"Obviously, doctor, you've never been a 13-year-old girl." This album is a mood. They used to use some of these tracks on This American Life a lot. That may have been why I bought the CD originally but I can't really recall now. I don't remember much about the movie other than thinking that it captured the 70s better than most movies set but not made in that decade. It was nice to listen to the whole album again. There's a sound on one of the tracks (maybe Dirty Trip?) that sounds like The Bionic Woman jumping. I like the album a lot, especially the last track with narration from the movie. That's some beautiful writing there. "Everyone dated the demise of our neighborhood from the suicides of the Lisbon girls. People saw their clairvoyance in the wiped-out elms and harsh sunlight. Some thought the tortures tearing the Lisbon girls pointed to a simple refusal to accept the world as it was handed down to them: so full of flaws. But the only thing we are certain of after all these years is the insufficiency of explanation."

Hello! Feminist Killjoy here... I spent a lot of this listen making a mental list of some of the female artists that I hope are coming up. (We've been listening for a month and we've heard exactly one.) So, while this album wasn't unpleasant to listen to, it had me wondering if maybe Deerhunter's dad was on the judging panel? And this isn't to say I think they're bad. If they lived down the street and played the local clubs, I'd think they are awesome. I'd be super proud of them for making stuff. But I found most of this unremarkable in the grand scheme of music and I can't help but wonder who was passed over to include it in the 1001. My rating of them is low perhaps because I'm mad at the list-makers of the world. Songs I enjoyed: Earthquake, Desire Lines, He Would Have Laughed. (And I've listened to these three several times now and like them more each time. I'm glad I've heard them. They are good.) Song I actively disliked: Basement Scene

How wonderful to listen to two women in a row! (Björk was yesterday. These two make a nice pair.) I've not listened to this one and didn't know anything beyond Running Up That Hill. I'm sorry I waited so long. Or maybe not. Maybe it needed to be now for me to appreciate it. Big Sky and Jig of Life were my favorites. I'm quite well taken with her voice, especially how it drops on the word "God" in Running Up That Hill. I sense a particular kind of authenticity in her music, that she's making exactly the kind of record she wants and needs to make and that makes me want to listen more. Excellent.

Loved the first few tracks, loved the last few tracks, but I got a bit bogged down in the middle. Overall, I like this Joanna Newsom-y kind of thing: a coffee shop guitar, quirky lyrics. The first lines and the last lines of the first song won me over right away and will be a hymn in my own personal church: "This is the soup that I believe in This is the smoke I'm always breathin' This is the way I share my breakfast ... Well we've known we've known We've had a choice We chose rejoice" I'm interested in hearing more from this guy.

This one. This one I want to hear performed live. I want the bass to tickle the soles of my feet and rattle my ribcage. I want to dance and sweat and mouth all the words. More than many, this album feels like one piece of work, rather than a collection of songs. I've never seen Arcade Fire. I'm making all of this up. Here is my daydream: This works best in my mind if I imagine a smallish venue --- max. capac. at most 500 people, an old theater with red velvet curtains and a proscenium stage. We've got reserved seats (we are too old for general admission) in the 6th row and a warm whiskey buzz going. The first three tracks bring us in gently, but each of these rises and falls in tempo and intensity, building to a boppy finish at the end of Une année sans lumière. And THEN, Neighborhood #3 hits like a ton of bricks and we are overwhelmed with sound and light and maybe we can't breathe. Good thing Neighborhood #4 is next so we can take a minute to recover, continuing into the beginning of Crown of Love which builds some more, shifting to a crooning ballad and again to a disco finish that leads into the steady groove of the anthemic Wake Up which itself shifts to a dance party reminiscent of The Jam or Iggy Pop. Rebellion really feels like a finale. We're all on our feet, jumping to the beat in unison. It's hot. We all need water. Almost done. We know. We are elated, high on the show. Applause, clapping, stomping. We want an encore! We hear In the Backseat start before lights come up. We close our eyes, all breathing the same air. Music builds for the last time. It is too much but we don't want it to end. Instruments gradually drop out one by one. No applause at the end of this one. We exit quietly, our ears ringing, a tear in our eyes, a gentle smile on our lips.

Wow! Wasn't expecting to love this so much.

Delightful. Really enjoyed it.

While I was very familiar with the singles from this album that were released in the US, this is the first time that I remember hearing the full album. I found most tracks on this record just OK. I can't deny that the opening riff of Money for Nothing is pretty great and I really liked The Man's Too Strong and the bass-heavy One World. The one track that I actively disliked was Your Latest Trick which seemed quite dated with all its 80s saxophone and reminded me of the theme from LA Law...and not in a good way.

I'm not sure that there are actually 11 different tracks here --- more like two and a half. What I'm saying is, some of these songs sound the same. Except Thug, which sounds like the theme from Seinfeld. But what the heck --- it's peppy and fun and I had a good time bopping around the kitchen making dinner and waxing nostalgic about high school cheerleading as I listened.

Tom Waits is one of those artists that I always felt I was just expected to like. So I resisted liking him for a long time. And then one day...I guess I finally heard the right song(s) or something and now I love him. It feels to me like he channels music from somewhere not of this world. Good variety of styles on this record. Not every song speaks to me personally (sorry Downtown Train) but there are a few that I love a lot (Jockey Full of Bourbon, Big Black Mariah, Gun Street Girl). I've heard the comparison to Cookie Monster before but this is the first time I've noticed that sometimes Tom Waits sounds like Christopher Lloyd (specifically on the title track here).

Had no idea what I was about to listen to. I found the first track (I Wanna Be Adored) unbelievably boring the first time through and was afraid I was going to loathe the rest of the album. But I smiled through the remaining songs and immediately started the record over. Love the Brit-pop vocals and jangly guitar. I'll come back to this one. p.s. If no one's done it yet, "This is the One" would be the perfect soundtrack to the ending of a manic pixie dream girl movie.

Not much variety from song to song but I appreciate their youthful exuberance. I hear a few of these songs fairly often when my husband's choosing the music --- Family Entertainment, Here Comes the Summer, Get Over You (which I guess wasn't on the original LP and was a bonus track on the digital stream I found) --- but most of these were new to me. Really liked Billy's Third, Male Model, and I Know a Girl. It's not a style of music that I feel the need to seek out but I don't hate it.

There's too much to say about this album. It's just terrific. Picked up on a lot of new things listening this time: disquieting stereo effects, interesting fade-outs and transitions between songs, lyrics I've never quite caught ("trying to make a dove-tail joint"). Such diverse musical styles but nothing sounds out of place. I love it mucho.

Songs are short, fast, and fun but kind of all the same. I can appreciate the album's importance for its time and its influence on other bands. And who doesn't love chanting "hey ho let's go"? But as a whole, the record doesn't exactly speak to me personally at this point in my life.

Yay, a woman finally! I haven't listened to this one in a long, long time and it was wonderful to listen to it again. I love her voice, love her music. (Also, her hair. My god that HAIR!) Favorite tracks: Thing Called Love, Cry On My Shoulder, Nobody's Girl, I Will Not Be Denied, and I Ain't Gonna Let You Break My Heart Again.

I like this album a whole lot and really enjoyed listening to it in one sitting for the first time in a long time. I loved feeling immersed in the fullness of their sound. Perry Farrell's vocals are simultaneously raw and melodious. While I really like the singles (Stop! and Been Caught Stealing) that made me buy the CD when it came out, I dig even more the theatricality of the later songs on the album, like Three Days, Classic Girl, and the nightmare circus that is Of Course.

I've never heard of 'em. I'm goin' in! All right! You wanna win me over quickly? Gimme accordion right from the jump! Or is it a harmonium? Either way, I am totally on board. Next song is the "everybody needs a bosom for a pillow" song! I know this one! (After looking it up, I know the Norman Cook (Fatboy Slim) remix.) Yes! Love it! Love the trippy groove of We're in Yr Corner and the silliness of Funky Days are Back Again. Appreciate the reminder that, "Good shit's all around, good people." Definitely will listen to this one again and am already looking into their other albums, starting with Judy Sucks on a Lemon for Breakfast, which...is that a clarinet on the title track? Swoon!

All I knew ahead of time is There She Goes, mostly from So I Married an Axe Murderer (which I watched again this summer and it has held up pretty well). I like this album! Different songs remind me of different bands --- lots of REM sounds, a bit of U2 and The Beatles, British Invasion era Rolling Stones and The Kinks, and even an iota of The Monkees. None of that is bad. The song Feelin' has me feelin' pretty darn good. (It's just too short!) Would have rated it a 4 after the first listen. Rounding up to 5 after the second.

I can hear their influence on The River Bottom Nightmare Band. I was kind of ok with it until Parchment Farm which is...problematic on a couple of fronts. There are better albums to listen to for this kind of psychedelic rock sound. I doubt I'll listen to this again.

I've heard of The Electric Prunes but the name is such an unsuccessful attempt at humor, I kind of assumed they were a parody, like Spinal Tap. But here they are. (And maybe Spinal Tap's got an album on this list so this doesn't really prove that they're a "real" band. In fact some of these songs reminded me of ST's Cups and Cakes.) Anyway... I liked this. The music definitely evokes a specific time period. These guys look awfully serious on the cover, though, for playing songs that are quite silly. I guess they're mad because their producer made them sing songs they didn't even write! How often has it happened that an all-male band sang so many songs written by a couple of women? (Oh, but looking closer, I guess they're recreating the B&W illustration behind them which is...what? Why isn't THAT the cover?) In addition to Spinal Tap, I was reminded of The Guess Who and The Hollies. I enjoyed I Had Too Much to Dream, Are You Loving Me More, Sold to the Highest Bidder, Get Me to the World on Time, and About a Quarter to Nine. The ragtimey Toonerville Trolley was a delightful surprise at the end.

I don't know. Listening to MJ mostly just makes me feel sad and conflicted now. Highlights of this album for me are the groove of The Way You Make Me Feel (you knock me offa my feet now baby --- hoo!) and when the chorus comes in at the key change in Man In the Mirror and also remembering how my college friend Laura changed the words to Bad and sang, "My dad...has had...a crush on Cheryl Ladd!"

"Obviously, doctor, you've never been a 13-year-old girl." This album is a mood. They used to use some of these tracks on This American Life a lot. That may have been why I bought the CD originally but I can't really recall now. I don't remember much about the movie other than thinking that it captured the 70s better than most movies set but not made in that decade. It was nice to listen to the whole album again. There's a sound on one of the tracks (maybe Dirty Trip?) that sounds like The Bionic Woman jumping. I like the album a lot, especially the last track with narration from the movie. That's some beautiful writing there. "Everyone dated the demise of our neighborhood from the suicides of the Lisbon girls. People saw their clairvoyance in the wiped-out elms and harsh sunlight. Some thought the tortures tearing the Lisbon girls pointed to a simple refusal to accept the world as it was handed down to them: so full of flaws. But the only thing we are certain of after all these years is the insufficiency of explanation."

Most of this was...fine? I guess? (shrug emoji) I like the guitar playing and the instrumentation but mostly this leaves me cold and wanting to listen to a country album that I like. I liked Hillbilly Highway. Good 'Ol Boy is ok, though I don't really get why someone from Iran partially owns his truck and it reminds me a little of the song Gettin' Bi from Crazy Ex-Girlfriend. I do really appreciate the line, "I was born in the land of plenty, now there ain't enough." And I don't know that I like the song all that much but I sure feel the sentiments in My Old Friend the Blues.

Me, before listening to this album: I just don't get why people like Bob Dylan so much. Me, listening distractedly while cooking dinner: Yeah, I still don't get it. Me, as soon as It's Alright Ma starts: Ohhhhhhhhhhh...I get it now. I'm giving it 5 just for that experience.

