett had supposedly fallen off the deep end already. So the laughs yes, but this doesn't sound like a guy who had gone mad. Especially if you listen to the takes on later songs like If It's in You. He's with it. But I guess maybe he came and went. Anyway, I don't know that I'm necessarily going to go back to this album over and over, but it was a pleasant listen and the education I got learning about its recording was worth it. Favorite songs for their playful mix of amusing lyrics and upbeat pop were Terrapin, Love You, Here I Go, Octopus, and Long Gone.

There were some great new wave bands, with a little bit of synth, pop-punk, or post-punk sprinkled on top of their rock. I did not realize The Go-Go's were one of those bands. But this is a solid album, particularly side one. Not as good as Blondie or the Cars, but I hear them in cool all girl bands that have come since - Sleater Kinney and the Beaches are two that come immediately to mind. The lyrics are a bit poppy, but there's a little bit of bite to them every now and then. And the songs are catchy as hell. Not just the two big (big!) singles (Our Lips are Sealed, We Got the Beat) but also How Much More (maybe my favorite), Tonite, Lust to Love, and Can't Stop the World. Probably a 3.5 but I'm giving them a bump, if for nothing else that they were a female group who did it all themselves (songwriting, composition, playing) in a time when male music execs wanted their hands all over everything (not sure how much that has changed).

I just crapped all over the Stones for a debut album full of covers (except one). And now here comes Ray Charles with 100% covers. But this feels different. Maybe because taking a bunch of R&B or jazz standards and doing in them in your own style is typical in that genre (and seen as last innovative in rock). Or maybe because Ray just brings it, at least on side one, and then changes the tempo on side two. I think he does the big band side one better, maybe because it matches his powerful voice, but the strings-oriented arrangements on side two are solid too. Yep, genius. Not perfect but very good.

The title track is awesome but how can that be Al Green's only number one single? The man oozes soul and his voice can make you cry. His remake of the Bee Gees How Can You Mend a Broken Heart gives me goosebumps. He puts the slow in slow jams. Kudos also to Willie Mitchell for matching the musical tempo and instrumental style with Green's vocal style. It's perfect. Not a single weak song on this album. Other songs that really tugged at me were La-La for You (awesomely high-pitched), What is This Feeling (love the la la las and his vocals near the end of the song), Old Time Lovin (pure magic), and It Ain't No Fun to Me (sultrier, livelier crooning - uhh yeah). Loved this album.

Hit and miss, up and down. I really liked the strings and horns to start The Shining - beautiful song overall. But the album didn't always keep up with that level. Everybody's Stalking has some edgier guitars but the vocals and the other instruments don't quite fit. Camping Next to Water and Stone on the Water were both nice pieces (the latter, again like the opener, combining some deft instrumentation). But it soon gets grating again with Body Rap (sounds like a bad version of Gorillaz) and This Song (maybe he thought he was being skillful by playing the sound back and forth across speakers/ears but it is extremely difficult to listen to). Once again the album saves itself with Bewilderbeast (real tender sound) and soon after Cause a Rockslide (nice new indie rock sound) and Pissing in the Wind (nice indie folk sound). But then he sort of lost me again and Blistered Heart and I'm not sure I loved Disillusion either (vocals? tempo? something felt out of place). Epitaph was okay as a closer. Not a bad album overall but a little inconsistent. Not sure it's such a novel revelation of folk or indie that it needed to be on this list but I didn't mind it.

Oh great, the Cocteau Twins are back. At least the album leads with Cherry-Coloured Funk, which is one of the only songs of theirs I know or liked already. This album definitely reminds me of My Bloody Valentine and Mazzy Star releases that came within the next couple of years, between the fuzzy or vibrating guitars and the muffled vocals. Honestly, despite not looking forward to listening to this album, it's quite good. I did not like their previous album on this list but this one spoke to me. They perfected their art on it. The first half up to the title track was really good, without a weak song and with Iceblink Luck (their first single) every bit as dreamy good as the opener and title track. I feel like it dipped a bit for a few songs after that, but picked back up as it closed with Road, River, and Rail and with Frou-Frou Foxes in Midsummer Fires. Definitely surprised at how much I enjoyed this album.

Surprised they put an EP on this list; wish they'd put some other ones on here (Alice in Chains). I'm aware of Mudhoney and their early contributions to the grunge genre, just never listened to them much. If you like grunge, you'll like this. Heavy, dirty, fuzzy, pounding. Simple beats with a good rhythm. It's still a little raw but then so is Nirvana's Bleach. Good start from these guys even if only 6 songs.

Not what I was expecting. It felt more like a funk album, which I didn't mind at all. Whatever is African or Brazilian feels secondary or like it was sprinkled on top of a base layer of 70's funk. But I thought it was great. Right from the opening licks of Ponta de Lance Africano. It dipped at times, like when I got to Meus Filhos, Meu Tesouro, A História de Jorge (felt both derivative of other tracks and like it was trying too hard), or the title track (too spastic). But plenty of other great tracks in between, including Hermes Trismegisto Escreveu, O Filósofo, Xica da Silva (best song on the album next to the opening track), and Cavaleiro do Cavalo Imaculado (what pace!).

I don't get this list sometimes. If you want a Christina album that pushed boundaries, was unique, and/or showed off her talented voice then why not go with Stripped? That album has come to be highly regarded (and should be for all the reasons above) even if reactions were initially polarized, while this album has only ever been regarded as a B-. I don't hate this album, but it's a little all over the place especially when you throw in disc 2. It's nothing more than average pop fare. I always liked the maturity and fun factor of Ain't No Other Man so good for her to keep growing up on this album. And there are other good songs (Oh Mother, FUSS, Here to Stay, Hurt, and maybe even the blush-worthy bugle boy ripoff Candyman - at least it's fun). But there's a million other pop albums equally as average as this.

Maybe Morrissey doesn't need another album on this list, but I still like this album. Harder rock sound than his first couple albums including Viva Hate, different rock sound (more glam?) than his comeback album You Are the Quarry. I think both those albums are better but, again, I still like this album. Punchiest tracks are You're Gonna Need Someone on Your Side, Glamourous Glue (big sound), The National Front Disco (more pop rock, but lively tempo), We Hate it When Our Friends Become Successful, and Tomorrow. Still excellent but softer tracks are We'll Let You Know, Seasick yet Still Docked, and I Know It's Gonna Happen Someday. And still so much to think about from his politically-charged and/or sexuality-ambiguous lyrics. Such a great lyricist. Another solid album.

Well, that's 4 albums by The Byrds now and you know what? They kind of suck. That's a bit exaggerated but every album has felt like an existential crisis to pin down whether the album is truly ho hum or if it's just me not appreciating it. And why? Because everything I read tells me The Byrds are a major band and a key part of musical history. I don't care. I won't feel compelled to sing their praises anymore. They are not my cup of tea. Respect for constantly changing gears and styles and being on the forefront of those changes. But it's mostly average to me and I don't care who knows it.

For a brit-pop band I've never heard of (no small feat), this is predictably unassuming, unremarkable, plain vanilla 90's alt rock record. Next.

This is somewhere between a 2 and a 3. It's weird and it's got an industrial rock feel, though not as good as NiN. But it's not bad either. I could listen to it again. Definitely unique, which is probably why it made the list. The lyrics piqued my interest from time to time and all the experimenting had me curious. I don't know why. On another day this would very well be a 2.

A definite 3. Soft and wispy and beautiful. But is it too long and too much of the same thing over and over? Svefn-g-englar is a great example - Birgisson's vocals are so unique and haunting and the dreamy, not-quite shoegaze sound is so cool but I thought it was over around 5 minutes in and then it just sort of repeated itself for another 5 minutes. I don't know that I minded it, but after the whole album was like that I wasn't sure if I was getting lost. Starálfur is a song that nailed it - almost 7 minutes but it didn't feel repetitive, and the combo of strings and keyboard and regular guitars were sublime. To be honest, after those first two songs (and the brief intro) I really wasn't blown away by the next 4 songs. For example, Hjartað hamast sounded more like standard trip hop than more novel dream pop. It wasn't until Olsen Olsen and the title track (second and third last songs) that I pricked up my ears again. The acoustic guitar in the former made it sound like the Smashing Pumpkins, but even dreamier with the woodwinds and horns - a sweeping, orchestral epic. Having listened to it about 5 times, I feel like 3.5 is what it really deserves. I decided to round up for dreamy novelty.

