I never really understood the hype surrounding Beyonce, sure she has a good voice, but I tend to think her massive appeal and commercial success is more attributed to Beyonce the "product", rather than just the music. I'm always suspicious when you hear about an artist's personal life just as much as their music. I hadn't listened to her music more than what I've been force-fed on the radio and music videos and she is what she is. A above-average singer, with an above average hype machine behind her = the greatest singer of her generation...yeah, right.

When I first heard Bossanova when it was released in 1990, I deemed it a disappointment. This album followed the Pixies "best" records, Surfer Rosa and Doolittle, so it was a tough act to follow and though the opening track instrumental sucked me in, I lost interest in the rest of the album. Fast forward to now and listening with fresher (older) ears, I listened To Bossanova, the whole way through, back to back and have to now reconsider my original opinion. The records good, it engaged me and is much better than I remember and it's better than anything else the Pixies released after. If you don't compare it to the previous albums, on it's own it's a solid album. Thanks album generator for letting me re-discover this underrated near-classic!

I really don't care about what the Christian right or what homeland security thinks about Marilyn Manson's "music", the bottom line is it sucks! You can pile on as much anti-Christ bullshit, vile and hateful devil crap you want, but it doesn't make it more listenable. In fact, I found it at times unlistenable, stupid and annoying. If this is so-called "shock" rock, give me Alice Cooper, at least he had a sense of humor. Don't support this sick, creepy loser!

Personally, I consider this album to be the Bob Dylan's, magnum opus. Blonde On Blonde is one of the greatest double albums of all time, right up there with Exile On Main St., The White Album and The Wall. Essential!

The first Beatles album I bought was the "Blue" record (1967-1970), this along with it's companion ("Red" 1962-1966) are the perfect entry level compilation records to introduce new Beatles fans to most of their hits. To really give you an idea of the range of the band's music, you must seek out most of their studio albums which are very good to brilliant, as sometimes it's the deeper cuts that deserve some attention. I've owned a copy of Abbey Road since the late-70's and it still gets plays on my turntable. Since I've heard the popular tracks so much (Come Together, Something, Here Comes The Sun), I have been known to skip those tracks for the rest of the record. It's these "secondary" tracks that give Abbey Road so much depth in quality. In fact, this has probably the best side 2 of any record I've heard highlighted by the medley that concludes the album. So good! Undoubtedly, this is the Beatles masterpiece!

Seems appropriate that my first album would be by a performer from my hometown. I know he wasn't born in Winnipeg, but he spent his important early formative there. In many ways, Rust Never Sleeps is the quintessential NY record, with one side an acoustic solo set and side two an electric set with his band Crazy Horse, a classic live album. Though not my favourite Neil Young album, this is always a very satisfying listen. I personally like live albums (he's released several) so this ranks high, especially in the Neil Young catalog.

My first listen to Badly Drawn Boy and I must admit I was impressed! The Hour of Bewilderbeast is an interesting listen, with a varied range of influences and styles with a lush, full sound that will lead me to seek out more from BDB in the near future.

Beautifully crafted pop album that is hard to categorize or describe. I listened a third time to fully appreciate the exquisite depth of the record. Excellent album!

I wasn't familiar with the artist or the album, but I have been casually listening to some Brazilian music recently. Nice grooves and an infectious rhythm that is very easy to listen to. Thanks for the suggestion!

I haven't been a fan of the Black Keys, but of what I've heard they sound fine. With the absence of authentic rock' n 'roll in much of today's popular music, the Black Keys are a breath of fresh air. Though their music isn't exactly original, they play with a passion and a spirit that is a throwback to when rock dominated radio. Brothers is a solid record that grows on you with repeated listening. 3.5/5

When I first heard Beck, I thought this acoustic guitar-playing skinny white "loser" wouldn't amount to much. He had a hit and I didn't care for his music at the time. Boy, was I wrong! He has created an incredible catalog of critically acclaimed albums, it's music in a wide range of genres and his influence on popular music can't be denied. He has released some flat-out great records and Odelay might be his best! I reserve my judgement until I listen to all his albums.

First of all, I can't believe I listened to a whole Metallica album! Though there are some fine songs on this album and I can understand the appeal of the band to their fans, I wished it would ended sooner as it became quite monotonous and repetitious. They take themselves far too seriously and for a band (more specifically, Lars) that tried to shut down Napster and file sharing, lighten up! Blah!

I admit, I had never heard of Jane Weaver until now. I've never really been into electronica or ambient dream-pop, so for my first listen I didn't care for it. I took a second (more focused) listen (late in the evening) and it paid off. The use of synths and other sounds has a trance-like quality that envelopes you with music full of depth and atmosphere. I didn't think I'd like it, but I'm pleased this album was suggested. I recommend it!

I have gone over 40 years without hearing an Adam & The Ants or Adam Ant album. They didn't receive as much of a following on this side of the pond and I never had to desire to listen to band that dressed as pirates or wore warpaint like American Indians. Admittedly, I've probably seen some Adam Ant videos which didn't help. This was the second album from Adam & the Ants and when I actually listened I didn't dislike it. It was infectious and it had some of that punk, new wave edge the band's sound had before Adam went solo. Much better than I expected, but still not a fan.

An essential proto-punk classic from The Dictators, Go Girl Crazy, has all the hallmarks of great album. Loud, fast and funny as hell, the Dictators definitely don't take themselves too seriously. Often overlooked, this album was very influential and provided a blueprint for many punk bands that followed. Highly recommended, but not for everyone's tastes.

Haven't listened to a lot of Leonard Cohen despite the fact the man is a national treasure in my country. The sound is sparse and has shades of early Dylan, but his vocal delivery is unique and his songs express more emotion. The album isn't essential, but the previous record, Songs of Leonard Cohen, his debut is. By comparison, Room is a letdown, but still a solid album. 3.5/5

An excellent debut album from the Stooges, who burn out of the gate with two rocking classics in 1969 and I Wanna Be Your Dog! The momentum and energy slows right down with We Will Fall, which times out for a third of the album, but fortunately the rest of the record redeems itself. Otherwise, this would be 5 stars, plus the next two albums are even better!

Often, based on the band name I have avoided listening to them because I have a preconceived idea what the music will sound like. Depeche Mode, a perfect example! They sound just as I imagined, end of review...actually, I understand why they are popular. The music is infectious and quite dance-able and I don't hate the music, but I will probably avoid it in the future.

I haven't really been much of a fan of U2 since they broke through to the mainstream and became THE biggest deal worldwide. The band is fine, but I don't care much for Bono, much like Sting, who I feel they believe they are much bigger than their bands, though I know this is true. Despite what my opinion about Bono is, the album, All That You Can't Leave Behind is a surprisingly "back to basics" type of record. Though this album is over 20 years old, I've never listened to it from start to finish and I admit it's very listenable and solid throughout. I'll contribute that to a total band effort! Hope that doesn't hurt your ego too much Bono.

Remember pre-recorded cassettes? I thought they were the greatest thing, you can play them in the car, stroll around with your walkman and it could jam a whole double album on one tape! The problem with these tapes is they were the cheapest of cheap quality. The tape was thin and the longer the time on the tape, the more stretched out and worn the tape got. It eventually will tighten, cease and stop....end! A better option is to buy the vinyl, dub it to a good quality cassette (Maxell, TDK), then you have a home copy and a portable copy. Regrets that I bought the pre-recorded cassette of Double Nickels On the Dime instead of the vinyl in the mid-80's at a record store in the states. An excellent record, probably one of the best double LP's from the 80's that made people realize, punk or post-punk or college rock really was better than the shit that was on the radio! It really was one of those "game changing" records, at least to me. Labels like SST put out some great albums! A classic, highly recommended!!

The cool thing about this 1001 album generator is that it challenges me to listen to music I would otherwise avoid. Funk's not really my thing, so I haven't been exposed to much funk, but I heard that Funkadelic is a great place to start. I'm glad I listened, it was a head-bobbing, FUNky listen alright and this will lead me to sample more from Funkadelic. Really...Thanks generator!

Didn't think I would like this band and I'm not sure if I do, but this album was better than I expected. I'm not one to enjoy electric drums or dreamy synth pop, the songs were easy to listen to and kept me engaged, but are they memorable? Time will tell.

Never understood the appeal to Def Leppard. Sure, their music was popular during it's first wave when I was a youth, but I never got into them because I couldn't stand this brand of mainstream, radio-friendly, light-weight wannabee hair metal. There are guys around my age that still listen to DF because it reminds them of their youth and they can't "relate" to newer music. This is almost 35 years ago! Move on, there's lots of way better music in the three and a half decades that followed.

British folk mixed with a medieval, Renaissance sound that is both interesting and beautiful, at times. Not my type of music, but I can see it would be appropriate for certain situations or if in the proper mood. Not unpleasant.

I would die happy if I never had to listen to this album again! For many (definitely NOT me!), this is a defining album from the 80's. If you had to buy one Bon Jovi record, this is the one with the hits that are on constant rotation on "classic rock" radio stations that still play the crap out of this record. Besides the middle-age woman that still believe Jon Bon's hair is magical and karaoke singers that think they're cool drunkenly shouting, Living On A Prayer, who else still listens to this schlock? What's wrong with people? Expand your tastes, there are so many, many, many better albums and bands from the 80's!

I'm not a big fan of the Beach Boys, so before listening to this I didn't know what to expect. I was pleasantly surprised of the depth and the high level of songwriting for this low-key, non-Beach Boys sounding album. Proof that Brian Wilson wasn't the only musical talent in the family and I would prefer to listen to this over most Beach Boys records!

I've been getting into "older person" music more recently (because I am becoming an old person) and I wanted to see what all the fuss was about. Maybe a little much in the horns and strings department, but this seems to be the norm in the day, and I'm actually getting use to it and enjoy it. Anyways, a classic record from old Ray!

Back in high school, I attended a concert that featured the smashing of disco records during the height of the disco's popularity in the late 70's. The local rock radio station sponsored the event, which in turn was giving advertising hype for one of their DJ's band that had a "hit" on the station called, Disco's In the Garbage. Us, impressionable teenagers cheered on the spectacle believing our Cheap Trick, Van Halen, Boston, Foreigner tastes were far superior to any disco music because...disco sucks! Embarrassingly looking back and listening with fresh ears now, disco still does suck, but not as much. I understand the appeal and it is very danceable, not doubt, but I can't dance and the music on it's own is just a slicker soul/funk. I'll give this album a couple of stars mainly because this is a more authentic experience than say...the Bee Gees, Andy Gibb or anyone on the Saturday Night Fever album.

I can't say I know a lot about Prog rock, but a quick scan through my record collection reveals I have more than I remember. I only own two Yes albums and both of them I would consider essential, but this is my first listen to Closer To The Edge start to finish. The first thing I noticed is that there are only 3 songs on the original record and the opener, the title track spans over the full side one. Their follow-up album, Tales From Topographic Oceans was a double album with 4 songs, one per side (yikes!). The songs are actually songs within the songs and there is lots going on and in the hands of other less competent musicians this could have been challenging, instead my tastes have evolved and it was not boring and was an enjoyable listen. I will say, yes to exploring other Yes albums in the future.

So much energy! This record speeds by quickly and it's such a shame the band only released one album during their heyday. Every song reminds me of other songs that came later, which shows how important and influential this record was when it was released. An Essential listen for fans of female-fronted bands of all genres!

This is the album that elevated S & G from just a folk singing duo to something more special. Apart form the timeless classics, Homeward Bound and Scarborough Fair, the songs on rest of the album, though sometimes dated, are interesting and more engaging than I anticipated. Their follow-up albums would become masterpieces, but this is a good place to start.

Some white British blues performing blues standards. Some quality playing from Mayall, Clapton, McVie and Flint, but I don't think it lives up to the hype about how influential and important this album is. It's a fine recording, but I wouldn't deem it essential, though that is debatable.

PJ Harvey is one those artists that has been on my radar, as I know a lot of people that think she's great and a very talented artist, but I've actually never have listened to her. My first impression is that I like the songs and enjoy their sound, but it didn't give me that feeling that it was anything beyond a solid album. I was expecting maybe something more edgy or unique that would stand out above other similar artists from the 90's. This record is critically acclaimed and according to many critics it's her best album, so I'll give it more listens and while I'm at it explore her earlier catalogue which to me looks more interesting.