I've only listened to The Jam's Greatest Hits and frankly I'm surprised we're listening to this album instead of whatever album Town Called Malice is on. I will be equally surprised if we eventually listen to more than one album by The Jam. (Side note: My husband said he knew of this album before he knew what "all mod cons" means and he thought it was something much cooler than it actually is.) I only recognize a couple of these but this is a fun album. The bass and the drums stand out a lot to me in an interesting way. Favorite songs: the cover of The Kinks' David Watts (oooooh, when do we get to listen to The Kinks?), Billy Hunt, Fly, The Place I Love, and Down in the Tube Station at Midnight.

When this started, I thought, oh lord this is not what my frayed nerves need today. And I turned it off. Then I restarted and turned the volume down and it was much better. I completely missed this band at the time but I dig this punky, grungey (grungy?), alt-rock sound. (My spell check likes grungy but my eyes don't.) Reminds me of Faith No More, Soundgarden, Elvis Costello. Misbeaten sounds like The Beatles feat. Frankie Valli. I love On a Rope, Young Livers (yes!), Ball Lightning, Suit City, and Come See Come Saw. WOW! I love this!

I admire their speed and their power and their talent. These guys can play. But other than the title track (which is great), there's not much on this album that makes me want to listen again. Similar to how the Ramones made me feel, I can see why other folks like them but they're just not for me right now. I think maybe they're good for adolescent dudes who are mad at their math teacher and I can't not take that personally today.

I don't love every song on this record, but the ones I love, I love an awful lot. These are hard rock songs with singable and often beautiful melodies. I'll Stick Around and For All the Cows are two of my favorite FF songs. I also like Good Grief, Floaty, and This is a Call. Before today, I'd never heard how this album was recorded and now my mind is blown. This is all just Dave? Whoa.

This record broke my heart and made me laugh out loud. He's a genuine poet and a heck of a story-teller. I loved pretty much every track (even Pretty Good with its glib mention of dog rape (WTH???)). This kind of album is the reason I'm here.

This album is not without some 80s cheese and some of the songs seem rather pedestrian in their themes (Allergies? Cars Are Cars? Write what you know, I guess). But Paul Simon is a poet and a prophet who can write a good melody and some great lyrics. (I also forget sometimes how freaking funny he can be.) I understand why I missed this album in 1983 --- it was a little grown-up for my 15-year-old tastes. But this sure appeals to me now. The title track, Song About the Moon, Think Too Much, and Rene and Georgette Magritte... are all really nice pieces of music. Train in the Distance and The Late Great Johnny Ace gave me chills.

Holy cow! This album is freaking fantastic! What have I been waiting for??? I think as a kid I bought just enough into the satanic panic of the 70s and 80s to believe at least a tiny bit that listening to Black Sabbath would invite Satan into my soul. (There were Christian protestors outside the brand new Events Center when Black Sabbath came to my home town in the early 80s.) And even after I became certain there was nothing to fear in this music, I had convinced myself that Black Sabbath just wouldn't appeal to me. They'd be too hard, too noisy, too mean. I even knew and liked half these songs already (War Pigs, Paranoid, Iron Man) but there was still a part of me that did not believe. Gah! Propaganda works, yo! Now I get why the powers that be needed me to be afraid. But the truth is we don't need to fear this bunch of hippies! The war pigs are the ones to fear! Anyway, my feelings about every single track on this record run the gamut from like-it-a-lot to oh-my-god-I-love-this-so-much! The drums, the guitars, bass, vocals are all amazing. When everything but the hi-hat drops out at the beginning of War Pigs? Sublime. The mellow bongo-ness of Planet Caravan? Smooth. The psychedelia Electric Funeral? Terrific. The bluesy grooves in the middle of Hand of Doom and Fairies Wear Boots? Bluesy and groovy --- and wicked! I love this record. More please!

Hello! Feminist Killjoy here... I spent a lot of this listen making a mental list of some of the female artists that I hope are coming up. (We've been listening for a month and we've heard exactly one.) So, while this album wasn't unpleasant to listen to, it had me wondering if maybe Deerhunter's dad was on the judging panel? And this isn't to say I think they're bad. If they lived down the street and played the local clubs, I'd think they are awesome. I'd be super proud of them for making stuff. But I found most of this unremarkable in the grand scheme of music and I can't help but wonder who was passed over to include it in the 1001. My rating of them is low perhaps because I'm mad at the list-makers of the world. Songs I enjoyed: Earthquake, Desire Lines, He Would Have Laughed. (And I've listened to these three several times now and like them more each time. I'm glad I've heard them. They are good.) Song I actively disliked: Basement Scene

I expected this to be shocking and it was. I was shocked by how boring it is. Next!

Hooray! Some soul! I didn't think I knew this guy but once it started I recognized Cry to Me from that one scene in Dirty Dancing. You know the one. I also know He'll Have to Go but I'm thinking that maybe I really just know the first line, "Put your sweet lips a little closer to the phone," from a TV ad for one of those compilation records in the 70s. (And maybe not this version. Maybe Elvis?) I really like this! Sexy, bluesy, lots of yearning. So glad to be introduced to it.

I freely admit that I've been living under a rock since about 1995. I was of course aware of Amy Winehouse and felt the grief of her fans when she died but I'd never listened to her music. (OK, maybe I saw them do Rehab on Glee...) I didn't know what to expect but it sure wasn't this. Musically, it's a joy to hear such a clear echo of the girl groups and soul singers of the 1960s --- I especially like the sample of Ain't No Mountain High Enough in Tears Dry on Their Own. The music sounds completely modern and nicely retro. Lyrically, it's sometimes hilarious (what kind of fuckery is this?) but mostly it's depressing as hell. I hear a woman trying desperately to numb her pain while trying to sound devil-may-care. And it is obviously so much worse considering how her short life ended. I can't imagine a bleaker sentiment than Love is a Losing Game. One or two songs are misses for me but overall I really like this album. I'm angry that we lost such a talent so early and I hope that she is resting in peace.

Jesus Fucking Christ, this record. If there were no lyrics, I would really really love this. I very much enjoy this traditional style of country with its banjos and fiddles and delicious guitar playing. The duet with Buck Owens is particularly good and it's great to hear Maria McKee on Send Me the Pillow. But as so often happens, toxic masculinity ruins the party again. My dude, your lady-friend is allowed to leave you. She's allowed to leave to be with someone else or just to get away from you (and your gun) or for no reason at all other than she wants to. And, yes, I know it hurts. It's super painful and will make you sad and angry and humiliated and that is HARD. I get it. But eat some ice cream, binge watch some TV, take a bath, and get some freaking therapy. This multi-song revenge fantasy is a misogynistic horror show and it makes you sound like a fragile baby. I'm giving this a 2 instead of a 1 for Buck Owens and Maria McKee.

For the first two songs, I couldn't really tell what musical language these guys were speaking. Once the bass kicked in on the superbly titled Whisperin' While Hollerin', I started to understand what we were doing. And then came the spare and lovely acoustic guitar instrumental Vastopol which is completely unlike anything else on the album but doesn't feel out of place. There is more great bass, funky guitar, and playing with time signatures in Mas Cojones, What Gets Heard, Time with You, and If'n. There are a couple of drum solos, which are good if you like that kind of thing. Some Things is fast and catchy punk-lite (in a good way). I came away thinking that these guys are decent musicians who like having a good time and I had a good time listening though I don't know how often I'll come back to this.

Are they trying to be silly? This isn't funny enough for me to believe they're not earnest but ... The songs I _almost_ liked were Breakpoint and, I can't believe I'm about to type these words, Tornado of Souls. But I've had enough metal for a while. Could we please have some Indigo Girls or Barbra Streisand or, as a friend of mine once said, "some goddamned Dolly Parton?"

Someone included Once Around the Block on a mixtape for me a while back but that's all I know of Badly Drawn Boy. I've always liked Once Around the Block because it's in 3 and sometimes you just need a waltz so I'm interested. First track is called The Shining and I'm nervous. Oh, a cello. How lovely. And a French horn? Go on... O! It's about the sun! And it's pretty! I love it. Next song is Everybody's Stalking (good Midnight Cowboy/Nilsson reference) and I'm dancing at the bus stop! (Can't really understand the lyrics but they might be creepy since it's about stalking.) I love this one, too! Also on my love list are Pissing in the Wind, Say it Again, Epitaph, the disco sound of Disillusion, and Stone on the Water (another waltz). The piano at the beginning of Magic in the Air reminded me of Hard Candy Christmas from Best Little Whorehouse... This Song is very strange. I listened to it twice on speakers and would have absolutely believed it was Simon & Garfunkel. But then I was relistening on headphones on my walk home and thought I might be having a stroke. There is some very very strange (and off-putting) stereo effect happening there. I almost fell over. There are a few tracks on this long album that didn't do much for me but overall I really liked this and will listen again.

What were you doing when you were 21? This woman was recording a masterpiece. Incredible.

Sweet and mellow, folksy and jazzy, double bass and marimbas, lovely melodies and a mournful voice. Side A was perfect for my state of mind on a lazy gray autumn Sunday afternoon. Side B's Gypsy Woman (title=ugh) went on way too long for me. Was grateful when that one was over. But overall, I really enjoyed this. Will look for more of him.

This is a band that I've seen on other people's T-shirts but I've never really listened to. And now I've listened to them. It's not at all that I disliked them. Not at all. But I can't really say that I liked them either. The music is fine but didn't make me feel a lot of feelings: good, bad, or otherwise. The instruments are standard rock band. Songs are melodious but not really pretty. A lot of the singing is more like pitched talking or yelling. And again I'm not saying this is bad, just not for me. Here are the songs that I appreciated: Teen Age Riot, 'Cross the Breeze, Eric's Trip, and Total Trash.

This feels like the kind of album that would be playing super loud at a record store and you'd be shopping and grooving and you'd pick up a copy and then listen on your walkman and it would feel like a wonderful secret. I loved this an awful lot. Even songs that started out kind of annoying (is he rhyming "mistake" with "mistake"?) built to something magnificent. Different tracks brought to mind wildly different things: Pristeen reminded me of Jesus Christ Superstar, Double Vegetation of The Who's Tommy, Promised Land of Leonard Cohen, Safesurfer of Pink Floyd. Several of the tracks are a total groove and a half: East Easy Rider, If You Loved Me At All, Soldier Blue, Not Raving But Drowning, Head. I was dancing along for a lot of it. And then we end with the easy, mellow Las Vegas Basement. I didn't pay much attention to lyrics. They seem repetitive but I didn't mind that at all. Love it love it love it. Thank you for this!

As a Seattle-ite, I'm glad I've now listened to a Mudhoney album. I was solidly...whelmed. I didn't want to leave the room because of it or anything but I'm not in a big rush to listen again. I did listen to it twice: once on headphones, mostly just paying attention to the music, and again on speakers while doing other things. I liked it better the second time. As my sole focus, there wasn't much there that caught my interest, nothing particularly unusual or catchy or moving. But while I was doing other things (making breakfast, answering emails), I found myself bopping around a bit to it. That's gonna elevate it from a 2 to a 3 for me. Thanks, though, Mudhoney for saving Sub Pop.

I really don't like looking at the cover. These guys make me nervous. I don't trust 'em for some reason. I really didn't like this the first time through and liked it even less the second time through. Couldn't really distinguish from track to track, lyrics are more speaky and shouty than singy, nothing really to grab onto. But I kind of got into the groove of it the third time through and really enjoyed Breadcrumb Trail, Washer, and Good Morning, Captain. If I were a different person, I can imagine listening to this late at night in a low-key hang with friends. But my friends and I are old and that would be past our bedtimes.

Ahhhhhhhhhhhhhhh! This is so great! Listening to this just felt really good. Loved every track but special shout-out to Human Behavior, Like Someone in Love, and Big Time Sensuality. So good! Eleven stars out of five. ***********

How wonderful to listen to two women in a row! (Björk was yesterday. These two make a nice pair.) I've not listened to this one and didn't know anything beyond Running Up That Hill. I'm sorry I waited so long. Or maybe not. Maybe it needed to be now for me to appreciate it. Big Sky and Jig of Life were my favorites. I'm quite well taken with her voice, especially how it drops on the word "God" in Running Up That Hill. I sense a particular kind of authenticity in her music, that she's making exactly the kind of record she wants and needs to make and that makes me want to listen more. Excellent.