Meh. Some trip hop, some ambient electronica. Some cool sounds in various songs (liked the start to Clouds Up) that didn't always continue through the whole song. Playground Love was alright I guess. Ghost Song was okay at times and annoying at times. Dead Bodies was my favorite (jangly piano). Suicide Underground had interesting lyrics but the voice modulation made the delivery a bit hard to listen to. I guess the album is fine, and maybe fine for a soundtrack, but I'm not coming back to it.

This was good. Strong vocals from Kahn and good beats. I don't know how unique it was compared to other Qawwali or world music albums but I could listen to it again, or on repeat in the background. I may not reach for it when I really need a music pick me up but I wouldn't be disappointed if it was played.

Not sure what the big deal is. At best it's standard synth-pop fare. At worst it's too pop, too synth. Not awful but certainly not great. Like the 80's all over again, everything sounds fake. Really good synth feels like the music is more real. Decent vocals but paired with the synth it almost sounds overdone or overproduced. The Mother We Share and We Sink made for a good start but the rest didn't quite keep it up. I prefer earlier synth pop groups/albums like The Naked and Famous/Passive Me, Aggressive You or Metric/Fantasies.

The first couple of times through the album I didn't think this album was anything special. Just an ordinary 3. But I will admit on the third or fourth listen I was quite impressed by the whole glam sound. I know they're considered art rock but this had a bit more T Rex or Sparks sound to it. At least side one with their two singles - All I Want is You and The Thrill of it All (some real rock edge from the guitar work) - and Out of the Blue. Side one was great and Bryan Ferry has a perfect voice for this kind of thing - so expressive. That being said, I found side two dragged a bit, except for Prairie Rose. Maybe my favorite Roxy Music album so far of the three that have come up on this list, feels like it's about a 3.5. Coin flip on rounding up or down. It's their lucky day.

Hey did you know Dexys Midnight Runners was this amazing British punk/soul band that has 3 albums you need to hear before you die? Me neither. Ok, you didn't know but do you believe it now? Me neither. They're fine and all, but this is a bit much.

These guys are a BIG band and Shining Star is a BIG tune (maybe their first real big one) but I wasn't blown away by this album. It's a step up from pure disco of the era (thinking Chic) but it's not quite the same awesome funk or soul as some others from the era (thinking George Clinton and all his bands). Honestly, after the big single and the title track I just kind of shrugged my shoulders. Feels like max 3.5.

It's a pretty easy to listen to album and it came out of nowhere in the late 90's to become one of the biggest albums ever in the UK. But it feels a little bit of the same thing over and over doesn't it? I enjoy all of the singles, though I like their biggest one (Bittersweet Symphony) less than the others (Sonnet, The Drugs Don't Work, Lucky Man). And yet I find it hard to pinpoint a non-single that really stands out to me. Some good ones, or at least decent ones, but they just kind of blend in with the rest of the album. Knowing all 4 singles and not knowing the rest of the album well, I thought I was going to be more energized listening to the rest. Instead I felt indifferent to at least half the songs on the album.

I know of Sisters of Mercy and was definitely interested when I saw their name pop up. I don't know if that excitement put me in the right mood, but man I loved the opener Dominion / Mother Russia. Lucretia My Reflection (song 3) was also outstanding and This Corossion was pretty good too. Aldritch has vocals similar to Ian Curtis of Joy Division but there's a bit more tempo and fun to Sisters of Mercy, giving them a different goth rock sound. Naming your drum machine is a strange move, but I was cool with Doktor Avalanche. All that said, it felt like every other song was just okay (Flood I and II a bit meh, 1959 too). This album is better than a 3 but I don't know if it's a 4. Might be one of those I wish I had rounded up later.

Again, not an industrial or thrash metal fan, but damn is it good when done well. And Ministry does it well. NWO and Just One Fix are a wicked one-two combo to open the album - pulsing, pounding, frantic, rhythmic. It gets a little too abrasive on TV II (screaming for the sake of screaming) but Hero gets it back to a more melodic sound. Jesus Built My Hotrod was fairly witty and still pulsing - kind of reminded me of Primus. The start and end of Psalm 69 were annoying with the church lamentations, but the song in between was pretty kick ass. First half of the album was better than the second half (last two songs a bit too much/heavy) but all in all it was pretty darn good.

Really not sure what to make of this album. I love the hard rocking songs from the Kinks that marked their earliest work (You Really Got Me, All Day and All of the Night) and I also like their poppier A Well Respected Man that came out just before this album. This is more like the latter. It sounds a lot like the Beatles to be honest, though not as good. Still good, but great? No. Very good? I can't decide. They mix in more instruments and stylings like the Beatles and they do some harmonizing too (though maybe that's more layering Ray Davies' voice than pairing it with Dave Davies). Reading up on the album it is apparently an early concept album and part of the psychedelic movement. The former I dispute, as I just hear disconnected songs about British life (Britpop for a generation earlier). The latter may be why I don't like this as much as other work by the Kinks. Party Line and Dandy have fun and edge to it, and Rosy Won't You Please Come Home is decent in between those two. But I don't know how I feel about the rest of side one - too much harpsichord and weird effects? House in the Country was a nice rocker, and got me back to feeling the good vibes from the first 3 songs. And then side two - Holiday in Waikiki was okay but felt like what you get when you try to put the Beatles and the Beach Boys together. Fancy felt like they were absolutely trying to emulate the Beatles and show they could play other instruments. I don't know if I like it or feel like it's a ripoff. Little Miss Queen of Darkness sounds a lot like Sunny Afternoon, which isn't a bad thing because the latter is a good song. But why so similar? Like side one, they close well with I'll Remember. When I step back, I feel like I'm not hearing novel sounds on this album. But then I might be forgetting how much the Kinks shaped other bands of this time (not the Beatles, but Badfinger et al.) and that I'm remembering a whole genre after the fact when they were key in creating that genre. I definitely liked the album more and more on each listen. But I think it's a 3.5. I listened to a couple of their next albums and think I like them better, even though they further depart from early Kinks sounds. So I'm going to save higher scores for those later albums.

I found this album just okay. I felt like I was looking at my watch waiting to see if it was over; not always, but sometimes. One thing I'll give LL is he is articulate and his lyrics are easy to understand, whether talking about simple things like girls or more politically charged things. The album was sort of a blend of 80s/90s hip hop and 80s R&B pop (like New Edition and all its members - Bobby Brown, Johnny Gill, Bel Biv Devoe). The title track and Eat Em Up L Chill was more of the former while Around the Way Girl and 6 Minutes of Pleasure was more of the latter. I didn't love the latter. I liked the former but some of the others in that style were boring. Honestly, except for Illegal Search, I didn't find anything worthwhile in the songs after the title track. Cut the album down by 4-5 songs and 20 minutes and maybe it'd be real solid. I will give a shout out to Mr. Good Bar (best song besides the title track) and Murdergram (great beat and pace, maybe better than the title track).

One of the first and greatest punk albums from a band that didn't always want to be known as punk. It's funny - there are short songs (most around 2 minutes) and one long one (6 minutes) and you don't even really notice. The album is that seamless. And it contains everything that came to be known with punk - simple, punchy beats (but well-arranged and melodic), snarly, flawed vocals (but does the trick), and clever lyrics that run the gamut from angsty to political to tongue-in-cheek to irreverent to anti-authority (anti-many things). Such a fun, rocking album. Favorite songs were Janie Jones, Remote Control, White Riot, Hate & War, London's Burning, Cheat, Police & Thieves, and Garageland. But the whole thing was great, not a single song I disliked.

I can't say this is my kind of music but I enjoyed listening to this album. Plastico started off a little like disco but quickly turned into more straight ahead salsa. Nice beats, solid vocals, great energy across the collection of songs. Maybe a little repetitive at times, or at least some songs went on a bit too long. Feels like a 3.5 overall but I'm going to round up for it being a major piece of salsa music history.

It's a solid album but not my favorite of theirs. Radiohead fully took on the experimental angle from OK Computer and put it into this album with its synth and loops and electronica. Like their next album Amnesiac, you also hear some horns and strings. I would have preferred they hung onto a little more of their traditional instruments or blended them a little more. Of their more experimental work, I especially liked Everything in its Right Place and Idioteque (whereas the title track was a bit much). Of their work with more guitar or piano in it, at least at times, I most liked The National Anthem (also had horns), How to Disappear Completely (another sad, sombre Radiohead classic), and Optimistic (felt the most like earlier Radiohead). Not everything they did in the 90s and early 2000s was perfect, but it was still pretty damn good.