Finally, an album I own! Steely Dan released some pretty fantastic albums in the 70's and all of them are worth seeking out! At least two of their records, Can't Buy A Thrill and Pretzel Logic I would consider "must hear" and the greatest hits album will fill in the rest. When I was in school when they were at the height of their career, I didn't understand the appeal, but I'm older and wiser now and to me their music exemplifies the best of the mid-70's. Highly recommended!

If you enjoy rapid machine gun drums, throbbing baselines, roaring vocals and endless repetition on every song, then you would love this album! I'll give it +4 because this might be as good as it gets for this genre of music. Then I'll subtract -3 because I don't like this genre, but add +1 because it has balls and it's not the worst thing I've heard here. (I'm talking to you Def Leopard!)

When I was growing up, hearing these songs on the radio are my first memory of Stevie Wonder. I didn't pay much attention at the time and in the mid-80's in his, "I just Called To Say I Loved You" popularity phase, it was hard to ignore (but I did!) because his music was everywhere! Looking back now, the music from the seventies, his "classic" period, really wasn't that bad. Songs In The Key Of Life is critically acclaimed and award winning, the songs are fine and there was some joy to be had listening to this album. Which I guess means I kinda liked it...

I would regard this as one of the best albums from the Rolling Stones, probably in my top 3, at least. A sprawling double-album, Exile allows the Stones to explore different music different styles and it highlights the band at it's career height, both creatively and musically. This has to be considered one of the greatest double albums of all time, leading off with the highly underrated, Rocks Off and continues to amaze until the end of side 4. Must hear!

When I first heard Bossanova when it was released in 1990, I deemed it a disappointment. This album followed the Pixies "best" records, Surfer Rosa and Doolittle, so it was a tough act to follow and though the opening track instrumental sucked me in, I lost interest in the rest of the album. Fast forward to now and listening with fresher (older) ears, I listened To Bossanova, the whole way through, back to back and have to now reconsider my original opinion. The records good, it engaged me and is much better than I remember and it's better than anything else the Pixies released after. If you don't compare it to the previous albums, on it's own it's a solid album. Thanks album generator for letting me re-discover this underrated near-classic!

I would consider this David Bowie's career-defining masterpiece. When I think of the different phases and musical styles of Bowie's career, I keep coming back to the trio of albums, Hunky Dory, Ziggy and Aladdin Sane recorded with his outstanding band, The Spiders From Mars. All these records are essential and Ziggy is up there with the classic albums of the 70's.

After the previous classic rock posts, this one came as a surprise. I had not heard the Penguin Cafe Orchestra so this was a first time listen. At times, the music was fresh and uplifting and this sometimes came across as a experimental orchestral soundtrack score. I can't say I disliked it and actually it's very pleasant background music, but as a "must hear", I'm not so sure.

I really don't care about what the Christian right or what homeland security thinks about Marilyn Manson's "music", the bottom line is it sucks! You can pile on as much anti-Christ bullshit, vile and hateful devil crap you want, but it doesn't make it more listenable. In fact, I found it at times unlistenable, stupid and annoying. If this is so-called "shock" rock, give me Alice Cooper, at least he had a sense of humor. Don't support this sick, creepy loser!

A live album with Metallica and a symphony orchestra? Is this a joke? Heavy metal with symphonic orchestration sounds crazy, but actually it's not bad and even with my distaste in Metallica I listened to the whole (a bit too long) concert. The music from the San Francisco Symphony sounds like a James Bond soundtrack, which isn't a bad thing.

Neil Young recorded some great, good, decent, weird and horrible records during his career and On The Beach stands among his best. I never fully appreciated this album until more recently because I previously didn't gave it a full listen. There's no doubt his finest decade was the 70's, when he recorded and released his most classic records. This album is a low-key release from this era, without much commercial fanfare, but the depth and strength of the songwriting is undeniable.

A refreshingly raw sounding album for The Fall's debut. I didn't know what to expect as I haven't listened to much from The Fall, and it was a pleasant surprise. A good punk record. I quite liked it, not loved, but I'll listen to more from the band!

Glad I took the time to listen to this album. Had no idea what Doves would sound like and I was impressed. Solid indie-Brit pop with some fine songs and not really any bad ones, which is a good thing!

Say what you want about Rod Stewart's career, but he in fact was a great blues and rock vocalist with the Jeff Beck Group and when he and Ron Wood left to join some ex-Small Faces to form the Faces. This was Stewart and Wood at their best (I prefer Wood's guitar work with the Faces than with the Stones) and A Nod Is As Good...was a high point for the band. The band was drunken and sloppy live, but their studio albums were classic records. Wood's guitar work is exceptional on Nod and Stewart never sounded better. The same band would also record on Stewart's early albums, so in reality the Faces produced a lot of great, memorable albums.

Not really a fan of musicians interpreting music genres that are not their usual forte and in this case Ray Charles' modern take of country and western. Don't get me wrong, he doesn't put on a cowboy hat and strum an acoustic guitar, instead it gets the grandiose treatment with horns and strings. At times, it's a bit overdone and hard to listen to after a while, but overall his treatment of the songs and his performance makes it a worthwhile listen.

I've been slowly gaining an appreciation for jazz and I'm very happy this album was on the list of 1001 albums because I hadn't heard it before. Live improvised piano piece isn't something my younger self would have tolerated, so I listened with a open mind and open ears. A wonderful way to spend an hour or so, though it was background music while I was painting (art, not walls). It was a perfect mood for creating. Enjoyable listen!

If I judged this record by the album cover photo alone, I would had given this a hard pass! It was produced by a couple ex-Mott the Hooples (NOT Ian Hunter or Mick Ronson), so it slightly has their sound, as well as maybe the NY Dolls and some riffs from the Dictators, though not done nearly as good as those bands. Parody at best, I expected worse, but they can still go back to mystery city, please.

Never really cared for Simple Minds back in the day and listening to this now doesn't change my opinion. Nothing for me here as their music has always been meh. Let's move on...

Personally, I consider this album to be the Bob Dylan's, magnum opus. Blonde On Blonde is one of the greatest double albums of all time, right up there with Exile On Main St., The White Album and The Wall. Essential!

I'm not usually a fan of Christmas records, though the Ventures and Los Straitjackets do a smash-up job with their instro-versions. That being said, I was skeptical and though some of the songs are a little too sappy for my taste, there are some great songs on here. A bonus star for the spoken-work message to end the record from producer/convicted murderer, Phil "the kill" Spector. Boy, have times changed!

Not a fan, but it wasn't as bad as I expected. The instrumentals were fine, so the less vocals the better. The sound was rawer than I expected, more of a punk feel, which is a good thing.

Never heard of this before, so i didn't know what to expect. Enjoyed it!

An epic album, at least in length, but really highlights Cave's strengths as a songwriter and performer. Bowie-esque in parts, but still a distinct and unique sound.

Though Mudhoney has never lived up to the hype of their first Sub Pop singles, they have carved out a rather successful career. Their early grunge work is what I remember best of Mudhoney and EGBDF might be their best album. A solid record in any era!

Despite bands such as Nirvana and Green Day, Pavement was one of the most important bands from the 90's. Crooked Rain is my favourite Pavement album and it confirms that Stephen Malkmus is one of the best songwriters of his generation. A classic record, definitely a must hear!

I'm a novice for jazz, but this one is a no-brainer as far as classic jazz records. Haven't listened to a lot of Miles, but with the help of music streaming services, this will change. A nice way to spend an hour in the afternoon!

Another band that's been under my radar and they sound kinda like what I expected. Nothing special, but an enjoyable listen and I should listen to more of their stuff.

I divide up R.E.M.'s career in 3 eras, the I.R.S indie-ish albums, the mainstream (MTV) fame years and the after-fame albums. Automatic is smack dab in the middle of the peak fame years. I started to lose interest in the band after Document, but you can't deny the band produced some great records. This one has some well known hits, but I still prefer the days of Reckoning and Life's Rich Pageant.

I'm generally not a fan of country music, but I don't mind some older country from the 50's and 60's. On this Buck Owens record, you can hear how influential this music was to aspiring musicians at the time. The tunes are fun and even I can listen to some hillbilly music sometimes.

When the album first came out, radio was inundated with so much airplay for Tears For Fears I hated this record. Overexposure on radio and music video does translate to huge record sales, but it also pisses off music fans that know there is lots of other music that should be heard. Listening now, the music does have a nostalgic effect, but I am quick to wake up and put on my turntable much better music from the period that gives me a good feeling instead of a feeling of being stuck in an era and decade that produced a lot of crap!

Don't listen to a lot of electronic music, so it's hard for me to judge. Sounds fine to me!

XTC released a lot of memorable records in the 80's and Skylarking might be their masterpiece. It's a lush sounding album that highlights the band at their height of creativity. Not a record full of hits, it's a consistent, solid album that flows beautifully and Dear God is one the most interesting (and greatest) songs the band has ever produced!

Another performer and album I'm not familiar with. That being said, it was an enjoyable listen, though I didn't love it. I really should expand my musical range and listen to more of this genre, then I might appreciate it more.

Some of my most annoying earworms from the 80's were courtesy of George Michael. Faith, I Want Your Sex and anything from his former band, Wham! and the accompanying videos, I couldn't stand! I must admit when I listened to Listen Without Prejudice in 2022, it was a more sympathetic listen as the songs and vibe are a little more sombre and toned down than his previous hit record. The song Freedom! 90 may evoke a different emotion for me now than when it released over 30 years ago. The record isn't awful and listening without prejudice to the whole thing gives me perhaps a slightly different perspective on the man instead of just a "pop star".

The Slider features the icon cover photo taken by (supposedly?) Ringo Starr, is the follow-up album to T-Rex's classic, Electric Warrior. Musically, this feels like a sequel, with a similar sound to Warrior. The songs are accessible and enjoyable, but a feel it's a slight step back quality-wise. Still a great album, well worth seeking out! It's funny, I had this on the turntable last week, so it was fresh on my mind.

As a big fan of live concert recording, you can't deny the importance and significance of this live concert from Dylan. Musically, the first disc is Bob, solo acoustic and the second disc features Dylan electric with the band with songs from his previous releases. What a performance! In my opinion, this is Dylan at his best and I'm sure glad this show was recorded! Thank you bootleggers!

There were basically two stages to Queen's career. The early British hard rocking band of their first three albums, then after Night At the Opera, the mainstream radio friendly hit machine. I must admit, I love Opera, it's an all-time classic and what precedes it gave us hints of what was to come. The band was always a strong vocal band, but they also rocked hard, especially on Queen II with a touches of prog and art rock. They were starting to develop their sound and though there were no "hits", most of the songs were solid. Fans of their later work will not like this.

I don't have many regrets as far as choices I've made for my music collection (LPs, CDs, tapes etc.). One regret I do have is trading my Beastie Boys cassette of Paul's Boutique for a Mick Jagger (?) CD. What was I thinking?! At the time, I wasn't a fan of rap (still not really a fan), but what I was missing out was an important piece of music from the still relevant BB's that many consider an essential listen. This is the first time I listened all the way through and it was very enjoyable. Some of my music tastes have changed, (or evolved?) and I'm more open now to more styles of music. Thankfully with music streaming sites I don't have to re-buy the tape for another listen.

I never really understood the hype surrounding Beyonce, sure she has a good voice, but I tend to think her massive appeal and commercial success is more attributed to Beyonce the "product", rather than just the music. I'm always suspicious when you hear about an artist's personal life just as much as their music. I hadn't listened to her music more than what I've been force-fed on the radio and music videos and she is what she is. A above-average singer, with an above average hype machine behind her = the greatest singer of her generation...yeah, right.

A very important album released when punk and New Wave were on it's verge, contrasted by the threat of disco taking over the airwaves. The Talking Heads, lead by David Byrne emerged from the New York city punk scene playing the dingy clubs such as, CBGB's and Max's that formed a music community of talented and previously unheard artists. The beauty of the first Talking Heads album is it's simplicity, the sound and songs were straight forward, they were unique though, especially Byrne's jittery vocal style and angular guitar sound and Byrne's guitar playing is highly underrated! Though the Heads gained more commercial success as the band's sound expanded into other genre's, Talking Heads 77 will always be considered a landmark record!