This is fine. Not unpleasant to listen to but nothing particularly stands out.

Lynyrd Skynyrd's Three Guitar Army and Ronnie Van Zant's growl resonate deep in my bones. These songs feel surprisingly like home. Maybe it's because Gimme Three Steps was one of the songs that my brother's garage band rehearsed in our basement. (We did not have a garage.) My brother must've had a Greatest Hits album on 8-Track or something because several of these sound familiar but not all of them. I've never heard this whole album before, I'm sure of that. At least 3 songs mention guns but I don't think they ever get used, just held threateningly. I said "uh-oh" when they started talking about the ghetto in Things Goin' On but the rest of the words seemed ok and then the honky-tonk piano came in sounding exactly like something Paul Williams would write for the Muppets or Bugsy Malone and I was totally charmed. I prefer the upbeat songs like I Ain't the One, Gimme Three Steps, and Things Goin' On to the ballads but I cannot deny that Free Bird is a great song even if it's nine minutes long and I've heard it a million times. If I get to see the original Skynyrd line-up in the afterlife, you bet I'll ask to hear Free Bird.

This one took me a few listens before I could really decide about it. I was excited to listen --- I'm not very familiar with Emmylou Harris but feel like I should be. The first time through, the songs just weren't taking hold. I thought they were pleasant and pretty but none of them felt like mine. I'm almost done listening for a third time and it's grown on me quite a bit. Her voice is great, there are some interesting guests singing harmony, the instrumentation is varied and fun, her songs tell a story. I'm most sold on One Big Love, Hour of Gold, and the title track. Those feel like they belong in my library. I also like Boy from Tupelo and My Antonia.

There's nobody that quite sounds like Kraftwerk. This is another of those bands that I appreciate and respect more than like. They're good. They're unique. They're interesting. And yet... Their music doesn't make me FEEL anything. I never have the thought, "Oh, I should listen to some Kraftwerk." This album is good. I have a hard time distinguishing between songs but I can tell that things change now and then. I find the affectless German thing quite charming and some lines stick in my head (We look around and change our pose.) I wasn't wishing for it to end but I wasn't all that disappointed when it was over, ya know? Normally, this kind of review would mean a 3-star rating from me but I'm bumping it up to 4 stars because, although I don't love them, my husband does and he doesn't love many things and so the fact that he loves Kraftwerk DOES make me feel something...happy.

I'm having another ohhhhhhhhhh-I-get-it-now moment. I've heard bits of this my whole life but never sat through the whole thing and kind of didn't think I'd like it that much. I listened to the 35th Anniversary Deluxe Edition, 1 hour and 46 minutes of music that I didn't want to end. Frampton's musicianship is astounding --- there's plenty of impressively spoodly electric guitar solos but then there's some lovely acoustic technique in Penny for your Thoughts and All I Wanna Be. And his voice! Smooth and lovely throughout, lots of variation. None of the fatigue or pitch problems you can sometimes hear in live recordings. I think of Frampton as a great guitarist but he can really really sing and he seems to be an incredible showman. In addition to the singles I was familiar with, I fell in love with several of these songs during this listen: Wind of Change, All I Wanna Be, I Wanna Go to the Sun, Shine On, and White Sugar. I didn't really love the cover of Jumpin' Jack Flash --- it just didn't seem to have teeth for some reason --- but I have renewed appreciation for Do You Feel Like We Do, all 14 minutes of it. So great!

This was fun. Mostly these are songs I either don't know at all or don't know well. Stand-outs were the catchy, danceable title track and the theatrical I Let the Music Speak, a glimpse into what B&B had in store with the musical Chess (which I love). I didn't find much else that was very distinctive on this album but even a run-of-the-mill ABBA song is nice to listen to. I listened to the Deluxe edition with seven additional songs. I don't feel like those added much. A friend mentioned that he liked how the original album ended so I listened again, stopping at the end of Like an Angel Passing Through My Room, and I totally agree: that's how the album should end. There've been a lot of albums in this project where the version I find streaming is a Deluxe version and that's clearly not always good --- it matters how an album starts and ends and what order the songs play. This is a reminder to try to find the original version whenever I can.

Well now I don't know how to rate this album. I listened all the way through twice and was quite well taken with it the first time, ready for 5 stars. But after a second listen, I'm tired, ready for it to be over, at a low 3. I'm not sure what happened. I find I like it best when I can give all my attention to the lyrics. That makes it hard to get anything done while I'm listening. Second time through, I had to get some work done so maybe that's why it grated. I did really like the first side both times, all acoustic with just Dylan "singing." His voice is definitely a parody of itself and I can't call it "pretty" or even "good" but honestly I can't imagine these songs sounding any other way. This is poetry talk-sung to some simple, sweet melodies. His musicianship really shines on the harmonica --- chords and single tones with dynamics! Whoa. I started writing down all the lyrics I particularly liked but had to stop pretty quickly because I'd be quoting entire songs. I like the second side less with more musicians and more electricity. I see now from the album's Wikipedia page that the audience agreed with me: "The first half of the concert was greeted warmly by the audience, while the second half was highly criticized, with heckling going on before and after each song." It wasn't bad but I wasn't as charmed. I'll split the difference and give the whole thing a 4. I'm glad to have listened to it but I may not listen to the whole thing again.

Loved the first few tracks, loved the last few tracks, but I got a bit bogged down in the middle. Overall, I like this Joanna Newsom-y kind of thing: a coffee shop guitar, quirky lyrics. The first lines and the last lines of the first song won me over right away and will be a hymn in my own personal church: "This is the soup that I believe in This is the smoke I'm always breathin' This is the way I share my breakfast ... Well we've known we've known We've had a choice We chose rejoice" I'm interested in hearing more from this guy.

This is not what I expected Portishead to sound like. But it turns out I was confusing them with Pigeonhead. Very different. Portishead's Dummy is pleasant ethereal background sound, the kind of music that they play to alert me that my time is up in the sensory deprivation tank. I've listened all the way through a few times and, other than Sour Times (which I know from something but I don't know what), not much leaps out at me. I'll rotate a couple of songs into my library but I'm not going to rush to find more.

A solid groove of an album. Songs weren't all that distinct from one another but I danced pretty much the whole time. The last track felt like the end of a long dance party and I felt good and ready to go home.

This was fine. I didn't love it. Some lyrics popped out and at best I mildly enjoyed some of the songs.

OK! I liked this the first time through. Liked it even more the second time through. Yep, the music is catchy, the rhymes are clever. All the talk of M-16s, M-10s, .9s, and the threat of death or prison makes me viscerally anxious, so I'm not sure if I'll listen to it regularly (and I acknowledge the privilege that I have that allows me to say and do that). But this is a great album and I can see why it's on this list.

Glad to see some rap finally showing up 53 albums in. And we got two days in a row! After Nas’ Illmatic yesterday, I was excited to listen to Common. But this didn’t appeal to me. I don’t particularly like Common’s rapping style. To me it felt disconnected from the music for the most part --- it's not that I want him to sing or anything but it almost felt like the lyrics and music were recorded independently so I had a hard time finding a groove. I definitely want to be exposed to more rap and hip-hop with this project but this just wasn’t my thing.

Haven't we already listened to this? A lot of these records from the mid-90s are all running together. I liked the first few songs: the title track, Come Together (not the Beatles), and I Think I'm in Love (with lyrics like "Just me and my spike in my arm and my spoon," think more Lou Reed's Perfect Day than Eddie Money's song with almost the same title). Sorta liked Electricity. But the rest was unmemorable and felt endless. Are the 1990s overrepresented in the 1001 Albums book or is the randomization front loading the 90s records for us? Everything's starting to sound the same!

Lots of melodic and rhythmic unpredictability on this one. Interesting vocals and instrumentation, too. Sometimes it's really interesting and fun and sometimes it's hard work to listen. I loved Cannibal Resource, particularly the backing vocals and the guitar in the instrumental section mid-song. I loved Stillness is the Move, including the title (this is a band that likes a juxtaposition I think). Two Doves sounds like contemporary musical theater (that's a compliment coming from me) and contains the line, "But our bed is like a failure." And Remade Horizon is really great, again with the hooty backing vocals that I find so charming. Most of the rest didn't really work for me. Temecula Sunrise has extremely pedestrian, extremely depressing lyrics. ("Definitely you can come and live with us. I know there's a space for you in the basement, yeah. All you gotta do is help out with the chores and dishes." Poetic in its banality? Actually, kind of yes.) In The Bride, the handclaps after the line, "no one has any good reason to live," were...surprising. I'm giving this one a 4 because the songs I love, I really love, and I am giving them each a star.

Yes! I've listened three times all the way through and just started my fourth. This is exactly the kind of thing I was hoping from this project. It would never occur to me to seek out some Afro-Cuban jazz and, even if it did occur to me, I'd have no idea where to start. I love this! It's like a dance party in my kitchen. The crisp horns and percussion set my soul aflame and get my hips a-shakin'. I can't even pick any favorite tracks. I enjoyed every minute.

This was such a pleasure to listen to today. Cohen is on the list of artists like Bob Dylan and Tom Waits who I had to age into. I appreciate him in a way that was never possible before. I have a two-disc Leonard Cohen Essentials CD but haven't ever listened to any of his studio albums. So glad to be doing it now. The guitar work is exquisite, the lyrics emotionally deep. The chorus of children's voices is particularly effective but not overused. I favorited every track.

This album blows my mind. Every single time. This is a pop/rock album, right? But here's Eleanor Rigby, a piece of chamber music with pop lyrics; Love to You, with its tabla and sitar; Yellow Submarine, which feels like something written for Sesame Street; For No One, backed only by piano, percussion, and French horn; and Tomorrow Never Knows which still sounds, in 2021, like it's from the future. The rest of the songs are more traditional rock and pop but they are an eclectic mix that I find difficult to place in a specific time period. Here, There and Everywhere sounds like 1960 Beatles. Got to Get You Into My Life sounds like 1970s Wings (which is honestly ok with me). Here is a short list of the things on this album that make me exclaim, "Are you kidding me?" to these geniuses when I listen to Revolver: The too slow countdown + cough + in tempo countdown that open Taxman and the guitar solo in the middle. The psychedelic fuzzy guitar on She Said She Said. The staggered entrances of the instruments and vocals at the beginning of Good Day Sunshine and the change to the melody on "Sunshine" the last time through the chorus. The way the bass and the piano play with each other on I Want to Tell You. The entirety of Tomorrow Never Knows. ARE YOU KIDDING ME? This is my favorite Beatles album.

This isn't my favorite White Stripes album but I appreciate the intentionally spare style on display. I love Jack's youthful, crackly voice straining to hit the higher notes and Meg's steady volume on the drums. There's the perfect punk song Fell in Love With a Girl, the too short Little Room, the melancholy and melodic Same Boy You've Always Known, and Offend in Every Way somehow evoking gunslingers in the old west. A couple of the songs are relentless with the guitar, drums, and vocals all keeping the exact same rhythm pretty much the whole time (Expecting and Aluminum). My two favorites are This Protector (good lord, I am a sucker for a rock and roll piano) and the unexpected We're Going to Be Friends, which only a monster could dislike. ("Teacher thinks that I sound funny but she likes the way you sing.")