The Fall is another band that I don't mind, but I think gets far too much time on the 1,001 list. One album may be enough. When their debut album came up I really didn't know who they were but I have heard more of their stuff as I was listening to other post-punk bands and albums on this list. I don't regret giving that album a 2 and giving this one a higher score - I think this one is better. One of the things I have come to enjoy about The Fall is bassist Steve Hanley's pounding basslines, and he wasn't on the debut album. Lead Mark E. Smith is definitely an eccentric lyricist and vocalist; he may be a bit pretentious as I suggested on the debut album. But I don't mind it as much when the music is more accessible, which it is on this album on songs like Ladybird, Glam-Racket, I'm Going to Spain, It's a Curse, and The League of Bald-Headed Men. But again, how many places on the 1,001 list are we going to hand out to weird bands and albums? They went from weird post-punk to weird alternative rock so is the point they reinvented their sound in 15 years and that's why you need to hear the album? It's a 3, nothing more, nothing less.

Man, the title track is one of the most iconic and beloved folk rock songs of all time. A true classic. But the rest of the album does not reach the same highs. So is it just average or better than that? I think the next three songs Till Tomorrow, Vincent, and Crossroads are also very, very good - beautiful, sad, and great examples of pure folk. McLean's voice fills the ears and his soft acoustic plucking complements his vocals perfectly. Like me, you probably knew the middle one but not the other two. Winterwood reminded me of Jim Croce (one of my favorite folk artists) - a little more upbeat or at least not simply somber - a solid song. Empty Chairs is another good sad song. Everybody Loves Me Baby is probably where it took its big downturn. I just don't care for it and maybe it soured my feelings on the final three songs that followed it - also somber like earlier ones but they just didn't resonate as much. I was fully prepared to give this album a 3 but on my last listen (when I skipped American Pie) I stared to creep up to a 4. Probably 3.5 is what it really deserves.

More dream pop? I'm not sure what sets this album apart so much from others in the genre I why it was so critically acclaimed when released. I don't find Victoria Legrand's vocals all that appealing and I don't find her or Alex Scally's playing all that noteworthy. I listened to the album once and thought I should give it another go. But as soon as I went back to the opener Zebra I was a bit turned off. Better Times and maybe Real Love were the only songs I really cared to listen to for any length of time. Overall, not awful. But kind of bland.

Geez, the first four Talking Heads albums all make the list? Are they all remarkable or that different from each other? I feel like this one and Remain in Light both started to explore different more worldly beats so maybe only one deserves to be on the list. Nevertheless, I will say something that I noted on their first album - Tina Weymouth's bass lines kick serious ass. So good on the opener I Zimbra. And Life During Wartime - what a perfect example of TH's (and in particular David Byrne's) eccentricity and skill in lyrics and musicianship. New wave at its finest - put that song on repeat for hours on end. Still, this album is up and down and side two drags a bit, both of which I've said about all their albums, but even moreso than their debut or their fourth album. These guys are an important band in the whole New Wave genre but this album is a bit inconsistent in my opinion.

Coincidence that this album came right after a Talking Heads album in my list? LCD Soundsystem sounds like TH reinvented for the 21st century, especially on songs like other voices, tonite, and emotional haircut. Those songs had eccentric but clever lyrics, a halting and off-kilter David Byrne-like vocal delivery, and unique up-tempo beats and musical blends - probably my three favorite songs on the album. Except maybe oh baby and how do you sleep? (the latter really picks up about 3.5min in). Those 2 songs had some great pumping beats, but felt a bit more like techno synth than TH new wave. So what about the other half of the album? A little bit meh to be honest. But I was definitely bopping along to the songs I did like. Maybe another album that's a 3.5 but I'm rounding up because I was pleasantly surprised - most synth pop or dance pop stuff (especially on this list) I haven't been excited about in the least. If, like me, you got energized by their up-tempo songs, you need to go listen to one of their early singles Daft Punk is Playing in My House - it's so fun and probably the only song of theirs I knew before this album.

Seems like this isn't exactly the right album for Elis Regina that is in the 1,001 book. It's close and has all the right tracks (plus one extra) but in the wrong order. I guess Vento de Maio (officially a compilation) is easier to find on Apple Music or Spotify. I'm not sure the order matters that much given the constant style changes on this album and that it's not a concept album from what I can tell. I listened to both song orders and either way it was just okay. I found the most up-tempo songs like Sai Dessa or Saudade Eterna (aka Calcanhar de Aquiles) sounded a little corny, like the musicians were trying too hard. Except for maybe Aprendendo a Jogar - uptempo but cool beat/sound. Generally, I liked the songs that started softer and built up to a climax, particularly Rebento - used a Celine Dion kind of trick but with a Billy Joel sound to the piano. O Trem Azul was another. Honestly, I was reminded a bit of Steely Dan and Donald Fagen's stuff with the embellished jazzy sounds. Not quite as good. But decent.

This album felt way more straight forward than his later stuff. I didn't even realize I was listening to Beefheart until Dropout Boogie at song 4, where his raspy vocal style really rings clear. Prior to that, and often after that, it felt like a mix of bluesy psychedelia. Nothing wrong with that; solid work. Favorites were Sure Nuff N Yes I Do, Call on Me, Plastic Factory, and Where There's Woman. More surprising was I'm Glad at song 5 - felt like a cross between Motown and white hippie folk, with sweet vocals. Real lovely. Electricity at song 6 reminded me it was Beefheart (or the Wolfman?) but just like Dropout Boogie the beats were solid and his weird vocals didn't seem out of place. I think it's Ry Cooder - man can that guy play (slide the guitar) and gives the album such a neat blues sound. Beefheart's harmonica also helps. I couldn't always pick up on the lyrics, sometimes they were predictably cryptic but other times they sounded normal. Abba Zaba was the only song where I went WTF? This album is an easy 3 and maybe if I had a bit more patience to listen to it some more it'd creep up to a 4.

Oh come on now, you can't tell me this is random. A Love album following right after a Captain Beefheart album. But why Da Capo? I don't know much about this band but I didn't think they were so good that they deserve multiple appearances on the 1,001 list, and their next album is in the Library of Congress so that should be it for this band. Plus it's psychedelic rock (ugh) so that should be kept to a minimum. 7 and 7 is, the big single, was kind of cool - aggressive and frantic. The Castle also had some nice plucking and playing. But I really didn't care for the rest of the acid trippy side one and all its harpsichord and novel sounds (like the flute). Unlike critics, I didn't mind the 19min long side two - it was a cool jazz rock session. Some real deft work in there. Still, I'm moving on; this did not get me excited enough to check out their landmark album.

Not the worst thing I've ever heard, but not really my style. Experimental yes but not to the point of being annoying. Synth and electronica sounds like it is meant to be there, which I think is the real art behind a band like Faust in a genre like this. Take what is or could be weird and make it sound normal (usually). I really enjoyed the opener Krautrock. The rest kind of got lost on me or felt like it ran together as the album droned on (literally). Ready to move on.

Why do these guys get two albums? Orbital 2 was their magnum opus (apparently) so I don't get this inclusion. It's more or less the same to me. Apparently there's a bit of an edge to it and a push-back against UK laws that were anti-rave? I don't hear it. How does one voice criticism without vocals? I heard either samples or cooing from Alison Goldfrapp (lovely, but not thought provoking). I didn't hate the, album but was kind of waiting for it to be over until Kein Trink Wasser hit with some nice piano/keyboard and Quality Seconds followed it with some abrasive rock stylings. Still, 75 minutes is way too long and it's a coin flip between a 2 and a 3. In the end no better than Orbital 2 and I gave that a 2. So there you go.

Apparently this was a big album but I've never heard any a-ha song except for Take on Me. I'll bet I'm not alone in that. The album even leads with the big single so is the rest a big letdown? Not exactly. I really enjoyed the second song Train of Thought (single #4) but was bored by the third song & title track (single #5). The album kept going up and down like that for me. Living a Boy's Adventure Tale, The Sun Always Shines on TV (single #3), and Love is Reason (single #4) were decent. Some of the good songs were more subdued and some were typical uhh tiss 80's synth boppers. Ultimately I'd label this album as mostly the latter - right up there with the Pet Shop boys in the genre. All in all, it's an alright album and at least I know these guys had more than one song worth listening to.