Can't decide if this album is Eminem's justification of being a douche bag or more proof that he is. It's so over the top offensive on so many levels it borders on an attempt at comedy or parody and clearly, Eminem is trying way too hard to be taken seriously. I feel justified for dismissing him for all these years because it is as horrible as I thought it would be.

For many years before the Bee Gees hit it big with the Saturday Night Fever soundtrack and became huge disco stars, the Bee Gees had a full career already in the 60's and early 70's. I admit I own a couple pre-SNF albums and they're pretty good. Keep the image of the Gibbs in tight pants out of your mind when you listen to Trafalgar and you'll be fine. The album has it's moments, but some of the songs are rather dull. All and all, a decent album which is typical for their "early works".

The first Beatles album I bought was the "Blue" record (1967-1970), this along with it's companion ("Red" 1962-1966) are the perfect entry level compilation records to introduce new Beatles fans to most of their hits. To really give you an idea of the range of the band's music, you must seek out most of their studio albums which are very good to brilliant, as sometimes it's the deeper cuts that deserve some attention. I've owned a copy of Abbey Road since the late-70's and it still gets plays on my turntable. Since I've heard the popular tracks so much (Come Together, Something, Here Comes The Sun), I have been known to skip those tracks for the rest of the record. It's these "secondary" tracks that give Abbey Road so much depth in quality. In fact, this has probably the best side 2 of any record I've heard highlighted by the medley that concludes the album. So good! Undoubtedly, this is the Beatles masterpiece!

Not really a James Brown fan, but you can't deny the legacy of the man and the energy of this album. Some performers thrive with live performances and clearly with this and other Apollo live recordings, he is at the top of his game in front of a live audience. He truly is the hardest working man in show biz!

Good solid album. I had never heard of Kiwanuka before and his sound is a refreshing change from the usual. Curious to hear more.

When this album originally hit the airwaves I was so narrowly focused on rock, some mainstream, some not, but especially trying to avoid anything that wasn't rock on the radio. I have since expanded my musical palate and can appreciate this genre of smooth jazz that has a time and place. I always think of smooth jazz as a "pop"-gateway towards "real" jazz that introduces the masses to how potentially commercial this music can be. For me Sade was my introduction to smooth jazz and listening now I can't say I don't like it. Again, it has a time and place and if you want to create a mood of romance and serenity, Diamond Life is definitely your record. Oh, and Valentines is coming up so cue up your Sade albums. Smooth operator, indeed.

Buffalo Springfield was most notable for helping launch Neil Young's career. Buffalo Springfield Again is without doubt a very good album, though Young's contributions were kind of minimal with two of his tracks recorded solo, but it does contain one of Young's great tracks, Mr. Soul. To not take away the contribution of the other members of the band, the record suffers from inconsistency and wasn't quite as great as I remember. That being said, this is an important piece of 60's rock history that is the beginnings of something greater (CSN&Y and Neil solo), that can't be denied.

Dear Bjork, When this album was released I tried to listen and embrace it, but it just didn't click with me and couldn't get past the sound of your voice. I also tried listening to your previous band, the Sugarcubes and as much as I wanted to like it, I couldn't. I realize your music has put Iceland on the global radar as a hotbed for cultural talent, so I feel I should give your music another try and thanks to this 1001 albums challenge I'm having another listen. Sorry, this still doesn't do anything for me, I'm trying to be open-minded, but I just don't care for it. You deserve the accolades you have received because you are clearly talented and unique and you have a dedicated and passionate fan-base so you are truly doing something special. I promise i will try again in maybe...30 years (or sooner), so thank you for your music. Sincerely yours, TDIT

I was never really been a fan of ELO's synthesized sound and some of the production Jeff Lynne did for other artists, but they produced enough good songs to make me feel nostalgic every time I hear them. Each of their early albums had a few songs worth listening to and definitely Out Of The Blue is the most fulfilling. They had quite a bit of radio play during this time and they were popular enough I felt I didn't need to buy the record (if that makes sense?). The best songs are super catchy and I've heard Mr. Blue Sky more in the past couple of years than ever before. It must have appeared on some movie soundtracks or TV shows or something, anyways it's a great song!

Sometimes when an artist is super popular whether it's a hype job or they genuinely are a talent that everyone should listen to, I tend to avoid it. Too much boy band and too much fabricated "American Idol-like singers out there competing for everyone's attention. After finally listening to the full album of Adele's, 21, I really think she is genuinely a talent worth listening to. Personally, her music doesn't interest me much, but I recognize she deserves the accolades she receives. This isn't something I'd toss on the turntable at random, but if it's on the radio I won't switch stations.

This is one of those albums that evokes a feeling of nostalgia and a time capsule-ness of late 60's hippy/folk-era. The quality of the harmonies are unmistakably perfect and though this contains some classic songs (Monday, Monday, California Dreaming), there could have been more consistency, especially with it's selection of covers. That being said, If You Believe Your Eyes & Ears is the essential release from the Mamas & The Papas and California Dreaming is the perfect song to help warm me up with because the place where I live drops to -30 or colder..."on such a winters day"

Interesting listen, not usually the type of music I listen to, but it kept my attention all the way through. I especially like the instrumentals and the Afro-beats are so infectious and energetic, it brought warmth to my otherwise chilly day! Nice!

Note to self: listen to more Brazilian music! I had not heard this before and I was pleasantly surprised. A relaxing and soothing listen, though a little long, had me longing to listen to other Brazilian artists as well.

This recording has all the attributes of a good solid live album. The recording is clear and upfront, the crowd is engaged, loud and present (not too screamy loud, like a Beatles concert), the vocals are raw and emotional, the songs don't sound exactly like the studio versions, a great setlist and it actually sounds like a live concert. This surprised me because I had only heard the studio versions of Cooke's songs and live they are transported to another level. The raw, raspiness of Cooke's vocals is reminiscent to Rod Stewart's vocal delivery and obviously Stewart was heavily influenced by Cooke. Stewart's cover of Twisting The Night Away is clearly a tribute to Sam Cooke. I love this record, one of the better live concert albums out there, it's crazy it took so long to get a proper release!

Along with Abbey Road and maybe Rubber Soul, I consider Revolver one of my favourite Beatles's albums. There's so much going on with a wide range of styles and an increased contribution from all the members. The Beatle's sound was rapidly evolving and after this album, the band settled into the studio and continued to expand and innovate their sound. This has a few hits (Taxman, Eleanor Rigby and Yellow Sub), but really it's a collection of lower key classics that makes this a very solid listen.

First of all, I dislike Kayne West, the person, his politics, his ego and his whole arrogant persona. Secondly, I dislike his music and I absolutely can't stand any "music" that overuses auto-tune, and for that matter, ANY music that uses auto-tune! Thirdly, I don't hate it as much as I could have, because there are some redeeming qualities to it as his full blown ego hasn't taken over yet. I haven't fully listened to any of his followup records, but they must be worst. Fourthly, anyone married (past or present) to a Kardashian gets minus (-) stars. Fifthly, the guy in the bear suit gets a star for looking how I feel after listening to this album.

On Lang's second solo record, her transformation from a goofy country and western singer with her band, The Reclines to a cabaret-style, crooner pop singer was complete. Gone are the wire glasses and long skirts and colourful dresses to be replaced with a androgynous look with a boyish hair cut and tailored suit jackets. In some ways I preferred her cowpunk phase, but I was never a fan of Lang in either persona. She does have a great voice and she puts it to maximum use on this album which probably contains some of her best known songs. Not really my taste, but it's listenable and she deserves the accolades and awards from this album.

Really enjoyed it! Super catchy and melodic, this is the kind of music that brings a smile to my face. I guess I should listen to more Supergrass!

I'm not usually a fan of country and western, but the Gram Parsons and the Burrito Brothers had a different approach to the genre. While the music has styling of folk and country, they also fused in elements of gospel, soul and rock. The results are heard on this album and were influential to the country-rock genre and alt-country rock bands from the late 80's and 90's. They owe a lot of their influence from this record. Gram Parson proved in his short tragic career that quality over quantity was more important and Gilded Palace is a good starting point when examining Parson's career.

Yo, I can't pretend I understand or can relate to this music, but I don't hate it and I can listen to it. I probably won't again, it's just that it's not my kind of music. Ya know what I'm saying...

Though I thought I would prefer the band's earlier stripped down sound, Remain In Light is a turning point for the band musically. The additional musicians and a wider range of sound gives the band a full sound that shows how the band has grown both creatively and production-wise. Not my favourite Talking Heads record, but perhaps the most interesting.

This is some pretty chill mood music, though one step up from background music. Very listenable.

This has a very lavish sound and feel to it, with nods to the 60's and 70's. I quite like it and it grabs your attention and sucks you in because it's consistent and enjoyable throughout. Well done!

Low-key and was better than I expected. Actually, I didn't know what to expect, I was always curious how the Youngbloods sounded and they are mellowed than I thought they'd be, but it has a nice groove to it. An interesting listen, for sure.

Not a big fan of U2, but if I had to listen to a U2 album this would be the one. Critically acclaimed and loved by fans, it contains many of their best known hits, I didn't feel a need to turn it off.

I feel this is the Who's most enjoyable albums to listen to. The first of many concept records from Townsend and the band and this one particularly works...well almost. Side one is great, mixing in the fake commercials with some top notch songs, this is my favourite side one from the Who. Unfortunately, it loses a bit a stream on side two and never quite flows as well, otherwise this would be 5 stars. The later riff during Rael is heard on the next album (Tommy) and the band's sound is evolving from garage to pop psych. This is the beginning of a great run of Who albums.

Not really my genre of music, but it has an infectious energy that keeps it interesting. There's some good songs on here and is worth exploring more.

Music doesn't do much for me. It was playing, but it didn't capture my attention so I wasn't listening very carefully. I'll give an extra star for the cover artwork which I like, much better than the music on the album.

Electric Warrior has to be considered the quintessential Glam Rock album that was hugely influential to many musicians, especially David Bowie. The band's sound evolved from folk-rock to a more electric rock sound. Get It On (Bang A Gong) is one of those songs you seem to hear everywhere, but the rest of the album is solid with just as many memorable songs on it. Definitely essential to any fan of 70's rock, a classic!

Some good old fashioned rock 'n' roll, the way it was meant to be heard. Raw, charged and full of energy, this was Little Richard at his best!

I actually haven't listened to a lot of Grateful Dead albums, so I didn't know what to expect. This one has several songs I'm familiar with and it has a nice mellow country-rock vibe throughout. I'll probably listen to more albums around this time period because I quite like it, but I'm not interested in becoming a Deadhead anytime soon.

Seems like standard old school rap/hip hop to my untrained rap ear. Nothing really stands out for me, but it doesn't turn me off like some rap does. It's okay...

The summer of 1979 was my first full summer of going to arena-sized rock concerts seeing bands like, Cheap Trick, Supertramp and Van Halen. This was an eye-opening and ear splitting experience that forever secured my love for live concerts. The sheer energy and captive stage presence of Eddie Van Halen and David Lee Roth was mind-melting, at the time and it set my standards pretty high of what a great rock concert should be. Though I can't say I'm still a band of Van Halen, I must admit their first album was very influential on so many levels and it is must be considered one of the great debut records of the 70's. The instrumental, Eruption introduced the world to the guitar wizardry of Eddie Van Halen and if you love guitar, this is essential. Listening to it now (loud), brings back a lot of happy memories, but I'm glad I expanded my music tastes after the first couple Van Halen albums because they became a shell of their former self and self-parody later in their long career. Still, this a must-hear!

Some good songs on this one, but as a whole it didn't grab me and pull me in like I thought it would. A fine document of some late 60's psych-pop-rock and it gets kind of jammy to conclude the record. Nice touch.

Though I don't think this is Springsteen's best record, it was definitely his most popular, best selling and most commercially successful album. The Boss had broken through into the mainstream (if he hadn't already), not just Springsteen fans, but a whole new younger audience that were swayed by the popular music videos they're were for this record. The dance-worthy, Dancing in the Dark, was his biggest hit (there were 7 top ten singles on the album) despite being one of the least-Springsteen-ish sounding songs of his career. A huge tour followed and the American (and world-wide) public couldn't get enough! Apparently, Bruce did because he never released an album afterwards that was anything as accessible and hit-worthy as Born In The U.S.A.