Holy holy, what an absolute gem of an album. Can't believe I've never heard it. The album starts with The Beach Boys telling me NOT to go near the water. What? This was unexpected. To be honest, this song is a little cheeseball and a bit too on the nose. It could've been (maybe was) a TV ad for water conservation. But other than the surprising message, this sounds like a Beach Boys song. Long Promised Road is a beautiful, beautiful pop song. I just love it. Can't believe it wasn't a bigger hit. Take a Load Off Your Feet is catchy and ridiculous. I knew Captain & Tennille's cover of Disney Girls but had no idea it was a cover of a Beach Boys song. This is another really lovely pop song with an achingly exquisite melody sung so beautifully by Bruce Johnston. When he sings "oh" in the chorus, it goes straight to my heart. I love this one. From that we go straight to a heavy blues riff and some sirens for Student Demonstration Time. This has some of the best lyrics including, "The pen is mightier than the sword, but no match for a gun." Fuck. Feel Flows definitely sounds like the Beach Boys singing but doesn't sound like a Beach Boys song. The instrumental section is prog rock with flutes and all. This is another one that I love. I don't know what to say about Lookin' At Tomorrow. I just don't. A Day in the Life of a Tree is from the p.o.v. of said tree accompanied by a sad carnival calliope. Again, Til I Die and Surf's Up sure sound like the Beach Boys singing but they are eerie and haunting and the opposite of the carefree surfing songs I've come to expect from these guys. They're stunning. I am so grateful to have been introduced to this precious piece of work. We've only been together, this album and I, for about 24 hours but already we are in a pretty serious relationship that I think is going to last for quite some time.

Whoa. This is dark. I am worried about Bonnie "Prince" Billy. His pain is palpable. I felt heart-sick the entire duration of my first listen. I think I'm on my fourth time through now. It is still dark but it gets prettier and prettier the more I listen. There's not a song I dislike on the album. I find the songs I See a Darkness and Today I Was an Evil One especially resonant, at least today. The record ends on a positive note (I think?) with Raining in Darling. "Oh, it don't rain anymore I go outdoors Where it's fun to be And I know you love me I know you do" love love love

Two words: Heck yeah!

This one. This one I want to hear performed live. I want the bass to tickle the soles of my feet and rattle my ribcage. I want to dance and sweat and mouth all the words. More than many, this album feels like one piece of work, rather than a collection of songs. I've never seen Arcade Fire. I'm making all of this up. Here is my daydream: This works best in my mind if I imagine a smallish venue --- max. capac. at most 500 people, an old theater with red velvet curtains and a proscenium stage. We've got reserved seats (we are too old for general admission) in the 6th row and a warm whiskey buzz going. The first three tracks bring us in gently, but each of these rises and falls in tempo and intensity, building to a boppy finish at the end of Une année sans lumière. And THEN, Neighborhood #3 hits like a ton of bricks and we are overwhelmed with sound and light and maybe we can't breathe. Good thing Neighborhood #4 is next so we can take a minute to recover, continuing into the beginning of Crown of Love which builds some more, shifting to a crooning ballad and again to a disco finish that leads into the steady groove of the anthemic Wake Up which itself shifts to a dance party reminiscent of The Jam or Iggy Pop. Rebellion really feels like a finale. We're all on our feet, jumping to the beat in unison. It's hot. We all need water. Almost done. We know. We are elated, high on the show. Applause, clapping, stomping. We want an encore! We hear In the Backseat start before lights come up. We close our eyes, all breathing the same air. Music builds for the last time. It is too much but we don't want it to end. Instruments gradually drop out one by one. No applause at the end of this one. We exit quietly, our ears ringing, a tear in our eyes, a gentle smile on our lips.

The earth didn't move but this is ok. I like this general style of music and there were a few stand-out moments. I like City Lights and some of its rhymes: laughin'/autographin', Stetson/gets in, and buildin'/killed him. The line in Have You See My Baby about talking to strangers because I'm a stranger, too, made me laugh. Dr. Boogie is pretty fun. Don't know that I'll play this whole album again but I like some of these songs enough to rotate them into play now and again.

Terrific. Chapman's at her best and most authentic with a spare arrangement, just her voice and guitar, maybe some percussion. A couple of tracks seem over orchestrated and overproduced, which unfortunately makes them feel dated. This is still a great album. Lyrics are bleak but vivid, some fine story-telling. Fast Car is on my top-shelf of favorite songs.

Oh, I like this. I like the style of music, the quality of his voice, and his ramblings. His folksy country-boy persona comes across as kind, gentle, and authentic. This despite his being raised in Brooklyn, his first exposure to rodeo being in Madison Square Garden of all places (according to Wikipedia). He sounds to my Wyoming-raised ears just like a genuine cowboy. I enjoyed this a lot.

Wowee! That was exhilarating! I am giddy. That's what I wrote last night. This morning I woke up to the news of the Kyle Rittenhouse verdict and I wasn't so giddy. This album's great though and I expect to be in the mood for it again someday. It had managed to fly under the radar for me all this time and I'm glad to be finding it now. I love that, though there are several different styles of music here, Queen is as unique a band as you'll find, hard rocking and broadly theatrical and fun (if you're into fun). Definitely will come back to this one again and again.

This was so fun! Love the extended version of That Lady with its wailing guitar solo and the other original songs especially You Walk Your Way and The Highways of My Life. And then there are a bunch of delightful covers that I wouldn't have expected to work but absolutely do. I loved the soulful Don't Let Me Be Lonely and Summer Breeze (more wailing guitar!) and the funky Listen to the Music and Sunshine. Terrific addition to my library. I'm really loving the records from the early 70s that have been showing up recently, new-to-me albums from familiar-to-me artists. Great fun.

I'd never heard of Hanoi Rocks. I think I would have really loved this album 30 years ago when I was listening to L.A. Guns and Motley Crue. I really liked Malibu Beach Nightmare and Back to Mystery City and, to a lesser extent, Mental Beat. The others felt like a bit of a slog for me.

Had a great time listening to this. Have always loved the Walk This Way, It's Tricky, and You Be Illin'. Great to hear the rest of this classic. Super fun.

Didn't have the luxury of a nice, long focused listen today but this provided a groovy ambience to my dinner-making. Nothing was particularly standing out until Bless My Soul and its delightful boings. I loved that track and the next, Cruise (Don't Stop), and Rise and its repRise. It's nice. I'll keep it.

I liked listening to this. Even the songs that are sad made me happy. I doubt that I'll listen again but I enjoyed being here for a while.

Well, I tried real hard to like this. I laughed out loud a few times -- perhaps I laughed loudest at, "Tell 'em how you feel, Kenny. Kenny Loggins." It was fine at first, kind of musically directionless, which isn't my favorite but I can respect it for a while. Lyrics seemed fragmented, short snippets rather than part of a story or even one theme. (Well, Friend Zone seemed pretty clear. But was maybe satire? Maybe not. So maybe not so clear.) Ultimately, I found it really hard to latch onto anything and it just overstayed its welcome. It felt like a friend of your roommate's who was kind of funny at first but whose humor wore thin pretty quickly and they were too drunk to drive home and are still at your house in the morning when all you want is coffee and some toast.

This was a great dance party. Tempos and styles changed but we kept grooving from start to finish. Loved it.

This is good, synth-y 80s pop. I don't think I'd ever heard the whole album. I liked Don't You Want Me well enough when it was released but I think I've heard it enough in the last 40 years. I really liked the songs on this album that were less familiar to me, especially The Things That Dreams Are Made Of and Seconds.

I knew Rich and Maps going into today but hadn't listened to the whole album before. This isn't really my kind of music and I don't know that I'll want to do the whole thing again but I listened to it a few times today and enjoyed it well enough. The opening of Rich is an excellent start to a record and I love Karen O's snarling, screaming vocals throughout. The lyrics in many of the songs include long stretches of a single word or phrase repeated over and over (rich-rich-rich-rich-rich-rich; choke, choke, choke; tick, tick, tick, tick, tick, tick, tick, tick; uh-huh, uh-huh, uh-huh, uh-huh-ooh; bam-bam-bam-bam-bam-bam-bam-bam dunuh-dunuh-dunuh-dunuh). This totally worked for me. The almost gentle Modern Romance is a nice change of pace after so much screaming and blistering guitar. Love the sweet vocal quality, the simple steady beat, and the quiet jingle bells on this song. The last track Poor Song starts with an off-key mmm-chh that I could listen to all day and a line that is my personal philosophy, "Baby, I'm afraid of a lot of things, but I ain't scared of loving you."

Aerosmith! Yay! I don't know this album. (Is it just me or does the cover look cheap?) I love the build at the beginning of Back in the Saddle and there are some horse noises I've never noticed before...and some yodeling! Last Child is one of the songs that defines Aerosmith for me --- an edgy, hard-rocking blues sound where Steven Tyler gets to sing and screech. The rest of the songs are totally new to me. I do love Combination --- the lyrics have some clever rhymes and the chorus is hella catchy. When Nobody's Fault started, I had to check to see if I was still listening to Aerosmith. It's more heavy metal than blues-rock. Get the Lead Out is fun. (But why are you showing me your fist? is it to show off your new finger tattoos?) I love me a song with some na, na, na's, like Lick and a Promise. Home Tonight is a nice piano-heavy power ballad whose melody made me think of Chicago's Saturday in the Park. This was great fun!

Wow. This is something very special. Wow. She is soulful beyond belief, channeling something that the rest of us aren't in touch with. I adored every song but Rebento stopped me in my tracks. Tremendous!

Unfortunately for Stereolab, yesterday's listen was Elis Regina and she is a HARD act to follow. I really just wanted to keep listening to Elis. But I'm a good student and like to keep up with my homework so I made myself listen to Stereolab a couple of times today. It's good! Pleasant and unobtrusive, nice slow grooves. Favorite tracks were Metronomic Underground, OLV 26, and The Noise of Carpet. Now back to Brazil!

Sublime. I've been to church. I am stunned and grateful.

It's hard to "review" an album that I've listened to so much. It's like trying to review air or water. This album just IS. I listened three times today and tried to hear new things. I paid a lot of attention to background vocals and bass lines and unusual instruments. This music is layered and rich and there's a lot to hear. I am starting to really notice and appreciate Ringo, both on the drums and when he sings. There's something so hopeful and endearing about A Little Help from My Friends sung in his treacly voice. Some of my favorite bits are the "hey, hey, hey" in Fixing a Hole, how the vocals build in the chorus of Lucy, and that sweet clarinet in When I'm 64. I also love the lines "Vera, Chuck, and Dave," "And of course Henry the Horse dances the waltz," and "Fun is the one thing that money can't buy." Oh yes, this is a good one indeed.

Excuse me, I am too busy to write any notes about this album because I'm building a time machine so I can go kick my college-age self in the hiney and tell her to pick up a Fishbone cassette or two. She would have really loved this album. Listening to this was a wild ride! Such a range of styles. No two songs are alike: there were spoodly metal guitar solos, some funky ass bass, soulful keys and horns, ska rhythms and danceable beats, and some swoon-inducing twelve-string guitar. Fun tunes with lyrics to match but also upbeat songs that belie their serious social justice lyrical content. I had a great time listening to this and will listen again and again to make up for lost time.

This is fine. Not really my thing but not unpleasant. I listened twice. Probably won't listen again.

I capital L-O-V-E about half the tracks on this album. The loud, fuzzy downbeat of Devil's Haircut is a tremendous start for an album and the rest of the song is great --- gotta love a song with the word "leprous" in it. I also love the lyrically absurd Hotwax ("in the chain-smoke Kansas flashdance ass pants") and its extensive instrumentation --- there's some jazzy Charlie Brown piano in the background for just a few seconds near the ass pants line and some steel guitar that are both just delightful. Jack-Ass and Ramshackle are mellow, almost plaintive, and lovely. My other faves include The New Pollution (of course) and Where It's At (of course of course) and also the country-tinged Sissyneck. Beck's varied instruments and styles, clever sampling, and singable tunes make me a fan.

This was a rather dramatic soundtrack to my rather ordinary day. Evocative and cinematic, this album tells a story, going from smoky and sultry to mildly frenetic to romantic to grandly theatrical in a short 39 minutes. Not all jazz does it for me but this sure does. Love it.

I had a great time dancing for the first half-hour or so and then I was tired and ready to lie down. Terrific fun ... for a while.

Didn't have the time that I'd like to focus and listen a few times but I enjoyed the time I had with this album today. Great guitar, organ, and percussion. I particularly liked Mother's Daughter.