You know, Lennon was a real asshole. Maybe the opening track Mother explains why. It is a great song, and shows he was a real brilliant songwriter (vocals, arrangements). I don't think the whole album is as good, but I did enjoy it a fair bit. Well, Well, Well was another where he alternated between more tempered almost baritone vocals and near-screaming. Both of which he does well. I Found Out, Working Class Hero, and God all have some wicked lyrics, but the former two are more beautiful in their simple delivery - Working Class Hero feels like a Dylan or a Cash classic. Isolation is another simple delivery and it's beautiful too. Ditto Look at Me. Hold On and Love are both solid and more positive in tone but they're not my favorites. I hate every time he refers to Yoko because to me it shows his excessive infatuation with fleeting things. For a smart guy, he sure was impetuous. Still, put the man aside and this is a darn good album. It felt like a 4 but as I noticed how many songs I took the time to point out, I crept up. It's not a 5 and probably about a 4.5, but I'll round up for one of the greatest musicians and songwriters we've ever seen/heard, even if he was an ass.

This is a very good album but I am clearly missing the connection between all that came before it and all that came after it. I'm a big fan of albums and so I know I have much to thank this album for that - making albums a true production. But just based on sound, it's very good yet not amazing. Wouldn't It Be Nice and Sloop John B are two classics that are just that - sonic genius, melodic and catchy as hell. You Still Believe in Me, That's Not Me, and I Just Wasn't Made for These Times also have some nice harmonies and show a ton of maturity in Brian Wilson's songwriting. I don't exactly love I'm Waiting for the Day but if you need an example of that chamber pop sound and the vast musical arrangement going on, this is it. God Only Knows is beloved by many in the music industry and it didn't grab me at first but on multiple listens I get why. Deep lyrics and tons of vocal and musical layering. When I step back and think about the vocal harmonies, it sounds so easy with how it's been produced but to try and get that if you just had a bunch of singers doing different parts would be madness. So you've got to tip your cap to that. I enjoyed the album a fair bit, but not quite enough for a 5.

I mean, it's fun and all but I'm kind of surprised this album is on this list. Did ABC combine a bunch of different styles? I hear funk and dance, with orchestral backing. I see punk mentioned a few times about this album but I don't get that at all. So yeah, there's some ambition there that is more than your standard 80's fare. But is there a lasting impression? Poison Arrow is a perfect example of this album and group. It comes on and you're likely to say "oh I love this song, it's so 80's" but halfway through you're looking for the next cheesy fun 80's song to put on. I'm probably not going to remember I listened to this album after tomorrow.

This is the most accessible album by The Fall yet. I wonder if some fans of the band hate it because it's too poppy in that regard. There's still a lot of Steve Hanley bass (awesome) but also more looping guitar riffs (from Brix Smith?), which were kinda cool but made it feel more mainstream. Of course it'll never be mainstream with Mark E Smith's weird vocals - see Cruiser's Creek, but man what a rocking tune. The addition of Brix on vocals also made this feel more like the Pixies with Kim Deal's influence there. Very noticeable on the US/cassette additions of Vixen and Couldn't Get Ahead (not my favorites, but still decent). I felt immediately comfortable giving this album a 3 but it got better and better as I kept listening to it. I really liked Bombast (oh that bass), Barmy (great looping riff), Spoilt Victorian Child (feels like cool rockabilly), and LA (cool electronic sounding riff) - which are all from side one of the the original UK release. Killer stuff. The original side two wanders a little more with some longer tracks, but some of them have some killer moments - Gut of the Quantifier (second half, reminded me of Sonic Youth) and My New House (first half is neat rockabilly or something, but gets repetitive). Rollin Dany (one of the extra tracks) is a cool throwback 60's doo-wop homage. It might be closer to 3.5 than 4 but I'm rounding up because I didn't think The Fall had a whole album worth listening to other than greatest hits.

So this is the punk that horrified your parents. Abrasive, subversive, hard on the ears. True pioneers apparently but too raw for me. I prefer Sex Pistols to Black Flag; more melody. And these guys make Black Flag sound like a church choir. Darby Crash on vocals is just too much for me even if the rest of the band isn't bad at playing instruments.

Whoa. I don't know what I was expecting but it was not this. So-called deathpunk but I also hear that hard rocking, heavy guitar sound that Volbeat (another Scandinavian rock band) brings - maybe just not quite as much rockabilly as Volbeat later brought. Just listen to the start of The Age of Pamparius - soaring, glammy, and then with a bit of AC/DC plucking. Once they get into singing full-swing, yeah I hear the punk. But what a cool f'n opening song. Other songs I enjoyed for their uptempo, pulsing, rocking beats were Selfdestructo Bust, Get it On, Don't Say MotherF*, MotherF*, and Prince of the Rodeo. Almost like listening to Motorhead, reimagined for punk. Their lyrics are seriously demented, which also seems like a punk motif, but often they're witty. Admittedly at times they go overboard and are pure crass (Are Your Ready for Some Darkness) as you can likely tell from some of the song titles (Rendezvous with Anus, Good Head). But it's not all depravity all the time; there is a genre of rock/metal for that (wasn't sure if that was part of why these guys are on the 1,001 list). These guys are better musicians and songwriters than what is in that genre. All in all, this album was a pleasant surprise.

I wanted to see their previous album Love on this list because of how much She Sells Sanctuary came out of nowhere and knocked people's socks off with its deft musicianship and Ian Astbury's howling vocals. But it's only a so-so album, sort of a Joy Division/The Cure goth wannabe. And this album is not that - it's hard rock / hair rock through and through. But it hurts a little that they sort of sold out to be a Bon Jovi/Def Leppard (even AC/DC) retread thanks to Rick Rubin's production. It is a damn fun album but it has no authenticity, simplifying their playing and doling out not-at-all subtle sex-fused, bad boy lyrical drivel to emulate that 80's rock style. This one had me so torn because I crapped all over Bon Jovi's over-produced Slippery When Wet and gave it a 3. But I think this album is better and more in line with Def Leppard's also over-produced but super slick Hysteria. Based on pure song count, this album has a lot of head bangers - the worthy big singles Wild Flower, L'il Devil, and Love Removal Machine as well as other fun lesser knowns like Peace Dog, Electric Ocean, Bad Fun, King Contrary Man, Outlaw, and Memphis Hip Shake. If it wasn't for the downright awful Born to Be Wild remake, there's pretty much no holes on this album. So maybe I should give Rubin and the Cult some credit for making a catchy rock album.

Take what I said about his San Quentin prison album and apply it here. Cash has a great connection with the audience and between his and their laughter, it truly feels live. Though I could do without all the announcements. I think he really starts to crank it up on Cocaine Blues and 25 Minutes to Go - he and the audience are both getting into it. But the songs themselves are a bit whatever, a lot of standard country tunes that sometimes land well (Orange Blossom Special - he kills it on the harmonica) and sometimes land a bit meh (The Long Black Veil, The Wall). I did get a kick out of when he told the crowd he'd do some love songs and then did some great twisted & funny Jack Clement songs in Dirty Old Egg-Sucking Dog and Flushed From the Bathroom of Your Heart. And June Carter brings some great energy and snarling vocals on Jackson right after those two. Decent album but gets a bump for its novelty (live in a prison) and making you feel like you were there.

Meh. Iggy Pop on his own is a lot like when he's with the Stooges to me. Some good songs but not enough for a whole dynamite album, and I'd rather just have his greatest hits. The title track and Passengers are classics - great, catchy songs. The rest I kind of shrug my shoulders at, except at times being slightly intrigued by Sixteen, Success, and Neighborhood Threat. Moving on...

Loved it. I only knew Paper Planes (from her next album) but she is way more. MIA is clever as hell and mixes those great lyrics with groovy beats. In her words, its hard to dance to political songs and she wanted to change that. Mission accomplished - to a tee. When Apple played its randomly selected similar songs after the album ended, I also came to realize how influential MIA (and Gwen Stefani) were on a bunch of female artists of the 2000's - think Fergie, Iggy Azalea. MIA is better because she doesn't seem to sink to pop lowest common denominators. It's lyrics first, beats to fit it. To me, she's just as good as Missy Elliott. Not the same, but damn good. And if this album wasn't as influential as Missy's Under Construction, it should be. Special shout out to the most wicked songs on this album - Pull Up the People, Bucky Done Gun, Sunshowers, Hombre, URAQT, and Galang.

Well it finally happened. The list randomly chose two albums back to back from the same artist. Bad random generator! Easier to compare though. I didn't get drawn into this album as much as MIA's debut. The opener Bamboo Banga was so-so; felt like she was trying too hard to be catchy instead of being fiery in her lyrics and letting the music flow from it. As the album progressed I changed my tune slightly - lyrics still very clever, but the beats still didn't mesh as well as on her first album. Maybe she was trying to integrate too many different styles? Sampled too much? Definitely collaborated too much - I don't want to hear Afrikan Boy and Timbaland, I want to hear MIA. Probably too many people wanted a piece of her or wanted to be involved in this album after the success of her first album. Still a good album and this woman is still incredibly talented, I just didn't dig it as much as her first one. Paper Planes though, what a tune! I've always loved it. Other really pumping songs were World Town and Xr2.