Truly a classic record that introduced the world to Jonathan Richman. This version of the Modern Lovers was much different than Richman's later incarnations of the Modern Lovers, almost a one-off that rocked harder than anything Richman would ever release. Much more of a band-format, this debut album featured future members of the Talking Heads (Jerry Harrison) and the Cars (David Robinson). It's a very influential record and proto-punk classic, it has to be considered one of the great art rock albums!

Though I'm a fan of some New Wave, this veers more towards Techno-pop and feels a bit too pretentious to me. There are some good songs that have a bit of a Roxy Music/Bowie and maybe even Duran Duran vibe to it, so it did grow on me. The cover photo would probably stop me from listening, but I'm glad I took a listen.

She's got an excellent voice and puts it to good use on this album. I'm just not a fan of this style of music, but I'll still listen. Some okay songs, but I have no need to buy this. Thank you streaming sites.

A refreshing listen from music that should be heard. I never got around to listening to this when it was released and it's the type of music I appreciate more now. A very pleasant afternoon spent transcended to Buena Vista. Nice!

This is one of those albums that are so career defining and important, it should be heard by everyone. When I bought this album back in the early 80's or so, I have to admit I didn't take to it right away. It's an intense listen and it's not for everyone, but again it should be heard. It's a "game-changer" in so many ways and changed the way feminism and woman's issues were viewed by mainstream culture and music. Another defining moment in the 70's. Enough babble, have a listen!

Personally, Murmur was one of those life-changing records that shifted the direction of my music tastes. R.E.M.'s sound was refreshing and much needed. Around this time I discovered other like-minded bands, the Replacements, Husker Du, Violent Femmes, etc. ,bands outside mainstream radio (college rock) and this music was the reason the 80's actually had some great music. I'll always have a special place for the first four R.E.M. records (especially the first two) in my collection and all of them are essential listens!

Never been a fan of the Pet Shop Boys and probably never will be. Listening to most of the album is the most I've listened to them in one sitting and though it was fine, couldn't really keep my attention. Some songs had a nice beat to it and could get into it, but most of the music had a sameness and blah appeal for me. Blah...

An enjoyable listen. Nothing really jumps out and the songs are fine, but his vocals are rich and strong and overall a solid record.

A solid sounding record, I enjoy their sound, but nothing really stands out for me. I'm not a big fan, but this has me curious enough to re-visit their earlier albums and re-listen to this one again.

An amazing debut album that introduced us to the incredible PJ Harvey. Her longevity in music has proven this record was no fluke. A raw, rocking album! I haven't heard the demo version of the album yet, but I will for sure now!

I really didn't understand the appeal of Leonard Cohen until i listened to some of his earlier records, which I thought were quite good. Later in his career, he had a bit of an revival and attracted new fans and treated his old fans with new material. This music i have less interest in, unless you're old and/or female, it's not for me. Listenable, but I prefer his back catalog.

When you think of great live albums, Live At Leeds is always in the conversation. Not only did the Who release excellent studio records, they were an amazing live band. I had this on cassette back in the early 80's and it got to many listens, I wore out the tape. I thought at the time, I wish the album was longer and there must have been other songs during the set. After listening to the deluxe edition that contained the whole concert, I take back my earlier concerns. The whole show which was during the "Tommy" era, contained lots of songs from that record, which is fine, but it loses some of it's energy. I can now see why the original Live At Leeds album was edited down, it's so much more powerful and dynamic with the shorter track list and it remains (to me anyways), a landmark live album. (I would give the deluxe edition 4****)

This was the first Dinosaur Jr record I heard so it set the standard high for their subsequent releases and this remains my favourite album of theirs. It's loud, noisy and it hits hard. It's not a perfect record by any stretch, but it came at a time when alternative music was starting to get attention, pre-grunge, pre-Nirvana and it gave me hope that music was more than pretty faces, pretty songs and pretty boring music. I still listen to this album, a lot and if you do, play it loud, loud LOUD!

A really interesting album. Waits does a jazzy, spoken word/talking "live" performance complete with a nightclub atmosphere. Waits is brilliant, funny and very engaging spoken with his trademark gravelly voice. The music is low key and quite good. I really enjoyed it, but it might not hold up to repeated plays and he has better records.

Generally, I'm not a big fan of reggae, sometimes there's too much repetition for my liking, but this album is so old school and straight up reggae, I like it a lot. Easy to groove to, a very pleasurable laid-back listen.

Considering this is the follow-up album to Pink Floyd's masterpiece, Dark Side Of the Moon the expectations were huge with this record. I always felt, Wish You Were Here was the low-key classic, that in many ways is just as good or even better than Dark Side. I heard a lot of this music in my late teens and of course, it still holds up today. I feel I should explore their earlier works to fairly compare all their albums. One of their best regardless and one of the better albums of the 70's, for sure!

Sounds okay, but never would consider this to be "must hear". Easy to listen to and has some fine moments, but really there are other more worthy Brit-Pop band that could make the list. I did enjoy it though.

Definitely in that category of great albums from the 70's, even of all-time on some people's lists. When it was released and dominated the radio waves with it's many hits, I tried to avoid getting caught up in the hype of Fleetwood Mac and didn't buy the album. Listening now, the record brings me waves of nostalgia and some weird fuzzy feeling when you think back to your youth...That being said, it is a classic record, but there are other amazing albums that should receive at least half the attention this one did then and now, during it's recent revived interest.

Nothing wrong with this record, it's listenable, though it doesn't do much for me specifically. There are some good songs on it and I didn't feel the need to turn it off, but there's only so much you can take hearing voice mail messages from someone else's mother.

This has to be considered one of Neil Young's best known and top-selling records. Lots of great songs on here and though I don't regard this his best or my favourite album of Young's, this is a classic. I still prefer his "rocker" albums.

A beautiful sounding record. I've been meaning to discover his music and this was the perfect excuse to listen. I need to hear more from Drake (no, not that Drake!), highly recommended!

A fast-paced, epic record from music icon, Brian Wilson. This concept record's tracks seem to blend into one another, there are some great songs on here, though it's a bit of a jumble at times. Not really a big fan of the Beach Boys, but enjoyed it and glad this finally got a real release!

Didn't know exactly what I was expecting, but it was better than I expected, I actually didn't mind it. Stark, ambient at times, it's not exactly "hit-worthy" music, but there is some substance to it. Okay, but not essential by any means.

Though I don't consider this the Byrd's best album, it's still very significant and has a lot of good songs it. There is however more filler than on previous records and at the time is was overlooked, but it ages well today. The Byrd's are exploring more musical styles, for better or worse, so overall it's a solid record.

Not really my genre, but I didn't mind it. Very pleasant background music, but never engaged me beyond that. Enjoyable!

Don't have much Johnny Cash records, but, At Folsom Prison is my absolute favorite! What can be better than Johnny performing in front of prisoners at a prison with a set of "appeasing the audience" appropriate songs ! Wow, still a classic!

I realize the historical significance of the release of this album and the lasting influence Joan Baez has been since the 60's, but I can't honestly say I enjoy it that much. Her music and her singing is fine, I just need to hear her in small doses.

I didn't realize Bonnie Raitt had released so many records previously, as this is her tenth album, but I knew this her comeback album. Easy to listen to and so many familiar songs I had forgotten about, though kind of generic at the same time. Enjoyable enough, I'll probably listen to more from Bonnie in the near future.

Not a fan of techno or electronica or funk or whatever this genre is, but I can't say I hate it. Okay as background music, but the chances of me digging this up for another listen are slim to none.

Nice to see some indie-rock bands here instead of just older classic rock albums. This record has it moments and there are some good songs here, but overall it didn't capture my attention as much I had hoped. Good effort, so I will listen to more from the band.

The debut and only album recorded when Buddy was alive (which is quite surprising!) is a rock' n ' roll classic! This record pretty much has the essential songs that made Holly a legend, but if you want a wider look at his career (to be), greatest hits packages will cover that. Short and sweet!

When I bought this album when it was first released, I was so anxious to hear it I zoomed home to play it! Unfortunately disappointment, the opening track, So Far Away skipped on the turntable and without listening to the rest, I immediately exchanged it for another...then it happened again...anyways, third time was a charm! The opening three songs were amazing and most of the album as a whole was good, but it started to lose me towards the end. Dire Straits most commercially successful album and their last great record, but in my opinion, not their best. It still brings back memories of happier times of playing records, reading the liner notes, listening with headphones in your parents house and avoiding music videos. :)

A really good record that was easy to listen to and digest. I especially enjoy Hill's contributions and it's always nice to hear a female voice in hip-hop. Though they only released two albums, their influence is undeniable. I'm still not much of a hip-hop, R & B fan, but this was enjoyable.

Couldn't get into it, I tried... The songs are okay, but nothing that stands out as essential or memorable and really I had the urge to switch to something else as I lost interest about halfway through.

I use to like the Chili Peppers, Mother's Milk was pretty good, they were funky, edgy and different than most of the stuff on the radio or MTV and they put on amazing live shows. But something happens when you sell a gazillion copies of a record, chart high on the charts and attract the attention of celebrities and a mainstream following of teenage girls and loser hipsters. They're live shows are probably still a spectacle with the help of a much bigger budget and same with their music, big budget, accessible radio-friendly music so another bazillion people can stream it on Spotify or whatever. Kind of makes me sad...

Up until the release of Face To Face in 1966, the Kinks were primarily known as a hit singles band, but this album would be a turning point. Face To Face was the first of a string of soon-to-be classics the Kink's albums recorded in the late 60's. This too, is the first of Ray Davies vision of concept records that he explores further in the late 60's and 70's. This might be considered one of their "under the radar" masterpieces and ironically this is the only Kinks record I don't have on vinyl in my collection, though I've listened to it many, many times and I would consider this a must-hear! I really need to buy this album!

Pink Floyd closed out the 70's with the epic rock opera, The Wall. This was an extraordinary project that would become their opus magnum, a concept album that would be their last great work. The record has many highlights and is fairly consistent, but like most double albums has some filler. That being said, despite Dark Side Of The Moon being their best selling album, The Wall is their most important.

This is the third PJ Harvey I have rated and I must admit, this one kept my interest the least. The earlier albums were more raw and hungry, while this one never connected with me maybe because it wasn't very interesting or unique. A bit too bland for my taste.

This is considered the quintessential Led Zeppelin album. Not only does it contain one of the best known songs of the 70's, but it's also their most consistent record. It's been a while since I listened to IV in it's entirety and I almost forgot how many classic songs are on here. This should be the starting place to discover Zep, then work your way back (I, II, III) to the beginning, they're all essential!

Clearly, Michael Jackson and his album, Thriller are iconic, it can't be denied, as this album is the best selling album of all-time. 70 million copies have been sold worldwide, so 70 million can't be wrong, can they? I am NOT one of those 70 million, but it seems over my lifetime, I've been forced to listen to songs from this record at least that many times. Just because a record gets endless airplay, music videos have been viewed billions of times, millions of people have seen him live and all those copies of the album were sold doesn't mean it's any good. Not to forget, that glove, that dance, his zoo, the kids...!! I had seen this album in bargain bins more than any other album, so you know people's parents bought this record because it was popular. The next generation that has followed have also been tricked into thinking this is a great piece of music...spoiler alert, it isn't!

On this rainy, cold gloomy day, this a much needed ray of sunshine and warmth! Now, I gotta get up and dance, well maybe. Enjoyable!

This record immediately caught my attention and kept it throughout. An excellent debut with original guitarist, Ward Dotson that's catchy and interesting. Ward went on to a fine career with the Pontiac Brothers and Liquor Giants and he really shines on this album.

I usually have a high tolerance for most hardcore, as some of it has some substance and marginal musicianship to it, but this "grindcore" or extremely metal or whatever Napalm Death's genre is, really tests my patience. I guess this is what nightmares sound like with it's comical dog barks that pass for vocals and the speed and ridiculousness of the songs makes me wonder why I must hear this before I die? If I cranked this up, I'm sure the neighbors would call the cops and I might be induced to go on a killing spree.