How odd to simply listen to an Elvis album. These songs and this sound has been so ubiquitous that it's hard to imagine a time before they existed. This was great. I'm so impressed with the musicianship and the marriage of blues and country. Very enjoyable.

Thank you, 1001 Robot, for giving me this album today. It was a balm for my soul at the end of a sad week. There is a delicacy, a clarity, a precision to every note of this album. Tempos are steady, slow, and deliberate, giving a sense of being suspended in some warm, gooey, sweet syrup. These are some of my favorite standards delivered by musicians of the highest order. Perfection.

Really surprised by this one! It's so different from Fever to Tell which we had just two weeks ago. The sound is cleaner and seems more intentional. Dance beats but still an alt-rock sound. I dig it!

I've listened to this album seven times today...so far. I am in awe of Lorde's powerful voice and story-telling, her strength and vulnerability, her fearlessness. I wrote down some of my favorite lyrics but there were a lot. Lots of favorite songs, too. This deserves more than five stars.

Welllllllllllll...I was having a pretty good time at this party. I've always liked The Humpty Dance. It's cheeky and fun. The next track talks about verbal rape but ok, I guess that's just some macho posturing and it was 1990 and all. Rhymin' on the Funk, The New Jazz, and Underwater Rimes are fine with their "smooth flow" and "dope rhymes" such as "mobster" and "lobster." (Sincerely! Not sarcasm! The quotes are from the album!) These guys mostly seem silly and fun. And then...the last half of the record felt like I was listening to a joke where I wasn't exactly the punchline but the joke really wasn't meant for my ears (and maybe as a woman, I was punchline-adjacent). I won't say I was offended by all the sex talk --- I'm a feminist killjoy, not a prude --- but I didn't enjoy it and wanted to leave the party. I'll just take The Humpty Dance and go.

Maybe this is a slow burn and with a few more listens I would love it. I really loved Up With People from its first hand-claps and thought during the first listen there was another song that I liked a lot. But on the second listen I realized it was just another version of Up With People. The rest was fine but nothing else particularly grabbed me. Nice and mellow though.

Didn't know much of PJ Harvey aside from 50ft Queenie, which is a great punk song but I didn't know how I'd feel about a whole album. Stories from the City, Stories from the Sea was a wonderful surprise. This is solid alternative rock with a grown-up point of view. During my first listen, I favorited half the tracks. During the second, I favorited the rest. I love this.

Listening to Nick Drake gives me deep feelings of warmth and safety. It's like being swaddled and held. I find this ironic and profoundly sad considering the animosity that apparently existed between this talented artist and his own brain. I'm grateful for what he left us with.

Wasn't expecting such a fun surfer rock/rock-a-billy sound from The Cramps. This was a good time. The cover of Fever was superb.

This is an old, old favorite that I used to listen to on my walkman in college. Aside from a couple of lyrics that still make me cringe, this is a brilliant piece of work. Great songs, great riffs, great vocals. I will always love it.

I like The Black Keys and have listened to a couple of their albums so I was excited to see this. Unfortunately, I was disappointed with Brothers. I like their general sound but most of these songs just blended together into a big mush. Howlin' for You, Ten Cent Pistol, and Sinister Kid stood out from the rest but just barely. Maybe a couple of their albums is all I need.

Another album that lands in the "well, it's not _bad_ but why is it here exactly?" category. Thought it lacked pizzazz.

They had me charmed from the ba-ba-ba ba ba at the start of the Peter Gabriel-esque Halfway Home. I love this song a lot a lot a lot. My love continues through Crying, Dancing Choose ("bought a sweater for his Weimaraner, too"), the funky bass and glorious chorus of Golden Age, Love Dog, and Dogs of Light. And finally, my favorite, Shout Me Out, with its tempo change and wailing second half. The songs are hard to categorize but this record is good good good.

I've never been very into Depeche Mode and hadn't listened to Violator prior to today. It's good! It's really good and gets better each time I listen to it and I want to keep listening to it. In addition to the great Personal Jesus, I do enjoy Enjoy the Silence, Halo, Policy of Truth, and the very fine Clean. I'm not done with this one yet.

Glad to confirm my feelings about The Cure: I can see why they appeal to some people but they don’t hold much appeal for me.

A wonderful Christmas surprise.

A very nice mellow interesting listen.

This is fine. Tolerable. But if I were dating someone and they said this is their favorite album, I'd probably break up with them because we wouldn't understand each other emotionally. This album isn't bad but I find it uninspiring.

Maybe it's because I heard Steely Dan a lot as a kid, but there's something about this album that seems very grown-up to me, like something a friend's cool (but not too cool) parents might listen to. I was surprised to learn that Walter Becker and Donald Fagan were in their mid-20s when this was released. They sound older than I will ever feel. AND I love it! It's not at all gloomy but they seem like they take the music seriously. There's interesting percussion and great guitar throughout. Rikki Don't Lose that Number is a terrific pop song. Pretzel Logic has a groove (but I'm scratching my head at the lyrics about minstrel shows). OK, maybe I lied a little --- Charlie Freak's lyrics are pretty gloomy but the dark lyrics are juxtaposed with a rollicking Linus-and-Lucy-like piano and some jingle bells. And I love the bass and sax in Monkey in Your Soul. At a short and sweet 34 minutes, songs are varied and interesting and I didn't feel like there was too much filler. It zipped along.

Everything about this is wonderful, from the title and the cover to his voice and his powerful lyrics. Half the songs have a practical, everyday romanticism to them and the other half protest the oppression of the working class. Every song is terrific. The Peel Sessions Album is one of my husband's favorites so I've heard Billy Bragg a lot but in a much more stripped-down setting --- just Bragg singing and accompanying himself on electric guitar. Very interesting to hear a studio album with more instruments and back-up singers. Love the violins on Train Train and the piano on Honey, I'm a Big Boy Now. There is lots of poetry to talk to the taxman about. My favorite: "Mother shakes her head and reads aloud from the newspaper As Father puts another lock on the door And reflects upon the violent times that we are living in While chatting to the wife beater next door." Oof.

Enjoyed it more than I expected but likely not enough to seek it out again.

I've been waiting for The Kinks. I don't know this album aside from a few songs. I loved every track. Super great.

I've always disliked the title of this album. It feels like a set-up --- if you don't like the record, it's because of your prejudices. Well...to this "little hungry schoolgirl" who loved Wham! and Faith, this album _was_ disappointing at the time. I like it more now than I did in 1990. I count Praying for Time and Freedom! '90 among my favorite songs. I also really like Waiting for That Day and Heal the Pain. While I can appreciate Michael's need for more respect as a song-writer and the state of his personal life at the time, this album seems overly serious. I would have liked a bit more fun and a bit less scolding. This album is nevertheless very very good.

Interesting to listen to Cohen's first album not long after listening to his last. Not a lot of variety in this one --- most of the songs are easy to mistake for Suzanne. But Suzanne is a lovely song so not much harm in that.

What a glorious piece of work this is. An incredible example of what's possible in rock music. A grand display of hutzpah and talent. I love it very much.

This was a very enjoyable listen. The disco beat and interesting lyrics provided a great soundtrack to my cold, wet, gloomy walk today. Top-notch exuberance!

Wow. This is something. I'm glad I had the time to give it a focused listen. I think it might not be quite so great in the background but, as an activity all its own, this album's got layers galore to explore. It's symphonic with its movements and recurring motifs, one piece of music rather than a collection of songs. Tantalizing snippets of the familiar melody from Good Vibrations appear early in the album in Song for Children. Heroes and Villains and Surf's Up are similarly teased before those songs actually start. The instrumentation is incredible: strings, brass, woodwinds, a deep percussion bench, whistles (so many whistles!), power tools. So much to discover on repeated listens. (I appreciated the inclusion of the instrumental Heroes and Villains bonus track to hear some of the sounds I missed the first time through.) Lyrics are often child-like and nonsensical, often just repeated words, phrases and sounds, using the voices as more instruments as opposed to a means to tell a story. I'm so grateful that Brian Wilson found the strength to come back and finish this after a tough 40 years. It did indeed make me SMiLE.

Once again, I am very pleasantly surprised by Black Sabbath. I really really love this. It's more psychedelic rock than heavy metal and a few songs barely count as "rock" music: Changes is a piano ballad for crying out loud and Laguna Sunrise could play over the end credits of a Western. I think Lenny Kravitz took some psychedelic funk inspiration from Supernaut when making Are You Gonna Go My Way. There were a few tracks that started out just ok for me but then they'd hit a bridge or a transition or a melody line that made me weak in the knees. The last track Under the Sun/Every Day Comes and Goes is the most like what I would have expected from Black Sabbath and I'm glad the entire record wasn't like that. But there's enough variety here to make that track a welcome ending. I don't know how often I'll listen to this but 20-year-old me would have listened a lot and I'm going to let her give it five stars.

This is the kind of thing I came here for. It wouldn't occur to me to seek this kind of music out and, even if I did, I wouldn't know where to start. And how else would I find out that Rod Stewart got sued for stealing the melody for "Do Ya Think I'm Sexy"? Lots of fun.

Hard to believe that it was 30 years ago that I bought this CD. I haven't listened to it in a long, long time and was reluctant to listen today. I figured I'd outgrown it. BUT I found the first 2/3 of the album absolutely exhilarating. This is great heavy metal with distinct and singable melodies and lyrics. Enter Sandman, Sad But True, The Unforgiven, Wherever I May Roam, Don't Tread on Me, and Nothing Else Matters are as thrilling to listen to today as they were back then. I really wish the album ended after Nothing Else Matters though. The last four tracks are tiresome if not downright silly.

This is incredible. I have heard of Laura Nyro but never listened. I always had the feeling for some reason that her music was somehow weird and would be a challenge to listen to. On the surface, it doesn't seem challenging at all --- I get a clear singer-songwriter pop vibe a la Carole King or Rickie Lee Jones --- and I can't figure out why she wasn't on the radio all the time when I was a kid. But, oh, yeah...melodies and rhythms and even styles change every couple of lines or so. She doesn't stay anywhere for very long...and I love it. My god, what a treasure.

There may be other bands with them at the top but no one is on a higher shelf of my Mental Library of Favorite Bands than Led Zeppelin. They make me feel all of the good stuff. There is a lot to appreciate in this album. At the start of almost every song, I catch my breath a bit and think, "Oooh this one's my favorite." And at the start of the next, "Oh, no wait. It's this one. This one's my favorite." On some of the tracks, I'm often glad when Robert Plant's vocals start back up again after a long spoodly middle but any given song is back to being my favorite by the end. Love them all.

It's great to hear more jazz. I like it.

Man oh man is this one fun. A rollicking good time.

Fun, synth-y, sax-y late 70s/early 80s pop. A clear influence on Duran Duran. Not my favorite but good enough and the right beats per minute for an afternoon walk in the sunshine. Love the cover of All Tomorrow's Parties.

Before today, all I knew of blur was their song from the Trainspotting soundtrack ("Sing") and the cover of their Leisure album with the lady in the flowered swim cap. I've listened to Modern Life is Rubbish many times today. It was good music to play while I worked, neither annoying nor overly distracting. And the more I listened, the more I liked. And yet, I'm finding blur very hard to pin down. Pretty much all I know for sure about them is they're British. I try not to read about the album before I write my review but I broke that rule today and that did help me make more sense of the album as an attempt to make something distinctively English, taking inspiration from Ray Davies and Paul Weller, after an unpleasant tour of the US. I can hear the essences of The Kinks and The Jam but with a 1990s sensibility, a British response to grunge. I really, really like every song on this album but there's something holding me back from loving it and I don't know what that is yet. I feel like I need more time with it. It's a solid 4 today but I can envision it inching its way up to a 5 eventually.

I did not want to listen to an indie rock band from the early 90s today and was throwing a bit of an internal tantrum about it. But these guys have won me over, distortion and atonal speak-singing and all. I wouldn't mind if they lived on my block so I could hear them rehearsing in their garage. I'm still a long way from calling myself a fan of early 90s indie rock but I'll be happy to have several of these tracks shuffle up in my rotation.