This album is incredibly original, I'll give them that, at least in the sense you weren't hearing like it in 2004 and probably not since the 70's. But honestly, if I'm going to give a nod to any band or album in the whole 2000's glam rock revival, it's The Darkness and Permission to Land. They also were completely different and off the wall, but their debut hit the charts a year before this one. This one isn't quite glam rock in the same vein. I mean sure, Take Your Mama puts an Elton John vocal style with a George Michael Freedom piano beat. And Music is the Victim feels like The Bitch is Back. But there's also a lot of Bee Gee vocal stylings. Their Comfortably Numb remake is a perfect example (chorus a little weird but verses sounded cool). Filthy/Gorgeous too (and what a tune! My favorite on the whole album). Mary sounds like Robbie Williams at first before ending with a more Elton John motif. So it's more piano glam to me, with some disco funk undertones. And I'm not knocking them for sounding like Elton or the Gibbs - no one was doing that in 2004 (The Darkness was channeling classic hard rockers). And their lyrics are hilarious. Still, while this album is fun sometimes I get bored. Songs like Tits on the Radio are novel for a bit but then I the novelty wears off halfway through. I'll bet they are a blast live. Eccentric and unique, but a few too many dips in the album to be a 4 (3.5 feels right).

I want so badly for Facelift to be on this list because it truly is one of the first grunge albums and was putting grunge on the map even before Nevermind. And it came at a time when Alice in Chains (mainly Layne Staley) was literally fighting with metal fans who wondered WTF is this style as they opened for metal bands. But hey, Nirvana's Bleach didn't make the list either. And as much as Man in the Box from AiC's debut is one song of theirs I have never tired of, Dirt is more consistent. I don't think AiC liked the grunge moniker, so how these guys changed metal is up there with Black Sabbath. It's dark but not in a mystical way - more like this is life and it is real and raw not just puppies and kittens. And they bring a different melody - two-part Staley and Cantrell harmonies plus melodic guitar/bass and drum work. Sometimes they slow it right down - Down in a Hole. And other times they just blast it in your face - Them Bones, Dam that River, Sickman, God Smack. And still other times it's some sort of seedy, grungy blend of those two - Rain When I Die, Rooster, Junkhead, Hate to Feel, Angry Chair, Would?. Whatever it is, it's pure gold. I didn't totally understand them in the 90's but I have come to have mad respect for this band. And this is when they were at their peak. Hard to find a weak song on this album and even if there might be a few dips, their pioneering ways make up for it. Easy 5.

My kids often ask me who different artists on the radio are, though I'm not sure they ask me much about 80's new wave/pop artists. Even if/when they do, I rarely can get straight bands like Simple Minds, OMD, ABC, The Human League, Level 42, even New Order. Either they're not all that different or I'm not interested enough to remember/pay attention to what makes them distinct. This album isn't going to change that. It was fine and all but it didn't grab me, and I'm not going to listen to it until I can pinpoint Simple Minds' distinctive sound. Throw it on the 80's pile with the rest. I'll dig out the best of the 80's when I need to. Next.

How does one get into acid house? Or what activity do I need to be doing to truly get into it? The opener Magical Dream had an interesting keyboard beat and some decent synth layers overtop - it reminded me a bit of regular dance (think Snap) that was trying to take off in the late 80's, early 90's. But I grew tired of it quickly. Same thing for most songs on this album; waiting for it to be over to see if the next one might captivate me for the whole time. That's borderline 2 material, but that felt a bit harsh. Plus I made it through the album without skipping, though the music just ran in the background and I didn't realize when the album was over and new artists started to randomly play. So, I'm ambivalent.

So, #98 on Rolling Stone's 500 best albums...of all time. All time? All genres? Seems a little gracious. But I did enjoy it from the opening plucks of Right in Time. It kind of reminded me of all of the genres of folk, country, alt country, adult contemporary, etc. that were smashing together in the 90's. Like Ryan Adams and Liz Phair (or most of her Lilith Fair compatriots) and Sheryl Crow and Wilco coming together. But still something all her own and not as annoying or eye rolling as Shawn Colvin or Meredith Brooks. The title track, Drunken Angel, Can't Let Go, I Lost It, Greenville, and Jackson were some other faves. I decided about halfway through I was going to let this album play a few times. Pleasantly surprised...and not disappointed on multiple listens.

It's definitely better than Tago Mago, their other album on this list. That one felt like a 2.5 and I rounded up for novelty. This one feels like a solid 3 but I probably wouldn't give it more than a 3.5, and I'm not rounding up. It doesn't feel as novel as Tago Mago but still it's probably early days of space rock. It's easy listening but it didn't excite me. Moonshake was the funkiest of the 4 tracks but also the shortest. I'm not trying to say it was better, but it was a point of departure that caught my attention. Bel Air has a few twists and turns itself, as you might expect for a 20min song, though I didn't really connect all the prog dots they were stringing together. Maybe I still don't have the ear for this kind of thing.

I assume we'll get all 4 of CSNY's solo ventures from 1970 & 1971 on this list - Nash's is the only one that hasn't come up yet. So far Young's was the best and Crosby's was better. Everyone knows Love the One You're With and it's a great classic. I was so-so and many of the rest. Do for the Others and Church were decent softies, though I found I liked them a lot when they started and was a bit bored by the end of each. Old Times Good Times and Go Back Home had some nice guest guitar work from Hendrix and Clapton, respectively. The latter was a better song overall. And that was side one and where I stopped caring as much; side two wasn't as good. Black Queen had some nice plucking and Cherokee had some decent energy. Doesn't quite feel like a 3 but closer to that than a 4.

Geez, this album is a little self-indulgent isn't it? 45 minutes but it could easily have been 30 minutes. That whole story-telling to start By the Time I Get to Phoenix (about 10 minutes worth) sounded like Isaac Hayes' South Park character with the meandering stories about the Loch Ness Monster. Once the crooning and music got going it was a great listen, but prior to that, ugh. Three fiddy?! Walk on By also plays a little long, but damned if Harold Beane (of Funadelic fame) doesn't kill the guitar solo intro. One Woman shows what this album could be if everything was tight - soulful as hell and spine tingly. Somewhere between a 3.5 and 4 for me, but I'll round up for the timing of this album in the whole soul and R&B genre.

I have listened to this album a lot over the past week, as I've really struggled to decide between a 3 and a 4. Adam and the Ants are labelled new wave but I don't think that does them justice. I really hear a lot of punk and post punk in their musical stylings, which likely isn't surprising given what they started as. I think what makes them new wave is the off-kilter sounds they introduce from time to time and Adam Ant's voice - his high pitched signing (at times) doesn't quite fit punk or post-punk. But really listen to their guitar chords, bass playing, and drum beats. It's lower and more punk pounding as opposed to more uppity or poppy sounding that some new wave can be. And I really enjoyed that - something novel about the Sex Pistols or Joy Division paired with Boy George on vocals. There were a lot of songs I really enjoyed too - Dog Eat Dog (campy), Antmusic (a bit poppy but different, Feed Me to the Lions (post punky), Ants Invasion (grungy), the title track (most well-rounded), The Magnificent Five (a mix of everything), Jolly Roger (campy and fun). And then the two songs from the US release - Press Darlings (great fun and glammy) and Physical (Joy Divisiony). I'm going with a 4. There's a lot more depth here than you might think on first listen.

Anohni has such a unique, warbling vocal style. It immediately grabbed me on the opener Hope There's Someone, a very beautiful song. Tough to determine whether it was more hopeful or despairing - part of its beauty I think. Honestly I'd like to know a little more about the album and its songs because it seems like this has a lot to do with her transitioning to a woman (My Lady Story, For Today I Am a Boy, You Are My Sister, Spiralling, Bird Guhl). I think she already identified as a trans woman then, despite not changing her name so her lyrics seem to reflect that. Very deep, and raw. Much respect for how she pens those deep emotions. I would've liked a little more out of the collaborations - Boy George and Lou Reed in particular were so-so. Anohni's voice was still great on those songs. And this was still a good album overall. Another one of those out of nowhere albums. Exactly the kind of thing that should be on this list regardless of how much you like it. But I liked it a fair bit.

Meh, I got bored. Even his big tune, Needle of Death, I was looking at the track list wondering what boring song is this? I went to start skipping forward songs after that, though I got caught up in what I was doing and never bothered. Maybe this album deserves better than a 2 - it wasn't awful. But did I mention I was bored?