After listening to the last post for, Napalm Death, this is a breath of fresh air. Easy to listen to and skilled musicianship made this listen enjoyable.

I had not heard this previously and I haven't listened to much Lizzy besides the "hits", so this was a nice wide range of tracks spread throughout this double LP. They sounded like a great band to see live and this live record brings life and a freshness to the studio tracks. Will listen repeatedly!

A good solid album from those Young Rascals with one of their biggest hits along with some other decent songs. An easy listen, nothing too challenging, just a chill record that was enjoyable.

Not a fan of the band, especially when this album was first released. I didn't listen to any synth-based pop music on the radio, but reflecting back it does bring back a bit of nostalgia. You couldn't go anywhere without hearing their big hit, Don't You Want Me and it still remains an earwig in my mind once in a while. It's not always a bad thing.

I should first mention, I do NOT like Guns N' Roses! I think they are one of the most overrated bands of our generation and I just can't see the appeal of this parody of a "heavy metal" band, if you even call them that. I don't have any issue with most of the band members, except Axl Rose, who is the definition of a douche, I can't stand him! As for the music, it's nothing special, Aerosmith pretty much covered this territory a lot better decades ago. If you are a fan or want to hear what the big deal is, Appetite For Destruction is their so-called best album and has their familiar tunes. I did listen to the whole record and though it didn't rock my world, it was at least listenable. If you haven't heard, Welcome to the Jungle, already a million times at sporting events or the radio, you are a very fortunate person. If you wear a Guns N' Roses t-shirt, do not talk to me and stay away, I've judged you already.

Not familiar with the artist, so I had no idea what I'd be listening to. After a listen, I still don't know what I was listening to. So much going on, some good, some...not so easy to listen to. An interesting mix, but not enough to hold my interest throughout the whole album, but overall, could be worse, I suppose.

When this album was released, I dismissed it because I was "Policed-out" and lost interest in the band and wasn't interested too much in the songs or the music videos that accompanied the record. I saw the band during this tour and was impressed how well the songs translated live and they were still at the top of their game as a live band. Reflecting back and listening now, I realize Synchronicity is a solid record (I still prefer their first two albums the most) and it was an appropriate "swansong" for their final album. Sting went on to...yeah, you know what happens...

This takes me back, I remember listening to this in the late 80's and it helped expand my musical interests beyond pop, rock and punk. Musically interesting, with tracks that were accessible to (younger) listeners outside the folk, Celtic, Irish genre. Today, it still holds up okay, but it's a little more traditional than I remember.

Haven't actually listened to a complete Fiona Apple record and she sounded like I expected. Fiona's lyrics are interesting and provocative and the music is fine and though I can't say I love it, it was enjoyable and sometimes challenging. She's been around for a while and she's achieved much critical acclaim and I'm glad her music didn't get super mainstream. She seems to be doing what she wants to be doing, so extra points for integrity.

I can't pretend to say I understand or enjoy the music, but I can't say I dislike it. To me, it's experimental, avant-garde noise sounds and it's no wonder Eno composes soundtracks. Collaborating with David Byrne helps and they work well together, so I might have another listen in a different state of mind.

Generally, this is a genre I wouldn't go out of my way to listen to, but I enjoyed it! Solid beats and very musically varied, I found myself grooving and moving. I would even consider listening to more.

First time listener for Pulp and was always interested how this album would sound. There's nothing hardcore about it, but it's a dynamic record and for the most part, enjoyed it. I've been starting to re-discover more Brit-pop as I ignored it first time around, so I'm sure I'll slowly appreciate it more. The cover is more disappointing than the music, which is a good thing.

Steely Dan released a run of great albums during the 70's and I regard a couple of them as essential (Can't Buy A Thrill, Pretzel Logic), that are a good starting point to discover Steely Dan. Aja, the band's 6th album was moving towards more of a rock-jazz oriented sound, a bit smoother, but just as interesting. The previous records leading up to Aja (Katie Lied, Royal Scam), were a bit of a letdown and less consistent, but Aja was improved and produced an accessible sound that led to it being probably their most commercially successful record. I would place Aja in my top three favourite Dan albums and it brings back much nostalgia from my teenage years when I listen to it. A solid record, but not their best.

A friend of mine recommended this album back when it was released and at the time I hadn't listened to a lot of female artists I enjoyed, since most of the bands I followed were your typical white male-lead groups/singers. I have to admit, I half gave it a listen because Suzanne looked so cute on the album cover (yes, I do sometimes judge the record by the cover). It was low-key folk and her voice and the music caught my attention immediately. The songs were interesting and this was something that was missing from my musical palate up to this point. I can't say I'm a big Suzanne Vega fan, though her second album was commercially successful with her two best known songs (Tom's Diner and Luka), but I really didn't care for her music as much as her debut. Luka is a great song, though I prefer the Lemonheads cover version, but maybe that's what makes the first album so good, there are no hits, no pretension or expectation. I still spin this record occasionally and I'm glad my buddy, Ben recommended I buy it.

The first two tracks hit you hard and fast and overall this is a very solid album. I had never listened to the Saints before and was pleasantly surprised by their sound and I'm instantly a fan. Since this is their second album, I'm curious about their debut and the rest of their discography, as well.

For me, I have to be in the proper mood to listen to a lot of Prog, that being said, ELP are one of the best in the genre, so I was optimistic to listen this record. The playing is top notch and you're not gonna hear any chart topping singles, but it's a little self-indigent at times and I sometimes don't have patience for really long songs. Overall, it was enjoyable, though they have better albums. The cover art is cool!

During Nirvana's short career, they produced only 3 studio albums. Bleach, the indie album (if you can call Sub Pop indie?), the major label, mainstream breakthrough record, Nevermind and their last album, the follow-up, In Utero. Nevermind was a tough act to follow, it went on to sell a gazillion records, got tons of airplay and was widely praised as one of the great albums of the 90's. In Utero was in fact a commercial and critical success, it was at the top of the charts and it also sold way too many records, but was it any good? Personally, when it was released I didn't care for it or I didn't really want to listen to it. At the time, I had an issue with bands that "sold out", signed with major labels and attracted a whole different audience (you didn't have before you became popular), once you became "too mainstream". Reflecting back and listening now, they didn't really compromise their sound too much, some of the songs on In Utero were more abrasive and didn't have the sound of a typical chart-topper. Music was shifting, grunge became mainstream, punk became popular and it became fashionable to listen to music that wasn't just force-fed through popular radio stations, so maybe it was a good thing. In Utero, did reflect the time period, it was a very good album, but if it came out 5 years earlier would it have been noticed?

I previously, haven't listened to much African music and I actually had never listened to anything from Miriam Makeba. First impressions, her voice is amazing and beautiful and I was pleasantly surprised by her talent. The more I've read about her, the more I want to listen to more of her music. Thank you for putting her into my musical stratosphere. Very enjoyable!

Bruce Springsteen followed up his highly successful (both commercially and critically) albums, Born To Run and Darkness On The Edge Of Town, with a solo acoustic album, Nebraska. Sparse and raw, Nebraska could have been career suicide for a less talented artist, as his band was at the height of their creativity, both live and on record and Nebraska seemed like a step back. The demo quality of the songs may have put off fans that wanted another rock album, but the depth and honesty of the lyrics and music displayed the incredible talent of Springsteen and I give him credit for having the guts to release this record despite record label pressure for another chart-topping, best selling album. I like this record, more so now than when it was released, but it will be a piece of art that will stand on it's own as a triumph, in his vast discography.

Clearly, Lamar is a talent and has amassed a huge following, considering this is at least the second time he's appeared on the list. I still don't consider him essential, but obviously I'm not the demographic he's counting on to buy his records or stream his music. Nothing wrong with it and for the most part listenable, so let's move on.

I actually hadn't heard of Ali Farka Toure before this album came up and was fascinated what "African desert blues" sounded like. It's a pretty accurate description of the music and my first impression is that I love the guitar sound and the grooves. The songs are interesting and I will revisit this and some of his other recordings in the near future. Another cool find!

Bowie and the Spiders From Mars had a run of great records in the early 70's, Hunky Dory, Ziggy, Aladdin Sane (along with the covers album, Pinups). Aladdin was the last of original material and it sometimes doesn't get the attention and accolades of the previous two albums. It's because Aladdin Sane isn't as essential and important, but it's still an outstanding record with fine contributions from the Spiders. This was the first Bowie record I owned on vinyl, so I have a soft spot for it and I still consider it one of his better albums from the 70's.

When I first heard this album in the 70's, as sad as it was, this was probably the first time I heard any Latin rock. I know, I wasn't exposed to a lot of diverse music in my youth, but with the help of film footage and music from Woodstock (etc), I knew who Santana was. This record has some absolute classic essential tracks on it that everyone has heard and hearing it today, it's still timeless music! The rest of record isn't bad either!

I bought this album in the mid-80's when my local university radio station was clearing their collection when it went off the air. I got this and their second album, Adventure and really didn't get much play on my turntable at the time, but rediscovered these albums in the past 10 years and was blown away by what I've been missing. A post-punk classic, Marquee Moon has been influential to many bands in the 80's, 90's...up until now! The guitar interplay between Tom Verlaine and Richard Lloyd is incredible and the songs resonate with you every listen. What a great record!

This is perfect timing because Hounds Of Love by Kate Bush sits at or near the top of the charts 37 years after it's original release. Thanks to the TV series, Stranger Things, which takes place in the 80's, the song, "Running Up That Hill"'s appearance on the show has somehow revived the interest in the song, album and Kate Bush. Remember Kate Bush? I do, she was very popular in the 80's, maybe more so in the UK, but I know a lot of people that are big fans of her music. Me, not so much. I never got into her music then and after re-listening to Hounds Of Love, it still doesn't do much for me. Maybe it's her vocal delivery or maybe it's just the songs are not interesting to me. I found myself wanting to listen to something else about halfway through this album, but I stuck it out. The power of nostalgia in soundtracks and songs in TV/movies is real, as the Clash's, Should I Stay...played a prominent role in the first couple seasons of Stranger Things and I'm hoping Jonathan introduces more cool music to Will...The Replacements, Husker Du, R.E.M...perhaps?

Oasis is one of those band I hadn't bothered to listen to beyond a couple of their best known songs and I've probably heard more about their personal squabbles and gossipy news stories than their actual music. This is my first full listen to this album, Oasis's debut, Definitely Maybe. It definitely makes an impression, as the music is catchy and rocks out pretty good and it definitely has it's moments. I don't know if the band deserves all the hype they received when it was first released, but the music stands up as above average and I must admit I enjoyed it. The band might be overrated, but on this album, they "put their money where their mouth is", an excellent record.

I had never listened to Portishead, so I wasn't sure what to expect and it definitely wasn't what I was expecting. Termed as "trip-hop", I thought it would be more electronic and heavier and I wasn't expecting female vocals (Beth Gibbons). The music was nice and her vocals were beautiful, and at some point I thought I was listening to Sade. Not a bad listen, I'll have to listen again to fully appreciate it.

I never really was much of a Radiohead fan, though I've heard some of their music, I hadn't sat down and listened to a whole album. The Bends definitely has some great songs on it and overall it's a solid record. I think they do live up to the hype and I'll see who this album holds up to their more recent releases.

It was better than I expected and I have to admit, I enjoyed it. Sounded more like background music, but that's okay. Hard to believe this was released in 1973, even today it has a "futuristic" sound to it, at least what we think the future should sound like... I guess the future is a lot closer than we think, right?

I've been listening to a lot of French music from the 60's and early 70's lately, so I was happy to see this on the list. Serge Gainsbourg always seemed to have that creepy, older( French)man-vibe happening, similarly to Canada's Leonard Cohen, but you can't deny the talent and importance this music has to offer. I bought the old 45 of "Je t'aime… moi non plus", a couple years ago and have been intrigued with Serge and Jane Birkin ever since. The music is cool and if you can get past Gainsbourg's talking/singing style, it's an essential listen.

It had it's moments, but it didn't capture my attention. With the little that I know about electronic music, this seemed a tad boring and generic sounding. Really not much for me to enjoy, move on...