I've not seen any of Jacques Brel's movies but based on his music, I am guessing he's an extraordinary actor. I don't speak French well enough to know what he's saying most of the time but I sure as hell know what he's feeling. Very few artists get under my skin the way he does.

Much like when we listened to Stories from the City, Stories from the Sea, it took me a few tracks to find my footing with PJ Harvey's Dry, but once I did, I was a goner. I love this album, especially Dress, Victory, Hair, and Plants and Rags and especially-especially Sheela-Na-Gig and Happy and Bleeding. Swoon!

Goodness gracious. Vulnerable and raw. This is a fascinating album. Recordings of seemingly candid speeches are interspersed with songs inspired by the discussions. The way I said it makes it sound boring! But the pieces are largely about sex and sexual agency, so no not boring. I love Sullivan's voice. She's got a beautiful range and uses it with particular gut-wrenching effect on the track Lost One. My other favorites on the album were: Bodies, Pick Up Your Feelings, The Other Side, and Girl Like Me.

Clapton's recent and not-so-recent shenanigans render this pretty unpalatable for me. I get why your dad likes it but it's not for me today.

I think it really says something about a record if you have to pause occasionally to see if the sound you're hearing is the music or a truck backing up. (It was a truck backing up.) This record is squeaky and squonky, clickety-clackety-chrunchety. The vocals aren't exactly singing, more pitched shouting that reminded me of my Granny a lot of the time. I can't imagine the day when I will say, "You know what I'd like to hear today? Some Pere Ubu." But I did find this interesting, a unique listening experience. Kind of like getting a routine MRI (I get one every year) --- I don't really like or enjoy it but it's fascinating and there's only a tiny bit of pain and fear involved. And now I have to give it a rating from 1 to 5 and pretend that the experience of music is somehow one-dimensional, as though I could nestle Pere Ubu somewhere between Portishead and Leonard Cohen instead of on some other scale entirely.

Poetic and wistful but not brooding. Somewhere twixt indie rock and country. It's nice.

They've got volume and speed if you like that sort of thing. I'm finding that I need more...a poetic lyric here and there, a melody, a hook, a groove. I've tried keeping an open mind and looking for things to like but I think I'm ready to say that thrash metal just isn't for me.

Some great blues from JLH and some of 1989's more mainstream artists. Loved The Healer with Carlos Santana, I'm in the Mood with Bonnie Raitt, Baby Lee with Robert Cray, Cuttin' Out with Canned Heat, and Think Twice Before You Go with Los Lobos. I found the second half of the album much less fun. (I guess I like my blues to be fun.) I'd love to hear more from John Lee Hooker though.

Full of soul and exuberance, this album had me dancing and grinning from start to finish. I gave it five stars before the end of the first line of Tutti Frutti and it just got better from there. Whooooo!

Well, I have been on a journey with this album today. I had heard the name Everything but the Girl but I really didn't know anything about them. I didn't get a particularly good feeling from the cover art last night. I woke up early to get some work done this morning. I put on my headphones and pressed play. The mellow, danceable beats and smooth vocals were a great accompaniment to my workday. Made it all the way through the album and pressed play again. Still good. And then...I took a walk outside with it and it was much less interesting. Maybe the ear pods I wear when I'm walking give me less bass than my at-home headphones and that was the issue. Maybe the music is better as background than as my main focus. Maybe three times in a day was too much. They'd somehow lost their luster one way or another. Anyway, this is pretty good electronic-pop, but maybe just in small doses.

I'm not too keen on this many songs containing what sounds like earnest let's-get-it-on-ness. I liked the cover of Cruisin' and the smooth and jazzy When We Get By.

I've been meaning to investigate The Chemical Brothers for a while but hadn't gotten around to it. Glad this project gave me an entry point. This was a great soundtrack for my afternoon walk. Tempos were lively and kept me moving. I like it as background for work and kitchen grooves while making dinner. It's hard to distinguish between "songs" --- it's just one long dance party. Today that matched my mood and agenda perfectly.

This is one that really needs to be experienced with headphones. The dynamic range is wide and listening on speakers I was either straining to hear or clamoring to turn it down. With the headphones, I got more of the subtle sounds and some nice stereo effects. Before this, I was really only familiar with Supertramp's singles and mostly those that featured Roger Hodgson singing lead. That made it hard to fit songs like longtime favorite Bloody Well Right into the Supertramp space in my brain. Listening to this album helped with that, giving me a wider perspective of their work. I enjoyed this record a lot. Most of the songs exceed five and a half minutes and don't stay in one place --- songs I didn't entirely love had parts that I did. Some of the pieces and their theatricality brought to mind Queen and Elton John of the same era. (In fact, parts of Asylum sound so much like Tiny Dancer, that it must be an homage.) I've never really liked the song Dreamer before but I loved it today. Today I recognized a little countermelody near the end and it took a minute to place --- Rodger Hodgson included it as part of the soundscape introduction to his 1984 solo single Had a Dream, another of my favorites. And that glockenspiel at the end! Yes! Glad to have listened to this for the songs I knew and the songs that were new to me. Lots to dig into here and it definitely makes me want to hear more from Supertramp.

Only had time for one listen today. I liked it. Nice mixture of cultures and styles.

Maybe I'm a grouch today. This isn't terrible but it's not doing much for me, I can't ever imagine choosing to listen to it again, and I'm feeling some resentment about listening to it. It's got a very strong Bryan Adams/Don Henley vibe and honestly I'd rather listen to one of them because then at least there'd be some nostalgia involved.

One of the things that impresses me the most about Horses is its highs and lows. This is an album that hits the peakiest peaks and rockiest bottoms. Songs rise and fall in shape, mood, volume, never ending where they start. Patti Smith enunciates (or doesn’t) as if she just needs to work this shit out for herself and doesn’t really care if you understand it. That means that, even if I can’t completely follow the through-line of the lyrics, every once in a while a phrase leaps out and keeps me curious, enthralled. (“Your soul was like a network of spittle…”) Of course I love Gloria and its opening line “Jesus died for somebody’s sins but not mine,” especially the second time when she is so quietly smug on “but not mine.” Birdland is an epic poem that starts with some nice piano and Smith’s sweet, almost girlish voice describing the funeral of a farmer and the son he left behind. “It was as if someone had spread butter on all the fine points of the stars, ‘cause when he looked up, they started to slip. Then he put his head in the crux of his arm and he started to drift.” And on the word “drift,” her voice slides into her more familiar growl, and we are beamed into space with the son, his farmer father, a raven, and some doo-wop. Incredible. Free Money starts again with delicate piano that is soon overtaken by relentless rhythm guitar and drums, ending in frenetic chaos. Kimberly is a 70s punk take on 60s girl groups, I think, and there’s something captivating about the refrain, “Little sister the sky is falling. I don’t mind. I don’t mind.” Like Birdland, the track Land is epic and made me all like, “Whoa!” There is so much here: “From the other ends of the hallway, a rhythm is generating.” “He pressed him against a lockah!” “He saw horses, horses, horses, horses, horses, horses, horses, horses, do you know how to pony like bony maroney?” (Holy shit. WHAT???) “…sperm coffin…” “Can’t you show me nothin’ but surrender?” “Except for one who sees his possibilities. What he sees is possibilities. Seize us, possibilities.” And in the middle of all that is some great rock and roll piano which, as we may have already discussed, I am a sucker for. Finally, the cover of this album is itself a work of feminist art and I am deeply in love with it. Can I give it seventeen stars?

It seems like these guys make music because it's fun. I like it. Musically at least it's light and poppy --- I didn't have a chance to dig deep into the lyrics so maybe they're talking about serious stuff but I was having a good time. Even Long Gone, which is melancholy, if not outright sad, isn't overly earnest or dramatic, just serious enough. Nice.

I run hot and cold with Talking Heads. Love some songs, find others really grating. This one's got more good to it than grating. Glad for that.

This is wonderful. I loved it from start to finish.

What an absolute treat. Fantastic. FANTASTIC!

This was pretty much what I expected.

This record stressed me out, I did not enjoy listening to it, and it was long.

I thought I would like this more. I love their general sound, this southern-fried rock sort of thing, with its fiddles and mandolins and honky-tonk pianos and yodels. I do still love Up on Cripple Creek and King Harvest was a nice new discovery. But I was ready for the album to be over when it ended. I know it was recorded 50 years ago and, at least in my circles and the media I consume, there's not a lot of this kind of stalkery caveman garbage left but I really couldn't stomach the lyrics of Jemima Surrender. ("You can change your name, you can find a new walk, you can change your lock, it's all the same. ... Jemima surrender. I'm gonna give it to you.") After that, I was just tired and sad.

Great fun!

Didn't expect to like this one but I did. Probably not enough to listen often but good enough for today.

Dreamy vocals just underneath fuzzy guitars, a tuneful bass, and reliable unobtrusive drums. What's not to love? Surprisingly relaxing and good to work to, this album feels noisy but with intent. Droning with a purpose. I can't tell what any of the words are so the voices just act like more instruments. Hard to pick out individual songs (except perhaps the last track, the totally danceable "Soon") but things do change enough that, as an album, this is a great listen that I want to start over as soon as I've finished. Up to now, shoegaze has been my least favorite genre but maybe now things are changing...I love this!

Yep. That's 41 minutes of Steely Dan, all right. I love the cover art.

Its only flaw is that it is too short. Power, vocal agility, and so fucking much heart.

This is one of my all-time favorites. With some devastating lyrics and incredible musicianship, it's got so many great songs that it feels like a "Best of..." record. (Though there are many, many more of The Who's bests not on this album.) It is grandly exuberant, theatrical, cinematic. (There is a reason Baba O'Riley is the soundtrack to so many movie trailers.) Listening to this album just feels HUGE. Like I need to expand to fit the music in. It's exhilarating. lovelovelovelovelove

I loved this. Hopeful, uplifting, great music. Really great.

All the pieces are there for an album that I should like but somehow they're not adding up. I usually appreciate when I can tell an artist has created something with intention but this feels almost too controlled and sterile. There aren't any surprises and every song sounds kind of familiar even though I've never heard any of them before. I can imagine hearing this at an uncomfortable dinner party where the hosts seem much more grown-up and fancy than I. I think I would like most of the songs just fine if they shuffled up in a playlist but none particularly grabbed me by the feelings today.

Such a beautiful voice. Such an amazing songwriter. Top-notch album.

Liked this a lot. Reminds me of Stephen Stills of the same era. Would like some more time with this one.

I loved this album for a long time. From the opening drum beat to the last pluck of the hard, this is mellow and subdued and lovely.

Lucky I like a Gershwin tune (how about you?) because this was a lot of them. Ira's rhymes don't hurt either --- here's one of my favorites: "The only work that really brings enjoyment Is the kind that is for girl and boy meant" With Ella's smooth and silky voice and Nelson Riddle's lush arrangements, this was pure delight from start to finish.

Fun!

This was just great. Soulful and energetic. One of the best.

Glad to say I enjoyed this one much more than the previous New Order album (Low-Life). This one had a clearer point of view. Still had a hard time telling one song from another but liked it anyway.

This has everything I could want from an Elton John album. Great pop singles that I've known forever and, even better, deeper cuts that are new to me and that range from sweet pop ballads to country-tinged character studies to rollicking rock and roll anthems. In addition to long-time favorites Saturday Night's Alright... and Yellow Brick Road, I absolutely love Love Lies Bleeding, This Song Has No Title, Sweet Painted Lady, The Ballad of Danny Bailey, Dirty Little Girl, All the Girls Love Alice, Social Disease, and this amped up version of Grey Seal. Albums like this are the reason Sir Elton is the holiest of holy prophets in my own personal church.

Well, yeah. I guess I expected to see this one. I don't hate it. But I'm glad it's behind us. Next!