I was a big fan of Muse in the 2000's, I thought they were really talented musicians with a cool sound and some intelligent lyrics. They were refreshing (despite comparisons to Radiohead) - talent for standard rock instruments, with some additional flair and experimentation. I haven't cared as much for their 2010 and beyond stuff - too much dub step and electronica, masking their instrumental prowess. This album is when they really took off, and I own it, though I was always more partial to their previous Absolution. This one is sort of like their Ok Computer - moving from a more straight ahead rock style to something more electronic, without going over the edge. It probably has more hits than their previous album, including Knights of Cydonia that everyone fawned over, but it was my least favorite single off this album (tied with Invincible). They still show mad skills on it, I just prefer Starlight, Supermassive Black Hole, and Map of the Problematique. Of the non-singles, I've also always loved the opener Take a Bow (soft), Assassin (heavy, maybe my favorite on the whole album), Exo-Politics (somewhat heavy), and City of Delusion (a less decadent soaring song than Knights of Cydonia). There really aren't any holes on this album even if I like some songs less than others. At least a 4 and probably more, and since I don't think these guys are getting another nod on this list, I'm giving them a bump because I think they are one of the best and creative rock artists of the 2000's.

It is a good but not great album. But then how to rate an album that surely helped pave the way for The Pixies, Nirvana, and Pearl Jam? And likely pushed contemporaries like The Smiths or The Replacements to refine their sound. While these guys weren't influencing the mainstream US just yet, they had to have been eating up the airwaves and influencing a different rock sound in the UK and Canada. Growing up in Canada, everything about late 80's and 90's rock is this sound - some of my favorite artists in The Watchmen and The Tragically Hip and The Northern Pikes just scream REM motifs. In some ways Canadian rock still sounds a bit like this. I couldn't pick a single song title from this album out of a police line except for Radio Free Europe, but you know right away it's REM between Stipe's vocals and the rest of the band's distinctive guitar, bass, and piano. I'm not saying it's a 5 but I enjoyed listening to this and damn if it is not a monumental album that was so different from the rest of rock music at the time but so similar to what followed it (thanks to their influence). Some favorites were Radio Free Europe, Laughing, Moral Kiosk, Perfect Circle, Catapult, and Sitting Still.

It's a cool space prog rock kind of album. I can totally see why Steven Wilson has done remixes of it. The title track is so creepy and captivating - it feels like it belongs in Blade Runner or any great sci-fi pic. The second song (Mysterious Semblance...) was more uplifting. It felt like I was looking wide-eyed out the window of a rocket passing through the galaxy. Movements of a Visionary got a little too experimental? The opening 2 minutes felt a bit choppy but it got better from there. Sequent C' feels more like a Braveheart thing than a spacey thing. Still cool. Not usually my scene but something about this album just resonated with me.

I don't know, I just didn't find this album as captivating as the other two Wailers albums, even though this one is more revered than Natty Dread. Maybe it's because this was one of the first albums to really put reggae or Bob Marley and/or the Wailers on the map. It just felt all a little too much of the same. Their other albums have more tempo changes and different stylings. I felt like I was hearing the same song half the time. Granted the lyrics changed and those lyrics were often very powerful. Stop that Train felt a bit different to start the song; intriguing. Baby We've Got a Date was also a bit more uptempo but it sounded a bit hokey. Stir it Up had the coolest opening of any song - some real nice wah pedal effects on the guitar. Maybe that's why it's such a classic. All in all, it's probably a 3.5, maybe even a 4, but I'm rating it lower to clearly distinguish this rating from my other 2 ratings of their albums.

Now that's energy. Mannish Boy is just so cool with all the yelps and whoops. It feels like it's live when really it's just a bunch of guys in a studio getting into what they're doing. Absolutely electric. Give me an album full of that. I'd say Muddy Waters and his band get close but don't quite keep it that energized the rest of the way. A couple songs went on a bit too long without really grabbing me during the additional riffing - Bus Driver, Little Girl. Still, plenty of other great rockers like I Want to Be Loved, The Blues Had a Baby and They Named It Rock and Roll, and Walkin Thru the Park. And holy crap can James Cotton play the harmonica - listen to Jealous Hearted Man, it's almost like it's the primary instrument. So much sound. This album is somewhere between a 4 and 5 for me. I'd love to see an earlier album of Muddy Waters on this list.

I really enjoyed the lyrics on this album, nice job Dolly. The title track is sweet with a great message, while the next track Traveling Man is shrewd with a real clever twist. You get more of the former overall on this album, but there ain't nothin wrong with that. Other good songs of either variety are My Blue Tears (cleverly twisted), She Never Met a Man (cleverly twisted), Here I Am (sweet), and A Better Place to Live (sweet). The three songs penned by Porter Wagoner are also well-written and Dolly does a good job of delivering them - If I Lose My Mind, The Mystery of the Mystery, and The Way I See You. I have no idea why this album of hers was chosen among other possibilities, but it is a real solid album from a country icon.

Largely copy and paste my review of their other album here. I now know them a bit better but none of the songs I know are on this album. They make some interesting sounds and harmonies and are fairly eclectic. In some ways this epitomizes the new alternative rock - weird, tough to describe or categorize, not even sure if rock is the right word. Unlike their later album on this list, this one is right down the middle for me. Average, neither love nor hate, and a clear 3 and nothing more.

Um, strange. Sort of melodic and definitely quirky lyrics. This can easily be played in the background without being disruptive. I didn't hate it, just didn't gravitate toward much. Average at best.

I probably didn't discover Fugazi until more than a decade after this album came out, thanks to a friend who was starting his own DIY politically-charged band. I haven't listened to them a lot over the years (never listened to this album) but damn if they weren't one of the best at what they did. Not punk, but punk-like (flawed) vocals and (stick it to the man) attitude. Not grunge, but grunge-like heavy and angry sounds. Not noise rock, but noise rock-like experimentation, scratchy guitars, and irregular time signatures. I'm not sure anyone did DIY and stuck to their principles like these guys. Mad respect. And you know what? I enjoyed this album a ton. Their signature pulsing bass and one fuzzy/riffing guitar combined with one scratchy guitar and pounding drums worked on so many songs. Just listen to the start of Turnover or the changeover to Repeater. Even if you find the scratching abrasive, wait until they get to the choruses or bridges - they show you how they combine melody and idiosyncrasy. Brendan #1 is an impressive all-instrumental jam session. Later songs like Sieve-Fisted Find, Greed, Two Beats Off, Styrofoam (oh that intro), and Shut the Door are equal parts punchy and grating. It shouldn't work but it they make it work so well. They're like the bridge between Black Flag and Nirvana, or some combination of those two, the Pixies, and Sonic Youth. And I don't mean a ripoff of any of them, but they were just as good at some of the key aspects of those bands - in your face lyrics, clever lyrics, brooding sound, experimental sounds, harmony in spite of all the eclectic sounds. Even if they weren't name brand, they and this album are a major link in the chain from how we got from 80's punk to 90's alternative and beyond. That in itself is worth being on this list. But the overall quality of work on this album is what makes it a 5.

I remember when her half-brother Eagle Eye Cherry had a breakout hit with Save Tonight, and a good buddy said "that's Neneh Cherry's brother!" I had no idea who he was talking about. So on listening to this album I thought ok, I'll hear her big hit Buffalo Stance and it'll come back to me. Nope. But knowing some of my buddy's favorite music from the late 80's (think New Edition), I get why he'd be into that song. Aside from the lyrics being better, I'd say the sound of that song is just as tragic as other rap/pop wannabes of that era (think Marky Mark's Good Vibrations). How much of this album is Cherry vs. a bunch of producers turning dials in a studio? It's sounds and style like this that make us embarrassed to talk about the 80's. The only reason I'm not giving it a lower score is because I think she had some quality lyrics, and she probably had little power to dictate the sound or object to sounds that others wanted to put to her words. Though Love Ghetto made me rethink that - terrible lyrics. And from there I wasn't sure how good her lyrics were on the rest of the album; they also sounded a bit trite. And without lyrics, it's back to the terrible musical production. Ugh.

It's pleasant and all, with some cool African sounds and the hint of Cooder's slide guitar (sometimes you can really hear it, sometimes barely at all). It's a solid 3 but it all kind of blended together for me. For example, Bonde and Ai Du had the same opening guitar plucking, even though the latter was one of my favorite songs overall from this album. Sega and Banga also sounded very similar. Soukora was perhaps my favorite song on the album. Amandrai stood out too. Easy listening, just not enough that stood out on its own.