I always wondered if anyone that loved the song, Cars, had actually listened to the rest of the album? To be honest, I hadn't and I was kind of surprised how low-key and less commercial sounding the rest of the record was. Very synth-new wave-ish with a full synthetic sound (no guitars!) definitely a robotic feel, not really too surprising considering "Cars" robotic sound...the sound of the future? "Cars", came out at a time when me and friends were getting our drivers licenses and spent many a night car cruising to that song blaring out the open windows, so this song has a real nostalgic connection.

When I first heard L.A. Woman in the late 70's, I wasn't fully impressed. Their earliest records had a psychedelic, rock sound I preferred and I thought the "mature" sounds of L.A. Woman wasn't for me. Looking back and re-listening to the album throughout the years, it truly is the Doors', career-defining record released before Jim Morrison's untimely death. I often compare it to the Who's, "Who's Next", their classic masterpiece that was anchored by two long epic classic tracks (Baba O'Riley, Won't Get Fooled Again), similarity to the Doors songs, Riders On The Storm and the title track on L.A. Woman. They aren't my favourite albums by those artists, but they are the records that were the high-points (arguably) of their career's.

Would I like this with headphones on, maybe if I smoked a bong. Would I like this in my living room, only if I was high on shrooms. Do I care about these songs, to pretend I like them would be wrong. Are these songs considered really essential, there's not much chance of that potential. I do not like this in a car. I do not like this in a bar. I do not like this in a house. I do not like this with my spouse. I do not like this here or there. I do not like this anywhere. I do not like Boy In Da Corner. I do not like this performer! Nope

Not a fan of rap, but as far as rap goes, I thought it was a fine listen. It does get monotonous at times, it's a long album, so I think I'd be better suited to shorter doses at a time.

Always been a big fan of Mr. Waits! Love his earlier works, but he has released some great albums throughout his career. Heartattack and Vine is a solid and transitional record that is a very interesting and sometimes challenging listen. Not one of my favourite Tom Waits's albums, but still one of his better efforts.

Album started with a bang and kept my attention through most of it. Kind of a contemporary Prog rock sound, that I'm sure would grow on me more with repeated listening. I don't love it, but I certainly would listen again. We'll see...

First time listening to a Stranglers album and I was a bit surprised by their sound. I was expecting maybe a faster, harder punk sound, but instead it was quite tame, which is a good thing. I can hear why this debut was a success, nice sound and good songs. I don't think this will convince me to be a fan, but I will make an effort to listen to more Stranglers' albums.

Dear Bjork, First of all, congratulations for having another record on the list of 1001 albums. For me, this is the second record I've reviewed, as previously your debut album was presented here. Clearly, your talent and your critically acclaimed works have taken your career through several decades and I expect many more releases in the future. That being said, my opinion of your work hasn't changed. After listening to the first couple songs on this album, it was apparent to me (again) I'm not a fan and was hoping the album would end soon. I don't know if it's because your music is getting weirder or more complex, which is unlikely, because your music has always been weird and strange. It was a difficult listen, but I listened to the whole thing! Sorry, it's not for me. I still have several hundred more albums to go and I have a feeling we'll meet again. Sincerely, TDIT

First time listener for Stereo MC and Connected was better than I expected. It's kind of cool and funky and it has a catchy rhythm throughout. Probably won't convert me to a fan, but there could be a lot lot worse things to listen to. Enjoyable.

Despite the fact, the Sex Pistols released only one studio album during their all-too short existence, the impact both culturally and musically can't be denied. This is a case where the story/personalities are bigger than the music, as numerous films, books and even a recent TV series about the band have perhaps over-shadowed the music. There were other bands from the same era that left a longer resume of great music (The Clash, The Buzzcocks, The Damned etc.), but the impact of the Pistol's, debut, Never Mind The Bollocks might just be one of the most important and influential albums from the 70's. Sure, it's overrated and their musical talent was questionable at best, but when the word "punk rock" is mentioned, it all begins with the Sex Pistols.

When you think back to all the great music that was produced over 50 years ago, it's amazing how well the music has held up over that period of time. Prog bands produced a sound that sounded technologically advanced, well beyond it's years and YES was no exception. I own only two Yes albums (The Yes Album & Fragile) and in recent years I've listened to them more than when I bought them. There are many phases of Yes's career I'm not too interested in (especially their 80's work), but the Yes Album (their 3rd) through to 1973 are spectacular. The Yes Album has a pair of classic Yes songs and the rest of the record is solid.

Still not a fan of rap, but I can't say I didn't like it. It was okay, it has it's moments and though I wouldn't take the time to listen to it again exclusively, it makes for good background music.

A stark, beautiful record from an artist we lost way too soon. A true, singer-songwriter format that focuses on his brilliant songwriting with minimal instruments and his fragile, yet emotional vocal style. Essential listen, especially if you're a fan of Elliot Smith.

Enjoyable enough, though this isn't something I'll listen to often. Not a fan of rap, but could do a lot, lot worse than M.I.A!

Second Nick Drake album this week (Pink Moon), which is refreshing with the amount of rap that has come up. This Drake's music is the opposite of rap, thought provoking and a calm, chill listen. Nick Drake's debut, Five Leaves Left is even a more enjoyable listen than Pink Moon, less depressing and a much more optimist emotion to it. Well performed and well written, glad to see Drake finally receive much deserved attention and critical acclaim for his music , well after his death. I said Pink Moon was essential, start here first and you'll be rewarded by a great record.

The popularity of the song, Sultans Of Swing from Dire Straits debut album, helped launch the very successful career of Dire Straits. The song remains a mainstay on radio (and my streaming algorithms) and sometimes the album gets overshadowed by the massive success of the single. The album charted high and sold crazily well, but how many people (at the time) listened to the whole record? I admit, I didn't it much love when it first came out, but over the years I've come to appreciate the whole album. Sure it has some filler, (what Dire Straits album doesn't have filler?) but over all it might be their most consistent record. The hugely popular, Brothers In Arms album may be the most accessible and commercially lauded album, but the debut highlighted the guitar wizardry and unique sound of Mark Knolfler and the band.

I had never heard of this and the fact it's so recent, I'm surprised this made the list. I'm not sure what i think of this? It has a good beat, the lyrics are okay and I don't hate it, so it was fine. Not a fan of this style of music, so I can't say I'll listen again, but I can appreciate the effort.

Full disclosure, I am NOT a fan of Courtney Love! She's a horrible actress, but can act within her range and her singing range is very limited. She doesn't seem like a very nice person and it was unfortunate that she met Kurt (for Kurt's sake). With that being said, Live Through This is a great album! I don't care much for other Hole records, but this one hits the spot. It downright rocks, the songs are crunchy, the music is grungy-melodic, the guitars are loud and I can even tolerate Courtney's screams. I will listen to this often and play this loud!

Not usually what I listen to, but it's exciting, heart pounding and terrific beats. Lots of energy!

Infectious, fun and easy to listen to. Otherwise, not really my kind of music, but a change once in a while is fine.

A classic record that was an excellent debut for Zep. Underneath, the songs that got commercial attention and radio play, most of the record is a collection of blues songs performed by a dynamic white British hard rock-blues band. Sure, there are some slow moments and some filler, but for the most part this rocks hard and upholds the reputation of Zeppelin! One of their best!

Through the years, I have tried to listen to Kraftwerk, but struggled to get into electronica. I feel now, I'm more patient and open to other musical styles and genres, so I can understand and appreciate the music more than before. Good background music, but my patience is tested after prolonged listening. Solid record.

Kinda cheezy and goofy, but at the same time, quite enjoyable. Never dared to listen to Marty Robbins before, but heard this album mentioned as being a classic record. More like a guilty pleasure for me. Thanks for the suggestion!

So this is what Chamber Pop is? I have to admit, i don't dislike it and the more I listened the more I was interested and drawn in. Didn't know this existed and glad I had a listen. ***1/2

The song, Imagine, is probably John Lennon's most well known (post-Beatles) song he recorded and it might just be one of the most recognizable songs in the world. Imagine, the album, with the help of the popularity of the song is considered by many essential, but listening to the album as a whole, it isn't his best work. Apart from a couple of songs, the album is inconsistent and a little over-rated. There's nothing wrong with it, but he has other albums that deserve to be on this list more.

Blues is the type of music you must experience live to fully appreciate the emotion and the "blood and guts" that is weaved into the music. A studio recording is great for listening at home, but if you want to groove to the beat and "feel" the music, a live concert is the ultimate. The next best thing would be a live recording of B.B. king and Live At the Regal is a stellar sounding recording. The performance of B.B. and his band is top notch as well, so this might be as good as it gets.

Haven't actually listened to much from The Cure, but I had an idea how they would sound. Better than I was expecting and found it was a fine listen. Pretty much the standard for "goth rock" and they have a very dated 80's sound.

Though I have listened to most of Elvis's albums, I hadn't actually completely listened to Brutal Youth. I rank his first four albums high in my "must-hear" list and his output of quality music has been extraordinary. Brutal Youth isn't among his best, but it's still a constantly good record, with a few standout songs. Overall, he has a lot better albums (which will probably show up here soon) and I consider this among his mid-range material that shouldn't be overlooked.

I made the mistake of watching the Shaft re-make film a couple of years ago and probably the only highlight of the film was the Shaft theme by Isaac Hayes. I didn't see the original Shaft film from the 70's, but judging by the film's soundtrack, the music was pretty groovy. The Shaft theme is one of the best movie theme songs ever and the rest of the album manages to generally keep the vibe alive. It's a soundtrack, so there is a lot of atmospheric stuff happening and some of it wears thin after a wile, but overall a decent listen and a real time warp.

For whatever reason, the lead-off track, Take On Me, has entered the lexicon of earworm songs that have become ingrained in our society. Yes, the song is 37 years old, but I've heard it more in the past 10 years than when it was released and it's popularity has taken on a whole new level. Apart from that song, a-ha delivers a predictable blend of mid-80's mediocrity most people didn't listen to if you bought the album. Actually, the songs aren't bad and it wasn't difficult to listen to the whole thing through, but really nothing essential here.

It's hard for me to take a group like Abba seriously. Since I was a teen, Abba has been on the airways causing me to cringe, whine, complain and quickly turn the radio station. They have been a part of pop culture and life (in so many ways) since the 70's and believe it or not, they're following and dedicated fans are stronger than ever. For me, I have to admit, they have a certain guilty pleasure aspect to them. I don't cringe anymore, instead I secretly smile and smudgy say, "Oh no, not again! I can't stand Abba!", but really it's a harsh reminder of my fading youth and reminds me why there was so much to hate and love from the 70's. No more Abba!

Another band, I hadn't gotten around to listen to thoroughly and I'm happy I finally listened to Siamese Dream, a very fine record. There are elements of arena rock, classic rock, alternative and it's a bit grungy in parts, this album holds up pretty well, released almost 30 years ago. There was lots to like and most of it held my attention. I hear that this is The Smashing Pumpkins best record and it's good, so I should explore more of their discography soon. Hope the rest are at least half as good as this!

I can immediately see the influence and inspiration of Loretta's music had on Lurleen Lumpkin from the Simpsons. Seriously though, this album and music has been the influence of many aspiring female country music singers, including contemporary artist's such as, Neko Case. Most of the classic country music subject matter is covered, with a checklist of the essentials; drinking, lovin', cheating and don't need no man to run my life. Not my kind of music, but it was amusing and interesting.

I think sometimes Shoegaze music gets a bad rap, sure some of it is intolerant and in cohesive, but there are some great bands and albums from this genre. I hadn't listened to much My Bloody Valentine until recently and though I'm not a fan, their debut full-length, Isn't Anything is a strong record. Underneath the distorted guitars (and noises!), is some nice layered guitar sounds and some melodic songs. I wasn't expecting I'd like this, but my eyes (and ears!) were opened up to some much needed album.

Live albums are often hit or miss, but this live set from the amazing Sarah Vaughan is near perfection. An intimate live recording with Vaughan connecting with the audience right from the start and her magical performance makes this a worthwhile listen. I'm been graduating towards this genre of music for it's old-timey charm and it's classic performances and this album is a good place to start.

No doubt this is a classic album with more depth and consistency than just The Weight. The best record by The Band and much better than most Dylan albums.