Some undeniably great music on this album. Too bad Brown Sugar is such a groove because the lyrics are pretty despicable. I'm glad to read that the band's removed it from their setlist. Wild Horses used to be among my least favorite Stones' songs but it's grown on me. Dead Flowers and Moonlight Mile are new loves.

Wowee, was this fun! I love the prominent bass and the psychedelic sound. Occasionally, it ventures into a ren-faire area (a ren-fairea, if you will) and engages in some scansion shenanigans (scansionanigans) that might make me uncomfortable if they came from another artist. But on Dononvan I find them completely endearing. ("Through the DARK, forbo-DING skies..." You're kill-ING me!) Fun fun good good fun.

This album certainly evokes a very specific time period for me. These songs were everywhere in 1977 and listening to them brought up memories of particular places and feelings. There's not a dud on the album. Every song is terrific. It helps that the band contains (more than) three great song-writers and vocalists, each with their own style. But these distinct voices can also blend into something sublime. Glad to have this opportunity to be reminded of it in its entirety.

Oh, so this is the Taylor Swift about whom I've heard so much from under the rock where I've been living. I get it now! Hella catchy but also sophisticated pop tunes. Good for the kids and their parents (and their parents' childless friends). Love it!

Wasn't really in the right head space for this one today and I think I might like it better on a day when I can pay more attention. It blended into the background...until it didn't, which was either because of explicit lyrics or lyrics about religion or Space 1999. I liked most the songs about multiples of 10 --- 5000 Miles West of the Future, Planet 10, and I Feel Like $100.

Excellent vibe. Super groovy.

Lots of catchy beats. I was happiest when I wasn't paying attention to the lyrics.

I've managed to avoid RATM all these years and now I'm not sure why. I think I assumed they'd be too rage-y for me. Turns out we're outraged by the same stuff and I should have listened before. I dig it.

The opening track Zebra perfectly fit my mood and needs at the moment giving me high expectations for the remainder of the album. Perhaps too high. No other track rose above a non-committal shrug on my how-much-do-you-like-it? meter. Songs are simplistic and repetitive, both rhythmically and melodically. I wanted bigger changes, more surprises. There were times when they teased me with a build and I thought, ok here we go, and then...no. Overall, this just didn't do much for me.

Pure rock'n'roll theatrics. Love it.

Great guitar hooks and memorable lyrics. Splendid!

The movie Tommy was on HBO a lot when I was about 11 years old. I remember circling all of the times it aired in the HBO guide that came in the mail so that I could tune in for the last ten minutes of every airing and watch Tommy scrabble over all those rocks singing, "I get excitement at your feet!" I hoped none of my siblings would come in the room and interrupt, tears streaming down my face as I watched Tommy raise his arms, palms open toward the enormous rising sun. This was more spiritual to me than anything that happened at church. I found the rest of the movie pretty incomprehensible. But the music, especially "Listening to You" and its reprise that played over the end credits, was as moving a thing as I'd ever heard. I didn't get the original studio album until college. But once I did, it became one of my favorites. I still get a little choked up when I listen to it. Thanks Pete, Roger, John, and Keith for taking me to church. I love you for it.

I've never been a huge fan of The Smiths and didn't expect to like this much but then You're Gonna Need Someone on Your Side started with Peter Gunns a-blazin' and made me all, like, whoa. I also loved the next track, the driving Glamorous Glue, and the last two tracks I Know It's Gonna Happen Someday and Tomorrow. The tracks in the middle were more what I expected and kind of mushed all together for me. But the tracks I liked were enough to push this from a 3 to a 4.

Some of these songs sound like the ones on Sesame Street when they were all, "Look, here's some happy penguins." This album is delicious. I love Nick Drake.

I think my heart just exploded.

This is a simple but compelling story performed as a rap opera in a Brummie dialect that would make anything charming to my American ears. I'm not super interested in listening to any single song as a stand-alone track. But the album as a whole is unique and provided me with a fascinating listening experience today. I really enjoyed it.

Ambitious. Epic. Spacey yet firmly grounded. A fine listen.

Well the lush orchestrations were an unexpected feature. Not quite what I'm used to from Billie Holiday but glad to have been introduced. Happy to float along on the sound of the strings and flutes and her incredible voice.

I've not seen much reason to go out of my way to listen to Elvis Costello in the past but this one hit me just right today with its fun tunes and cheeky lyrics. I had a great time and want to keep it around.

This was fine. I didn't hate it.

We had this one on 8-track when I was a kid. I don't know precisely who in my family "owned" it --- it seemed to just belong to all of us, which was unusual. My mom (now 82) didn't ever listen to a lot of popular music but she can still name Dancing Queen from the opening glissando. I loved listening to this today. ABBA sounds distinctly superb and these are some top-notch pop songs.

Never bad, occasionally great, often meandering in that prog rock noodly, Hobbitty way. Interesting to see this incarnation of Genesis that I'm not familiar with beyond a song or two, particularly hearing how Peter Gabriel and Phil Collins' voices blend. Very pretty!

Wheeeeeee! What a fun ride. Surprises around every corner. My new musical crush.

Funky change of pace from my usual fare. Had a great time.

I've managed to avoid listening to Grateful Dead all this time. Not sure why I was so hesitant but I liked this quite a bit.

So fun. I love this record. Takes me back. Back back back. Super fun!

Catchy and timeless. A great listen.

This was the perfect listen at the perfect time. Why wouldn't someone sing backwards during my stay at The Great Northern Hotel from Twin Peaks? Will I ever want to listen again? Who knows. But it will remain a special memory forever.

Enjoyed a lot of this, got a little tired of it in places. But it does contain one of my favorite lyrics of all time, “The fear of being eaten by a sandwich.”

One of my favorites. Love the melodies, the harmonies, and the layering of the vocals and guitars. This one makes me feel good.

A good solid groove.

Loved this. Lots of variety, rewards repeated listening. Great!

Every time it ends, I just start it over again. And the more I listen the more I like. Breathy vocals and vulnerable lyrics, lovely indie-folk instrumentation. Heart-achingly beautiful. A new favorite.

I'd never heard of Finlay Quaye before and did not know what to expect. I found it an absolute delight, a terrific mix of reggae and pop unlike anything else I've heard. Really enjoyed it.

Had a great time with this today. Lots of fun tracks, great blues, and some very fine piano playing. A+.

I never think of Tom Petty. I don't dislike him but I never feel the need to listen to a whole album. Seems I've been depriving myself. I knew the singles Breakdown and American Girl (the latter of which I love...except when I'm driving alone at night and it comes on the radio and I start to sing along and then I realize I've seen someone sing along to this song driving alone at night and I don't want to put the lotion in the basket and so I turn it off real quick) but I didn't know any of the others. From the first drum beat, I loved this great mix of songs. And at a scant 30 minutes, this album goes down super easy and is never boring.

Spare and simple. Warm and mellow. Pretty. Very nice!

Another album that is church to me. If someone made me choose a favorite album, this might be it. Holy. Holy.

Full disclosure: prior to today I'd never listened to a Radiohead album, couldn't name a Radiohead song. I was looking forward to hearing what everyone else has been talking about for the last 25 years. A couple of the songs (Airbag and Subterranean Homesick Alien) grabbed me by the heart and declared themselves mine immediately. I found Exit Music, Electioneering, and Lucky entertaining. And the rest, even through multiple listens today, just OK. Like I felt with Blur's Modern Life is Rubbish, this album feels to me like a reaction to something and I can't quite tell what that something is but it makes the band hard to pin down, to put in a love-it/like-it/don't-care-for-it box. I love Airbag and SHA enough though to give this four stars.

Less a collection of songs and more a series of horror stories set to music. Upsetting and horrifying but beautifully mesmerizing. Lovely melodies belie their ugly lyrical content. The cover art is an eerie match to the tales inside. Unique and finely crafted. My only complaint is that O'Malley's Bar goes on and on and on. Death Is Not The End seems like it might be a nice ending to all the brutality but even its lyrics aren't particularly hopeful.

Hmmm. I didn't really enjoy this nor did I find it very interesting in its unpleasantness. I found it temporarily and only slightly more interesting when I learned that this is just drums, bass, and vocals. But then my interest waned again. But I'm not mad that it exists. If this is their most accessible album, I'm a bit curious about the others. Those might be more interesting.

Ahhhhhhh, what a voice! Sweet and smooth like silky honey. Released just as I was starting college, this seemed like music for old people to me. I guess I'm old now because it just sounded great today. A genuine treat.

Yes!

This album sounds like the 60s in a rather bland, generic way. The Byrds clearly had an influence on the culture to have a sound that is so representative of the era but there aren't any songs on this album that draw me in, that make me want to listen again. I'm disappointed.

Captivatingly beautiful. Or beautifully captivating. Either way, beautiful and captivating. It's feeding my soul today. I love it.

This is a thing. Lots of feelings here, most of them unpleasant: heartbreak, longing, regret, despair, bitterness (though he doth protest), and a track literally called Anger. But there's also genuine love, contrition, hope, and redemption, not to mention a Funky Space Reincarnation. There are worse ways to process a break-up than making your art. It's obviously completely one-sided --- it made me really want to hear her side of the story. It's very interesting how literal some of the lyrics are. ("Why do I have to pay attorney fees?") It's like listening to someone else in therapy. Lyrics aside, this kind of R&B isn't my favorite and I do better with it in small doses. I doubt that I will ever want to hear the whole thing again, but I can appreciate its place in the history of American music. Fascinating.

Delightful. Once again, I wonder why I wasn't in love with this band in college. They're great!

Not for me. Not today anyway.

Super fun new wave album with a ton of hit singles. Going from squeaky to deep and throaty, Lauper's voice is unlike any other. A great listen for today.

Some very fine blues rock, featuring baby Rod Stewart and some surprising covers (Ol' Man River, Greensleeves). Made me want to close the curtains, put scarves over all the lamps, and sit on a cushion and smoke. I quite enjoyed it.

I knew we were going to listen to a lot of Neil Young in this project and, to be honest, I wasn't looking forward to it. I've never been a big fan of his voice and hadn't given him much of a chance (outside of CSN&Y). Today this pushed all the right buttons. This record is full of feelings and story and musicianship and I love it. Now I'm looking forward to hearing more.

Fun, mostly instrumental fusion of rock, jazz, blues, and funk, with appearances by Captain Beefheart and Jean-Luc Ponty(!). I would call it unexpected, but when I stop to think about it, I have no idea what to expect from Frank Zappa. At any rate, I quite enjoyed it.

Wonderful to spend time with this old favorite.

I don't enjoy much of the lyrical content myself but there are some nice samples, catchy beats, and interesting rhymes. I can see why it's got its fans.

Oh great, I thought, The Temptations! This will be fun! I was thinking it would be songs like My Girl and Ain't Too Proud to Beg. You know, happy songs with choreo. I forgot that The Temptations could go serious, like twelve minutes of Papa Was a Rolling Stone serious. Run Charlie Run is startling and dark. I Ain't Got Nothin' is for and about lonely people. The songs about finding and having love are even wistful and sad sounding. So, no, not overly fun. But good and interesting.

This one took several times through. Listened over breakfast on speakers and just couldn't get enough volume --- wondered if speakers were somehow faulty. Tried again while I worked, on different speakers this time, and got more volume --- better but definitely blended into the background. Third time with headphones and I wish two things: (a) that I'd started with headphones, in a dark room on some nice cushions; and (b) that I'd listened without carrying the full weight of my expectations of Radiohead, a band I don't know much about apart from their reputation. Frankly, this is a much more interesting album than I would expect from a band that is so popular. Perhaps I've underestimated the masses. This is challenging music, not a care-free ride. Songs with nonstandard instrumentation and freaky time-signatures. Sometimes cacophonous, other times just nicely shifting ambient tones or a predictable bass groove. I wanted to hear the details, sometimes to crawl around inside the sounds and figure them out and at other times wanting to just float and let them carry me. And this is all without really hearing much of the lyrics. Maybe that's a whole other level of stuff? Anyway, I like this. A lot. And want to spend some more quality time with it.