I figured this was coming. I mean, you probably have to include on this list the debut album of someone who (upon releasing it) instantly became a pop phenomenon and the biggest star on the planet. But that doesn't mean it's a good album. I still remember the first time I saw her video for Baby One More Time; I immediately said she is going to a huge star. Decent vocals but an image and look that would smash. If you know anything about Britney's life and career, that album cover says it all doesn't it? Innocent girl in an on-first-glance innocent pose that is much more sexually suggestive on closer inspection. That's exactly how she was marketed and exploited. A shame really. She had two smash singles - the uptempo and catchy title track and You Drive Me Crazy. I don't even recognize two of the other three singles - Sometimes (yes) and From the Bottom of My Broken Heart and Born to Make You Happy (nope) - all of which are pure schlock. And the non-singles are barely listenable. Then there are the lyrics on this whole album (umm, Email My Heart...ugh) - just dreadful. More thanks we can give to her record producers and the entire music industry at the time that was hell-bent on producing pop icons not talent and enduring quality. I don't blame Britney at all for this album. But given how big three of the singles were, this album is surprisingly bad. Still, it was a watershed moment in pop music history, for better or (mostly) worse.

Not my thing. Not a big fan of more recent country rock so not much of a fan of the guys who sort of started it all. It's not awful and I like it better than straight ahead country. You could certainly do worse, and to quote the Eagles (a band inspired by these guys) the album has a peaceful easy feeling. But I'm not going to put this on repeat or go looking for more of the genre. I'll give them a slight uptick for being trailblazers.

I've never heard of these guys but meh. It's indie pop or power pop revival from the early 2000's that was led by a bunch of artists from the UK, Ireland, etc. Keane and Snow Patrol did it better. Put them on this list.

I really loved the opening to Chan Chan - smooth, deft guitar plucking and bongo tapping, and a modern twist. I thought it could be a 5-star album based off that. But I didn't love everything as much. De Camino a la Vereda was alright, but a bit too old school. Pueblo Nuevo was fun, even sneaking in a bit of Louie Louie there? Veinte Anos and El Carretero also had some real nice guitar playing though the vocals in the former weren't as good (vocals in the latter had a classic samba/cubano feel). Candela was pretty good too, though after that I started to get disinterested. Too slow? Too old sounding? I don't know. If this was 4-5 songs shorter, it'd could be really, really good. Feels like a 3.5 in the end but I'll round up because I likely wouldn't normally and that might be due to my uninformed ear for this genre.

I think this album is better than their debut. Maybe it's the inclusion of John McGeoch on guitar - part jangly, part brooding. The album feels very goth rock and dark, especially with the lyrics. Siouxsie herself delivers some solid vocals that fit the dark motif. My initial impression was this album is around a 3.5. But I listened to it multiple times and really found the songs grew on me. Side one is really strong - each of Spellbound (their crowning jewel), Into the Light (great drum work), Arabian Nights (solid, mysterious lyrics), Halloween (definitive post punk), and Monitor (has a late 90's / early 00's instrumental sound) are great tracks. Side two seems to go even darker and reminds me of Joy Division. Not as even as side one but Sin in My Heart is great and both Night Shift and Head Cut have their moments. All in all, I enjoyed it and I'll round up.

So one of the lead singer's solo albums came up for me to rate about a week ago. I had no idea who he or his band was. This sounds way different than his solo work. The latter is eclectic and unusual, this is sort of new wave meets Celtic rock - reminded me a bit of Dexy's Midnight Runners but with more synth. But they also reminded me a bit of XTC (not a bad thing) with the poppy way they repeat lyrics and add in unusual percussive or synth sounds. When I Dream in particular, which was probably my favorite song on the album alongside Ha Ha I'm Drowning. Like XTC, I think the album is a bit uneven. But it was better than I was expecting. I felt myself creeping up from a 3.

Still not swayed that these guys are any more than average. Probably a better album than the other one on this list but I feel a bit miffed they got two albums when there's plenty of great artists and albums who didn't get one. I'd prefer if only Romy Croft sang and I didn't have to hear Oliver Sim so much. Last time I compared them to Bastille and the 1975 but now I feel like comparing them to Matt and Kim or Of Monsters and Men - given the duet style they consistently employ. You could do a lot worse than this album, but you could do better too.

It's probably slicker musically then I will give it credit for. There's a lot of horns, brass, etc. that is incorporated pretty well, even if weirdly at times. There's a jazz element but it's not jazz. There's a rock element but it's not rock. It is very experimental. Sometimes it works for me and sometimes it doesn't. I'll bet that people who like this genre love this album. Just not my cup of tea. But I think I appreciate Wyatt's talent more now than after listening to his other album on this list.

I think their debut is better, but this one is still pretty good. A lot of jamming, a lot of understated blues going on. Jim Morrison manages to keep it together long enough to put out one more album, and channel all his crazy into a macho vocal performance. The singles are all big, solid tunes - Lover her Madly, LA Woman, Riders on the Storm - but I don't know if there's a song beyond them that really sticks out. Maybe The WASP. Still, it's an album that fits together well. Somewhere between a 3 and a 4. I'm feeling generous today.

Now this is a great Dylan album. Just so happens it's the one that put him on the map too. His writing is just incredible. Yes Blowin' in the Wind is one that gets a lot of attention, and deservedly so. It is both poignant and beautifully delivered. But listen to Talkin World War III Blues. It is a little odd being a talking piece that delivers a lot of one or two liners. But man if it isn't clever and witty as hell. Masters as War is another great political song, and to me sounds like it directly inspired Lennon's Working Class Hero (at minimum in its musical composition). And as great as it is, it's probably bested by A Hard Rain's a-Gonna Fall. Oxford Town is no slouch either. And for all the great political songs, he composes some really beautiful love songs. Girl from the North Country and Don't Think Twice, It's All Right are both parts happy and sad, but oh so lovely. If you sit back, you realize it's all Dylan on guitar or harmonica. And he nails it. I guess I understand a little bit more why some people got upset when he went electric on later albums - because man he killed it on this and other albums when it was stripped down.

The backstory behind this album is more interesting than the album itself, with Veloso and Gil Gilberto (another common name on this 1,001 list) seeing jail time because some of the songs ruffled Brazilian government feathers. Tropicalia had some noteworthy (and at times annoying) psychedelic experimentation and Alegria, Alegria also felt like a true representation of 60's rock with a Brazilian twist (like it should be in Austin Powers). Superbacana and Soy Loco Por Ti America had some nice uptempo beats that made me stop and pay attention. Otherwise, meh. Even Veloso would agree.

I'm not a country fan but I enjoyed this a lot. Maybe Dwight Yoakam reminded me of classic country artists like Willie Nelson or the George's (Jones or Strait). Or maybe it's because he honed his craft in California and has ties to Buck Owens, and I enjoyed Buck and his Bakersfield sound quite a bit. I love how his lyrics are a little dark and demented, whether the accompanying sound is uptempo or a soft ballad, and how he brings in some cool twang and other country sounds via slide or steel pedal guitar in addition to mandos or fiddles. The best of the soft ballads are One More Name, the title track (favorite of this style), and I Sang Dixie. The best of the uptempo songs are I Got You, What I Don't Know, Home of the Blues (favorite of this style), and Streets of Bakersfield (although if it wasn't for Buck maybe this would be rated a bit lower). I wouldn't mind at all hearing more from Yoakam.

Reading up on this album, a lot of critics thought it was pretentious. I can understand that to some degree. But really to me, it's just their debut album but more grandiose. Grandiose does not mean pompous - it's a fuller more robust sound, built off the same things critics loved about their debut album but at times with some orchestral or baroque sounds. It's still got that same foggy sound - somewhere between shoe gaze (Catherine Wheel) and new aged Brit glam (Manic Street Preachers) - but it's more ambitious. And in some case brilliant. Introducing the Band is a cool little opener (hint of Oasis). Heroine is decent, maybe a little uneven or trying too hard but has some great moments. The Wild Ones is absolutely beautiful - best song on the album hands down. Daddy's Speeding and The Power are some other good ballads. New Generation is another good rocker. A little bit up and down after that first half - The 2 of Us is another great ballad and The Asphalt World might be better if it didn't have a 9min runtime - but overall a solid album. I think this album is slightly better than their debut, certainly not worse. Changed my opinion of them.

Here's what some of the first few lines of Wikipedia had to say: "Although the album was released to little fanfare and was not a big hit on its initial release, it slowly accumulated fans and sales through word of mouth ... and by the time the follow-up was released in 1989, [it] had sold 80,000 copies." So in 5 years it earned so much praise it sold 80,000 copies, which is remarkable because? This list has a love of blue-eyed soul (think Simply Red) and while that sound is fine and all, I don't see what the big deal is - with the genre or this album. I think "little fanfare" tells you all you need to know. Next.