This album is special to me, as it was a "game-changer" musically for me and exposed me and opened my eyes and ears to music other than radio-friendly pop/rock rut I was stuck in. This has to be considered one of the finest debut albums of the 70's and introduced me to New Wave and keyboard sounds I has previously avoided. Every track is fantastic and The Cars never quite captured the magic of this record on their other releases. Seems ironic that radio play and music videos kept the band popular following the first album. The only essential album you need to hear from The Cars is The Cars!

Much better than I was expecting. Most of it was enjoyable, good voice and a nice guitar sound. Solid.

I never was a fan of synth-pop, not then and still now. Most of it was listenable, but it reminded me that there was a lot of music in the early-80's that I disliked and this would have been one of those albums that confirmed that. Not the least bit essential, at least for me.

Sometimes I've struggled to appreciate Electronica, often there aren't traditional "songs", more of a stream of background music. This sounds like this could be a soundtrack to a futuristic sci-fi film, that kind of goes on and on and ...For the most part, I enjoyed it, it's sort of cool in a weird way, but after a while I was waiting for it to end or at least for the imaginary movie in my mind to be over.

Ack, another Bjork album on the list! As much as I'm exposed to Bjork's music here, I still can't get into her music. It's partly her voice, but the music feels like it's weird just to be weird and it feels somewhat forced, if that makes any sense. As far as what I've heard so far (her 3rd record on the list), this one isn't bad and I did make it through the whole album, so it didn't bug me as much as her others. Yes, that's a compliment.

What can you say? She's one of the great vocalists of our time, well 70 years ago time, but you can't deny the quality of her talent. Don't know if this is considered the best of her work (I own a couple best of, greatest hits collections), most of it is fine, but it helps if you are in the mood or the right state of mind to fully appreciate the music.

This was much better than I expected! I was expecting something darker and gothy, but it was hard hitting, punky and fun! Kind of a 70's hard rock Norwegian "Dictators" sound/vibe with a touch of glam. I quite enjoyed it!

As far as his more modern recordings go, this one is pretty good. I know this was one of his last albums released during his lifetime, but he still has the energy, spirit and that "voice", the quintessential performer until the end. This is what sets Cash apart from everyone else in the genre. Respect!

Cool, laid-back, smooth, sometimes it got intense, but a very enjoyable album start to finish. The type of music you can play in the background all day. Never heard of this before, so I'll be sure to listen to more from Ibrahim.

The first time I heard this album, I thought it was a grim, sad depressing record. I had this on 8-track and the only player was in our windowless, cargo van and when the song, The Kid played, I swear to god I thought there was an actually baby crying inside the van. A haunting song, this didn't help my option of the album at the time. Fast forward 40 years or so, I would put this in the category of Lou Reed's better album, as he's released a handful of duds, sprinkled in with some classics. I wouldn't say it's a classic, but my option of the record has softened and it's definitely more listenable than it was then. It's actually quite good! The 8-track is long gone, all the 8-tracks were stolen when the van was broken into, but I did buy it on vinyl, so I'm not too heartbroken.

I'm kind of mixed with my opinion. It has it's moments with cool vibes and an upbeat jam, with several good head-bobbing songs. Too inconsistent to really appreciate and really there's a lot more satisfying music out there. It's okay...but

An enjoyable listen, for the most part with some good songs here. Their "psychedelic soul" sound is interesting, it works at times, it's different and it funks it up a bit more. I haven't listened to much of The Temptations, maybe I should listen to more... :)

If you only listen to mainstream, commercial music then this album would be easily dismissed. The sound is lo-fi, the instruments sound out of tune at times and the singing isn't strong. Lou Barlow (formerly of Dino Jr), isn't seeking commercial success or accolades for his music, instead he delivers some raw, heartfelt music that could be considered indie, alternative, or just plain weird, but it's the kind of music I've come to appreciate and I'm glad this list acknowledges musicians and bands from outside the "norm". Bubble And Scrape was actually recorded in a professional studio instead of "home-recorded", so this would be considered a more polished work compared to previous albums. I like it, we need more bands like Sebadoh and musicians like Lou Barlow that push the boundaries of quality music instead of the bland radio-friendly schlock we have to endure most of the time.

Some good stuff on this record, lots of energy, variety and for the most part enjoyed it. Nothing too memorable, but a worthwhile listen.

It seemed appropriate (and a bit obvious), that this album came up for review the day after Queen Elizabeth II died! I even played this album in it's entirety as a tribute the day of, but to be fair, I listened to it again within 24 hours. I must admit, I haven't listened to this album since the late 80's and I can't say I'm a fan of The Smiths. Maybe, it's because Morrissey is such a shitty person or it could be their music never interested me. Listening to it now, it's fine, some of it is really good and I especially like the title track which opens the album. Similarly to other Smith records, it began to bore me after a while and my mind started to wander. Again, I don't hate it, I just don't love it.

I was a fan of Green Day from their early releases on the Lookout label, but had lost interest in the band once they went to a major label and became a hugely popular band. I couldn't avoid hearing their music in the mainstream and when I heard American Idiot in it's entirety, it caught my attention. This is an album best heard as a complete work, as many of the songs segue into each. the songs are catchy, melodic and have an energy and intensity that highlight all of Green Day's best attributes. While listening to it, I can understand why someone thought, "this could work as a musical (play)" and yes, it happened. I would be an idiot to actual go see the production, as I'm content and happy to just listen to the album again.

Nico's contribution to the Velvet Underground's debut album was brief, yet effective with her haunting vocals and mysterious presence. Chelsea Girl allows her to expand her range somewhat more, though she is very limited vocally, but offers up some good songs. The sound is sparse and raw and at times the pace becomes boring, but if you take into consideration the time period and mood it's trying to create, she does a commendable job. It helps that she gets contribution from some of the VU members.

A smooth soothing, dreamy quality to the music, that had it's moments, but mainly unspectacular and unmemorable. Not hard to listen to, so I guess that's a positive, but I can't say I would purposely listen to this again. Reminds me of why I avoided a chunk of the 80's, synth pop with drum machines, no thanks!

If you put aside the fact that Donovan was suppose to be the "new" Dylan when he began his career as a acoustic folk singer, Sunshine Superman, as well as his other albums from the late 60's, really reflected the time period. He shifted his style to a psychedelic, folk rock sound and wore long flowery shirts, which of course, wasn't anything new as the Beatles, Stones, Hendrix, Byrds etc, experimented with the sound and concept. I must admit, I like Donovan's attempt, most of it was listenable and it sure beats his folky troubadour sound. It gets overindulgent at times and it wears thin after a while, but this album is a good positive time-capsule of his career.

This Talking Heads album was a turning point for the band going from a clean pop-rock-new wave-punk sound to an expanded, rhythm-based experimental sound. Eno's influence is all over the record it widened the scope of sound of the band with mixed results. There are a couple of classic TH songs on here and you can't deny they are a "better" band, but I tend to have more songs from their first two albums on my playlists.

The Eagles were playing in town the other night at the local hockey arena supporting their old album, "Hotel California" played in it's entirety. This is probably the only Eagles record I could actually listen to start to finish and the show featured only one original member of the band that played on the debut, Eagles. Pre- H.C., they were a laid-back, easy-going California band, that played something along the lines of Americana country folk rock. It was MOR and really nothing special and it took the recruitment of guitarist, Joe Walsh on H.C. to take the band to the next level. As far as their first album, there are a couple classic songs, I assume they play every show (Take It Easy, Peaceful Easy Feeling), apart from that, the rest is underwhelming, it's OK...but there are a lot better albums in the genre for sure.

Though this record is considered a "hallmark" for pop music reviving the teen pop genre, I would say it's more of a pop culture time-stamp of the end of rock music and the start to a horrible decade of music, the 2000's. Britney has been as much in the public eye recently, as the original hype for this record. I shutter when I hear her perform songs from this 23 years later, as the songs are dated sounding and the lyrics sound ridiculous coming from a woman in her 40's mouth. Since the songs were written by middle-aged men maybe it makes sense? This is the first time I've listened to the whole album (at least what I want to admit too) and clearly the songs, videos and the hoopla that goes along with the the Britney circus is targeted to a specific target audience....and I'm not it!

Tried listening to this album a few years ago and I didn't care for it. Listening again, the whole way through, something clicked with me. The beats are choppy, yet infectious, the songs are interesting and the guitar sound is amazing! I don't know what I was expecting previously, but this is music I should have been listening to. Really really enjoy this record and glad I gave it another go! Entertainment, yes!

I have to admit, this wasn't as bad as I was expecting. The hit song from this album, Relax appears everywhere and even to this day it's one of those annoying ear-worms still ringing in my head. It ruined the film, Body Double, which wasn't a great movie to begin with, but why did it take so much screen time? That being said, I didn't hate this album, but it reminds me too much (yet again) why synth-pop is near the bottom of my list for music genres in the 80's!

A decent listen, I enjoy her voice, I like her and for the most part the songs are good. I'm not a fan of the Country genre, though this is more of a "hybrid-modern" country sound with electronic beats and at times a bit Shania Twain-esque. Personally, I would prefer to listen to Kacey, on her own, solo acoustic to just hear the songs without the distraction. Overall, this is above average.

If I had to describe what I thought Rap would've sounded like in the early 90's, this is pretty much how it would sound. Immature, crude and jazzy, that doesn't take itself too seriously, it could get a whole lot worse than this album. Enjoyable enough, in a weird half-satisfied type of way.

David Bowie's fingerprints are over this record. He wrote most of it, played on it and produced it and the album probably wouldn't have been made without Bowie's presence. If you are expecting "Stooges" Iggy, you'll be disappointed, but if you take this record at face value, it's a decent record. Some good songs on here, but it's inconsistent and it's bit too artsy for it's own good somtimes. I expected more.

I've never had the desire to listen to a Madonna album and I've had to tolerate her songs on radio since she first came on the scene in the 80's. Her "hits" are undeniable catchy and have obvious commercial appeal, so I really wanted to like, Like A Prayer. This is clearly a concept record, family and religion being the obvious themes, as most of the songs are her confessions and recollections of her youth. Apart from the handful of well-known songs on the album, the rest is junk, filler that was tough to sit through. I also made the mistake of listening to some dance-mix versions of some of the songs....does anyone prefer those versions to the originals? Oh right, if you're at club, loaded and drugged up, you want seemingly never-ending loops of the song, Like A Pray throbbing through your body, right? One star each for Like A Prayer and Express Yourself, zero for the rest.

After a week of enduring Britney and Madonna albums, it's refreshing to hear something non-commercial music that has way more substance and credence than a bunch of overrated pop-tarts. A very nice listen with beats that had me dancing in the kitchen and bobbing my head. Did I mention how refreshing this was? Enjoyed it a lot! Not for everyone's tastes, but same goes with Madonna.

Enjoyable listen. not usually something I listen to, but there was nothing I didn't like and the musicianship was top-notch. Just saying it's not something I would listen to everyday and I would have to be in the proper mood.

The dated 80's sound on this record could have just as easily have been someone like, Laura Branigan or Alison Moyet, but the strong powerful vocals of Tina Turner, set it apart from the generic sounds of lesser vocalists. These songs remind me too much of 80's soundtracks (or films set in the 80's) and it makes me cringe to remember commercial radio at the time. This was truly Turner's comeback album and brought her back to commercial success. This would rank near the top of her greatest achievements. I didn't embrace it at the time and it still doesn't do much for me, but I respect she did overcome all kinds of adversity and still showed she is one of the great female vocalists of her time.

Interesting listen. For the most part, i enjoyed the vocals, but at times reminds me too much of Bjork. The beats were fine and some of the songs captured my attention, but too many didn't hold my interest.

High energy, great sounding late 70's punk! Just what I needed to drown out the bland, commercially, overrated albums from the 80's & 90's in the last few posts. An often overlooked band, I apparently overlooked them too and I love the era. Kind of Buzzcocks-esque, with some mighty fine snotty lyrics and fast guitar. Glad to finally listen to The Adverts, highly recommended!

Not really a fan of U2, but there's no denying this is their career-defining album. Frequently listed as one of the greatest albums ever, blah, blah blah...it has it's great moments. So many of their classic tracks are on here and they hold up pretty well even today, but after those I feel there's a drop off in quality. I won't let my bias against Bono influence my opinion (too much) and say the album is fine, but not taste.