I still remember watching for the first time Madonna open the MTV VMAs in 1989 with Express Yourself. That was the moment that my relationship with Madonna changed. If you'd asked me then why I liked it so much, I think I would've said that I just liked the choreography. But watching it on YouTube today, it occurs to me that there may have been a lot more happening for me at the time. Madonna's wannabes were all around me in high school (class of '86) and, while I thought some of her songs were catchy, I didn't quite understand her popularity. She was girly in a way that I couldn't relate to and frankly looked down on. (Hello, internalized misogyny!) But in Express Yourself, the sexy-baby voice from the Like a Virgin era is replaced with a deeper, more grounded sound and on the VMAs, instead of a lacy bridal gown, she and her backup singers wear suits over bustiers, still feminine but with a touch of masculine swagger. The thing that strikes me most of all today about the 1989 VMA performance is that every single aspect is exquisitely designed, rehearsed, and executed. It is very clear to me how high Madonna's standards were and how much she must have demanded from everyone on her staff in order to achieve such perfection. I think now that part of what appealed to young me, without my really being aware of it, was seeing a woman having that kind of vision, agency, and unapologetic power. So, thirty odd years later, I have mad respect and admiration for Madonna as a woman, a performer, and an artist at every single stage of her career. I don't know that Like a Prayer is my favorite Madonna album but it's got a special place in my heart with its elevated (but still catchy) pop next to some deeply revealing material and an appearance from Prince. These are some great songs that changed the trajectory of popular music and music videos.

A spectacular album that hits me right in the nostalgia bone.

Other than Fever, I didn't recognize a single song on this album. Really enjoyed getting to listen to a bunch of brand-new-to-me Elvis songs.

This is adorably creepy and misanthropically cute. The comparison to a David Lynch movie is apt with darkness behind white picket fences --- Susan's House in fact sounds a lot like A Real Indication from the Fire Walk with Me soundtrack. This Could Be Your Lucky Day (sounds nice!)...In Hell (uh oh!). I truly love Novocaine for the Soul, My Beloved Monster, and Spunky (a cat named lola with a violent past is balled-up asleep 'cross her knees). There are a handful of songs that are a bit of a wash for me but I like the general feel.

Funk and rhythm kept me groovin' all day. Loved it.

A beautiful but dangerous circus run by ghosts of soldiers with broken hearts. Lovely lovely lovely.

Poetic and soothing. Really beautiful. I am grateful.

I'd never heard of Elbow, which is either the best band name or the worst. Can't decide. But what a wonderful surprise! I was hooked by the second track (The Bones of You). Many other favorites, including Mirrorball, Grounds for Divorce, Weather to Fly, The Loneliness of a Tower Crane Driver, and of course One Day Like This.

Zipped through this four times today. Fun!

I had this on cassette, I think. It was super fun to listen again after so many years and hear timeless lyrics like, "Even the Tipper thinks I'm all right." Super. Fun.

Boy, CCR sure knows how to start a song. Even songs that aren't my favorite, I hear the beginning and think, "Aw, yeah!" (e.g. Up Around the Bend). Most of the time, though, they follow through with a great song and exquisite guitar work. Part blues, part country, all bayou, and all rock-n-roll.

Pleasant contemporary country-slash-pop. Blended into the background a bit but was always nice enough when I turned my focus back to it.

Look, I try really hard not to think of anyone's music as dumb but I failed at that today. There's just so much noodly organ+percussion paired with a meandering narrative about an armadillo tank and a fucking manticore that I can take, OK? Capital N. Capital O. Capital THANKS.

It starts with a charming, "Ladies and Gentlemen. How do?" And then we quickly get all the volume and speed I expect from British punk rockers but with lots of unexpected and delightful moments throughout. Tuneful melodies are discernible from one song to the next. I Just Can't Be Happy Today has some incredible drum fills and ironically happy handclaps. Melody Lee starts with a piano introduction that could easily have come from an Elton John track. These Hands is one of those scary circus calliope deals. Lots of fun variety that is more than just Noise, Noise, Noise. Loved it!

I'm pretty sure I've heard this whole album before but certainly not for a couple of decades. I didn't recognize more than a handful of the song titles and was familiar enough with the first couple of tracks. I love the full, bass-forward sound and the shouty singing that seems very 90s to me now. Oh, yeah, here's Breaking the Girl. That's nice and different. Then a bunch of songs. Then Give It Away, which is fantastic. Eventually Under the Bridge plays and that's ok, especially the key change and, surprisingly, the bridge. And then...there are like six more songs. None of which seem all that necessary. I was really ready for it to be over. Really ready.

Really wonderful. She's so good.

Hoots and boops, moans and growls, mewling and heavy breathing. Unlike anything else. Björk!

Obvious in its influence, this record's got some great classic tunes. Holly's guitar chops are on full display. Some of the lyrics are pretty insipid but perhaps that's an indication of the time or the songwriter's tender age.

I like it! Good background music. I'm afraid it won't be overly memorable, though. Even now, I can't keep the name of the band in my head. If you ask me in two weeks if I've ever heard of Death in Vegas, I will probably say no.

This album covers a lot of ground. There's occasional horns, occasional banjo, occasional fiddle. Sometimes they sound like The Rolling Stones, sometimes The Grateful Dead, sometimes ... someone I can't quite put my finger on. (Maybe Bright Eyes? Mountain Goats? Silver Jews? Let me know if you figure out who I'm thinking of...) I blanched at first when I saw the 77-minute length --- sometimes that's just too much --- but the variety of styles kept things interesting. I think any fan of rock music would find something to like on this record, and I can't find anything to dislike. It's really good.

The title track is a stupendous way to open an album (or a movie or breakfast or just about anything). It's one of my favorites ever. Beyond that, I loved the David Bowie-ness of this album. It made for a much more pleasant experience than I expected based on the little else I knew of Iggy Pop.

Slurpees rhymes with herpes. The music was fine and they seemed to be having fun but I was cringing at a lot of lyrics so I didn't have a good time.

Sophisticated and stunning. A remarkable swan song.

I've heard of The The but never listened. They're more interesting lyrically than musically. I think I would've liked them a lot in college but today I am underwhelmed.

This was ok. Every once in a while, an instrument or a lyric would catch my attention but there wasn't much that really grabbed me.

"It's just so LONG" has been my main complaint about some of our albums in the last couple weeks. You know what they say...if the album's too long, you're too damn old, Gramma. I like Ice-T's sound and enjoy the riffs and samples here. But this just went on and on and on. I think I would have enjoyed the 16-track vinyl album more.

This is the third appearance so far by Tom Waits in this project (we're about 25% through). This isn't an album I've listened to before and the first time through, I wondered why this one? He's got so many albums, why choose this one over any others? And what's it adding that the other included albums haven't already given us? It wasn't clear to me at first what made this one different. After two more times through the record, the answers to those questions didn't matter. There's room in my heart for as much Tom Waits as you want to give me.

A lot of fun. Several songs I knew but not in their original form. I was totally groovin'.

Wow. Thank goodness for Grace Slick. Somebody to Love and White Rabbit (two of the greatest songs ever) really elevate this album. The rest is solid 60s rock, some psychedelic, some acoustic folk, some blues.

Really enjoyed this, especially the strong finish with She's Electric, Morning Glory, and Champagne Supernova. Sorry I missed it in the 90s.

Very nice driving blues rock. Didn't know any of the songs but lots of good ones on here. Good good fun.

It is evident from the moment it starts that we are in some very capable and caring musical hands. Listening to Kind of Blue feels like lying in a raft gently rocking on a calm sea. So soothing, so laid back. My soul feels lighter. Each track is its own subtle mood and the shift from one to the next creates a clear arc through the whole piece. Absolute perfection.

I loved the fun party tracks but didn't love so much the earnest serious tracks in the middle. Overall, a good time!

Excellent hip-hop. L Hill's voice is to die for.

I found this very uninteresting.

I have memories of bopping along to this on cassette while driving my mom's car in the summertime, wearing white Keds with no socks. I've definitely always thought of it as pure pop fun. But how great to listen to this with grown-up ears and hear such aggressive musicianship! This band ROCKS! The bass! The drums! These women have SWAGGER! I have a renewed love, admiration, and gratitude for The Go-Go's today.

Three-quarters of an hour of Nick Cave screaming at me. I'm kind of used to it.

There's something about the lead singer's voice that has always rubbed me the wrong way. Maybe he's straining at the high notes? So he gets a little yelly? I found myself dancing to it now and then and I liked it more than I expected it to. So there's that at least.

Super fun. I danced all day.

A nice Happy Days kind of listening experience. Some out-dated gender ideas, etc., but otherwise very, very...nice.

Huh. If you'd asked me yesterday if I'd ever gone through a Bad Company phase, I would've said, no. But as soon as I saw the track listing of this album, I remembered owning this on cassette. And a quick perusal of their album covers made me remember I had at least two others. So, I guess I had a bit of a Bad Co. phase and I forgot! Anyway, this album is great! When I think of Classic Rock, this is exactly what I'm thinking. While I love just about every song on here, my two favorites are the gentle ballads Don't Let Me Down and Seagull. It's so great to hear them again! Thanks so much for jogging my memory, 1001!

Wonderful, wonderful. One of my favorites. Simple, soothing. I wish I still had a beanbag chair to sit in while I listen.

Beautiful and mesmerizing. Each time it ended, I just wanted it to start over again. That happened four times.

Not my usual fare but very enjoyable.

Really enjoyed the first two and a few of tracks near the end but got a bit bored in between. I like his smooth sound.

With delectable harmonies and a groovy 60s sound, this one really got to me. I knew I loved California Dreamin' and Monday, Monday. But I had 6 or 7 other favorites by my third listen. The vocals on The "In" Crowd give me chills on chills on chills. Excellent!

This was ok but I felt like the songs lacked variety and energy. Far from my favorite REM.

I love me some Sinatra, so smooth and charismatic. This album definitely set a mood. It wasn't precisely the mood I was in today but I could see enjoying it more under different circumstances.

Hard-hitting but melodic, this is another album that I think younger me would have really loved. I like it now but it has a ... not juvenile, that seems pejorative, and that's definitely not what I'm going for ... but maybe youthful(?) feel to it that doesn't hold the same appeal as it would have a couple or so decades ago. Still, high marks!

Delightfully uplifting. Super smooth. A great accompaniment to the day.

There's something about this album that I find very comforting. Maybe it's the simplicity of the lyrics where it seems that all there is to life is love and heartbreak. (Maybe that is all there is...) Maybe it's the resonance of the deep voice singing back-up that reminds me of my dad singing hymns next to me in church. It just feels restful and good.

The Doors have such a great and unique sound and this album has some of their best songs.

Complicated, funny, intimate, weird. I love it.

Mmm-hmmm. This album gave me deep deep feelings and left me with few words. This is one of the special ones.

I like this one about as much as I liked their "Fuzzy Logic" a few months ago. This one seems a bit more serious but I can hear the influence of decades of pop music behind them. I don't know that I could pick one of their songs out of a musical line-up but I enjoy listening to them.

I didn't hear much that I didn't expect from T. Rex. I love Jeepster even though I don't know what it means exactly.

Yeah, this is what Elvis Costello sounds like. It's 1978 but not the 1978 that I lived through. I've always wanted to like this album since it seems like all the cool kids do and I was hopeful today that maybe I'd find what I'd been missing. But I didn't. I liked "Brutal Youth" better and that's probably why I'm not a cool kid.

Lush, beautiful, and (and I don't use this term lightly) romantic. Excellent songs and a gorgeous voice. A-plus!

Perfect.

Sailing smoothly from big band horns to jazzy sax and piano to lush orchestral strings, The Genius of Ray Charles is one glorious ride.

Glad to have listened to New York Dolls so that I can say I have.

This was a great soundtrack to cleaning the bathroom today. Super fun.

I was under the impression that I did not particularly care for Mariah Carey's music. I was so wrong! I really dig this album. Outstanding.

I knew I was going to love it and I did.