I didn't understand what was so innovative about this album. It sounded like it came right out of the 80's or early 90's - strong female vocals with a bunch of synth and production room sounds. It could've been a Janet Jackson album with how it sounded. Maybe that was new again in the 2010's for R&B? At least the 80's and 90's didn't add autotune to their synth. She sounds like a really good vocalist, so why bother with that crap? Aside from that, it was all kind of the same for me song to song. Meh - average.

Nico's voice is terrible. If it wasn't for her Andy Warhol or Velvet Underground connection would she even be on this list? Although that's probably the point. You need to hear this thing that was created by Warhol, and this odd songbird that was one of his things. The musical arrangements are ok, but maybe a bit overdone in their attempt to add elaborate strings to the other instrument simplicity. I always talk about the 80's as being a weird time, but man the swingin' 60's, they might take the cake. The 80's was a bunch of people with no clue doing weird things. But the 60's can be downright pretentious. That's what this album felt like.

And another one for Scott Walker? Virtually ignored by everyone upon release, but not completely terrible, is that why it's on the list? Or because it was the first album he wrote all the songs for instead of covering a bunch of Jacques Brel? It wasn't as fun as Scott Walker 2, so maybe Brel is the superior songwriter. It felt like a lot of songs you hear as the credits roll in old Westerns. I didn't hate it but I did find it boring. He's still got a nice, booming voice. It's either a 2 or a 3. Coin flip.

Hmmm. A Primal Scream album and it's not Screamadelica, which I'm not really a fan of as it is. Don't tell me these guys get two albums on this list. Feels like trip hop meets Brit pop. It feels very British. So in their words, songs like Stuka were downright shite. Some songs had some decent beats but went on too long or got too repetitive - Burning Wheel, Medication, Long Life. Trainspotting went on waaaaay too long. Their Motorhead remake was interesting - didn't hate it, not sure if I loved it. All in all, I'm not really a fan of this album either. It's ok for a bit but quickly wears out it's welcome. A 2 may be a bit harsh but I'm going to make a point. There is nothing special about this album and unless you were connected to the UK in the 90's you probably won't feel a connection to it.

This is pulsing thrash metal. Dimebag Darrell puts his skills on full display - he kicks some serious ass. Rex nicely complements that guitar with his bass and Vinnie Paul pounds the drums in frenetic unison. Phil Anselmo is a flawed vocalist but does a respectable job for this half screaming genre. If you like heavy, you will love this album. This is not perfect and it's not going to be everyone's cup of tea but it's a damn good heavy metal album. Some real bangers. Mouth for War, A New Level, Fucking Hostile, No Good, and By Demons Be Driven have slick heavy grooves. Walk and Rise are a different harder edge. Live in a Hole sounds like it took a page out of Alice In Chains' book. I wasn't a big fan of This Love - I know they were trying to do something different but it's a bit disjointed. Ditto Hollow - given that they wanted to make the heaviest album ever, I'm not sure why they went a little softer here. It would've fit right in with an Iron Maiden metal album of the 80's but it doesn't fit well on this album. Still, this album is a nice gateway between 80's heavy metal and 90's and 2000's nu metal and hard rock. I found myself reaching for a 5 but just couldn't go all the way.

I don't know why I always disliked Santana growing up because they are excellent musicians. Not just Carlos on guitar (truly a master) but I really liked the extra percussion work by Areas and Carabello. I had no idea Gregg Rolie, also of Journey, was the lead singer of Santana. Not a huge fan of his vocals but he tickles the ivory (or plastic) pretty well. I still don't quite get samba or bossa nova so maybe that is why I don't totally resonate with their latin rock sound. Still, they are probably the best in the business at it. Until this 1.001 odyssey, I never really appreciated their classics on this album - Black Magic Woman and Oye Como Va. Singing Winds, Crying Beasts and Hope You're Feeling Better are also pretty slick. I won't give it a perfect rating, even though I can understand if someone else does, but this is a quality album.

This is definitely a more mature Stevie Wonder (at age 23) than on some of his earlier (15) albums. My goodness. Not my favorite album of his but still very good. Too High is a cool, clever opener. Visons is a nice softie. Don't You Worry 'Bout a Thing is a fun uptempo song. He's Misstra-Know-it-All is probably my third favorite song on the album. Not sure how political it is, but it's got a great tempo and is well-composed. But my two favorites are his two masterpieces on this album - Living for the City (perhaps the best political song he ever wrote) and Higher Ground (a great spiritual song with a wicked beat). Not quite a 5. But a damn solid 4.

Almost as good as the album from Sparks (Kimono My House) that came out in the same year. Felt like similar glam / art rock style with a lot of cheeky lyrics and fun energy. I think Sparks' album was better - at least more consistent - but dang if this album doesn't have some high points. The Wall Street Shuffle is a nice opener with a little harder rock sound (made me think a bit of ELO and Out of the Blue) and The Worst Band in the World is a good follow-up - quirky as hell but I dug it. Hotel dragged until they got through the 90s intro, then felt like an irreverent Paul Simon song. But man oh man the combo of Clockwork Creep and Silly Love to end side one and start side two - they absolutely ROCK! Solidified the Sparks feel for me too. The former is as fun and cheeky as This Town Ain't Big Enough for Both of Us and is also killer on the piano, giving it such a great beat. The latter has more guitar and it just buzzes. The rest of side two is up and down. Somewhere in Hollywood is a bit grander or more baroque in style, but not bad while Baron Samedi reminded me a bit of early Queen and was alright. What's funny is that unlike Sparks I have heard of these guys before because I know a few of their singles that came out a couple years later (I'm Not in Love, The Things We Do for Love). But now that I know this album I don't want to associate them with those sappier songs, where if they're trying to be cheeky it's not so clear. This album is way cooler; deliciously eccentric. Probably closer to a 3.5 than anything but rounding up for the fun factor. And those two incredible songs in the middle of the album.

Their debut album hooked me from the opening licks all the way through to the end. Honestly, on my first listen or two to this album, I really only noticed the big singles London Calling and Train in Vain, which open and close the album. It wasn't until my third listen that I really started to appreciate the songs in between. On sides one and two, Brand New Cadillac, Jimmy Jazz, and Lost in the Supermarket aren't bad - kinda fun. Hateful, Rudie Can't Fail, and Spanish Bombs are pretty good. Clampdown I probably should have taken note of right from the first listen - great tune. On sides three and four, Wrong 'Em Boyo is another one I probably should've rated highly right from the get-go. Great little ska-punk diddy. Death or Glory and Revolution Rock are pretty good. The Card Cheat isn't bad. All in all, I still think their debut is superior. It is definitely tighter, but that's what can happen with a double album here. Still, I am probably a fan of 75% of the tracks, and there aren't any I really dislike. Plus this album has so many different styles beyond pure punk. So you have to give them credit for that. I felt myself moving towards a 5 but I think deep down I view it more as a 4.

Nah. I was surprised this guy made the list - "What? The Fit but You Know It guy?" That song is a guilty pleasure. Kind of humorous but the guy can't rap. It's like listening to Taran Egerton as Eggsy from The Kingsman trying to turn his chatter into a rap. I give him kudos for the whole rap opera motif and trying to tell a connected story. And there are some interesting or clever stories or bits to the songs. But it's such a slog listening to that Birmingham accent try to rap, or worse, sing (on Get Out of My House). Blinded by the Lights wasn't bad and I always more guiltily got pleasure from Dry Your Eyes. I'll give it a 3 but I get it if others want to give it a lower rating.

I own this album but I found it a bit disappointing. Which is unfair because it's very solid. But I was expecting it to be epic. I always thought that Andre 3000 had the better album of the double album, even though Big Boi had the best song in I Like the Way You Move (so smooth). The Love Below has more musical variety and has some real slick, fun tracks - Hey Ya (obviously, it was a smash hit for a reason), Happy Valentine's Day, Roses, and Behold a Lady. It pays some homage to Prince and Funkadelic but it is really up and down, and more down than up. Speakerboxx is more straight ahead rap/R&B and not as fun or grandiose, even though it is more lyrically complex or deep. On retrospect I found it more consistent and the better album, and I quite enjoyed several additional tracks - Bowtie, The Rooster, Bust (Killer Mike is awesome), War, Tomb of the Boom, and Last Call. All in all, this is a very ambitious double album but with some holes.