When I first heard this album when it was released, it was a bit of a let down from their debut, Funeral. It had a similar vibe and I to me, it felt like it could have been outtakes or extra tracks from the previous album. Putting that aside and listening again, it holds up well on it's own and live, many of these tracks are powerful and highlights. Still prefer Funeral and The Suburbs (both 5 stars), but Neon Bible is a pretty good sophomore effort and a lot better than what would come later.

When the Yeah Yeah Yeahs released their first couple albums, they had me curious and interested. A female-fronted edgy, punk, garagy sound band led by the always interesting Karen O, I played their music often and thought they were pretty good. Fast-forward to It's Blitz and I don't know if it's because their sound "evolved" or if my tastes wanted something different, but I lost interest and haven't really listened to them since. Listening to It's Blitz!, now with fresh (and older) ears, I like their sound better than before and it was more enjoyable. Don't know if I'll reconnect with their more recent stuff, but it's more possible than yesterday.

I haven't really listened to much from the Boss since Born in The USA and for the most part hasn't been impressed by his solo albums without the E Street Band. For The Rising, Bruce reunites with the band and the results are much more satisfying than his previous efforts. A powerful and passionate project for the Boss, the songs are all consistently good and interesting with the band adding that extra energy and spark. Sure, there are some slow moments and the album is a tad bit too long, but overall it's a solid return to the "glory days".

Their huge hit, Tainted Love which has had a nostalgic revival in recent years, is the obvious best song on this album. I always disliked the song and pretty much anything synth-pop from the early 80's, so for me the rest of the record is throwaway. Difficult to listen to the whole way through. One star for Tainted and one star for the rest. Blah!

If we put aside the fact she has a very famous singer sister, this album is okay, the singing is competent, the production is good and the music is alright, but overall this is nothing special and if she didn't have an "association" with Beyonce we probably wouldn't have heard of her. There are so many singers of this genre that sound just as good and the "train" of American Idol-ish singers will always be eager to record and flood the market. Clearly, I'm cynical, but why shouldn't I? I'm giving it a mid-range grade because there's nothing bad about this and it's listenable, but nothing more.

Before this album was released, I didn't listen to any female-fronted bands. On my first listen of the Pretenders debut album, something clicked instantly, it was amazing, like nothing I had been exposed to up to this point. Chrissie Hynde's snarl in her voice, the guitar interplay between Hynde and James Honeyman-Scott and the well crafted songs, their sound was both catchy and energetic. It wasn't exactly punk, nor was it new wave, it was rock that combined some of those elements for modern rock sound with a punk attitude. I consider this one of a handful of albums that helped shape and define my musical tastes. In my opinion, the Pretenders didn't release another record this great, though Learning To Crawl was close, but the band was never the same after the deaths of Honeyman-Scott and bassist, Pete Farndon. The Pretenders became more of a Chrissie Hynde driven "project" and to this day has continued to release some pretty fine music.

Listened to Faith No More back when I was into the Chili Peppers briefly. They had a similar sound and I regarded FNM, a poor-man's RHCP. Listening so many years later doesn't make me like them better, but can appreciate they are much more than a Chili Peppers knockoff. There are some good songs here and had to check to make sure I was still listening to the same album when they played their Black Sabbath cover. Well done! I know this band was great live and they transfer a lot of that energy to their albums. No a bad listen.

This was better than I expected. Some good songs, not too much filler. Enjoyed it.

Some pretty smooth tunes on here! Never really listened to much Isley's before and was surprised how many songs I recognize. Cool covers and a solid collection of songs that were well worth the listen! I'm kind of surprised at myself for enjoying it.

I would rate Surfer Rosa, the Pixies best album! It's no coincidence that Kim Deal made her most significant contributions to a Pixies record on this one and her lead vocals on, Gigantic was a highlight. Everything great about the Pixies comes together on this album and I even prefer it to Doolittle, which many fans consider their greatest. You really can't go wrong with their first 3 releases. An alt-rock classic!

I had never heard of this album and who knew the Beach Boys would write songs about environmental issues. A darker, moodier record than I expected from the Beach Boys with some interesting songs and actually some pretty decent ones, I might add. The commercial appeal is lacking, which isn't a bad thing, but the lesser contributions of Brian Wilson is evident.

I listened to this album a few years ago, but wasn't impressed. Maybe it was because I was comparing it too much with Kathleen Hanna's previous band, Bikini Kill, which is hard to top. Re-listening to this album, I have a new appreciation with Le Tigre when rating the record now, it held up well on it's own. I normally aren't a fan of electronica and sampling, but it's catchy, melodic and punky, at times. It's very dance-able and fun and I must admit I enjoyed it. The songs are well written and the political messages are still relevent today. I'm glad I re-visited this record.

I've been listening to Jazz recently, starting with acclaimed classics and Sunday At the Village Vanguard is definitely an essential Jazz record. It's amazing musicianship and oh, so easy to listen to with it's smart grooves and cool vibe, makes this a no-brainer. A glorious afternoon listen and crystal clear live recording, it felt like they were performing in front of me! Wow, why haven't I been listened to more of this before? Even non-Jazz fans should be impressed, a must hear!

Never listened to Buffalo before and my first impression is that I enjoy the guitars, melodies and vocals, but it's a fairly standard alt-indie-rock sound from the 90's. The songs don't stand out to me as anything above average or special and though it's a competent effort and it sounds fine, I don't understand how it made the 1001 list. Not essential, just saying...

Some synth-pop sounds that sounded okay, decent background/soundtrack music for my day. Nothing overly exciting or special for my tastes, but I didn't not enjoy it. Reminded me too much of Bjork, at times and ironically the first song to stream after the album was done was a Bjork song, go figure.

Despite the theatrics and face make-up, Alice Cooper (and band) pumped out some pretty decent music in the early to mid-70's. We heard his "hits" frequently on the radio, but if you dig deeper into other tracks on their early albums, there are some really good songs on there. The original "shock-rocker" was more glam and "lite" metal than anything shockingly disturbing and his sense of humor and campy theatrical productions is what allowed to parents to not worry about their kids at an Alice Cooper show. The music of Billion Dollar Babies is fine, not really my thing, but it's enjoyable and more on the parody side that you shouldn't take too seriously. ***1/2

Green Day's major label debut, Dookie, in my opinion was one of their best records. The band was already "well seasoned" with several releases on the indie label, Lookout Records and they were able to convey the energy and catchy pop-punk of their earlier albums to a larger audience. The release of this record in many ways was just as important as, Nirvana's, Nevermind, bringing alt rock- punk/grunge to mainstream audiences that so desperately needed better music.

CCR's second album is when the band started gaining momentum and it was the start of a group of essential albums they released over a short period of time in the late 60's. This isn't their best, but definitely was the blueprint for greater things to come. Their sound, the hits and John Fogerty's amazing songwriting is already evident on Bayou Country. A near classic!

I like Ice T. He's one of the reasons why Law & Order: Special Victims Unit is worth watching and his music is no-bullshit, old school Gangsta rap. I laughed out loud and nodded my head several times with his amazing lyrics and his delivery is on point. An enjoyable, intense listen, not for the faint of heart and conservative white Americans! (If you don't want to hear the word Nigger, move on.)

The last post was for a Ice T record, so unfortunately for the Jungle Brothers about halfway through, I was getting tired of hearing Rap and Hip-Hop. Ice's music is closer to being essential, this not so much. I have no complaints about the music, some of it I enjoyed, but it's not really my style of music. I listened to it all and it was fine, but won't rush out and hear it again anytime soon.

Everything that can be said about Elvis has been said already. No doubt, this is one of the most important records to be released in the past century and the influence these songs had on a whole generation of fans and future musicians can't be denied. I like his earlier music, rockabilly and the early days of rock 'n' roll, as Elvis was still finding his groove. His biggest hits were still to come!

Not really a big Peppers fan, but I did dub a copy of Mother's Milk to cassette back in the day. On Blood Sugar...the band hits the mainstream big time and they don't compromise too much, their sound is similar, though a bit more slicker and commercially appealing. The record's good, one of their best, I only wish they stopped making albums after this one.

Perhaps she was ahead of her time or it was because she was a black female folksinger, and though she enjoyed early success, she never hit it as big as she should have. Her songs talked about social and political issues, which for the most part were ignored at the time, but her music is being "rediscovered" during these times of turbulence and questioning of American political values. Despite having her first two albums in my record collection (actually my wife's LPs), I never listened to the albums in their entirety. The songs are very socially relevant and Chapman has a very engaging voice that gives the songs urgency. Fast Car and Revolution are the obvious hits on this record and if get beyond those songs, it's a solid album.

When I first heard the third Big Star album, I wasn't impressed. The first two albums were brilliant, both definitely essential listening, but the Third didn't have the quality or consistency of the first two. The amount of covers surprised me, and the status and direction of the band was in dire straits. Years have passed and with repeated listenings, the album has grown on me and I've had a deeper appreciation for the record. Alex Chilton is a genius, but he hasn't produced anything nearly as good as the first three of Big Star album ( though he's had his moments). A cult favorite or a misunderstood classic?

Never listened to New Order, but they sounded how I thought they would. Not really my kind of music, but it held my attention and kept me listening. The synths and fake drums were okay and it blended well with the music, so I might explore more from New Order in the future.

Definitely, this is the highlight of Rod Stewart's long and illustrious career, at least artistically. Recorded with his mates from, The Faces this could also be considered the best Faces record, as well. Quality songs and excellent musicianship, Every Picture Tells A Story is an essential listen, especially if you only know Stewart from his later work and god forbid, the disco era.

This is the album the Stones really come into their own and begin to produce some really good records. Some of the stand-out tracks would become classics (Paint It Black, Under My Thumb...I listened to the US version) and it's a solid collection of songs, though there still a few throwaway tracks. I wouldn't consider it in their A+ classic albums, but definitely an A.

As I've gotten older, I've appreciated good crooners more, as this is the first time listening to Scott Walker. I would categorize him as a "poor-man's Sinatra or more accurately Andy Williams, with often some odd and bizarre lyrics. It's okay, but never felt this is something I'll listen to again...interesting listen though.

If you're idea of a good time is listening to someone banging and pounding on chunks of metal, repeatedly over and over and over again, I have an album for you! Quite literally, this is what "real" Industrial music sounds like. This is scary shit, this is what nightmare soundtracks sound like and really is there any redeeming qualities to this "music"? I have to admit, I got used to it after a while and I did in fact listen to the whole thing which is an accomplishment because during the first track, I didn't think I could. I thought the percussion rhythms generally worked and I'm rating it higher than 1 star, because I didn't hate it, but then again there wasn't much to love.

Chaos! That's the first thing that comes to mind during the opening track of Spy Vs Spy, an aural assault that continues through the album. It reminds me of before band class when everyone blows on their instrument independent from one another, trying to drown each other out. If you made a movie about a character that goes on an extended bender, then their life spirals out of control, freaking out until they die, this would be the "music" for that soundtrack! I was going to stop listening during the first track, but the masochist in me kept me from turning it off. Bad decision!

Hadn't listened to much Dusty until now and my first impression of, "A Girl Called Dusty" is that I should have listened to her much earlier. I recognized a couple of the songs and I especially enjoyed her versions of the Burt Bacharach covers. Solid record throughout and I'm guessing this is her essential album from her catalog. Well worth the listen!

Some old school hip-hop that seems appropriate to be on this list and you can't deny the influence and importance of this release, but I can't say I blown away. It was good and I enjoyed most of it, it's just that I can't see myself listening to this regularly. ***1/2

Haven't heard this before. Kinda New Wave-ish, a bit bland and they don't have much of an edge to their sound. On the positive, it's easy to listen to and I can't say I didn't enjoy it, it's just that I don't care to know more about them or be bothered to hear more. Still, it's okay...

Better than I expected. I like the guitar sound and most of the songs were engaging and edgy. Enjoyed it enough to listen to the whole album, so it was above average.

Solid album by the always reliable Radiohead. Can't say I'm really a big fan, but I appreciate that they release some good listenable music with so much other crap in the world. I don't know if I believe the hype about the band, but they are enjoyable enough. 3.5/5

A horrible reminder why I disliked most commercial radio from 80's. More pop than metal, this pseudo-metal hair band's crappy album and "hit" songs got played needlessly on "rock" radio that obviously left an impression on young female listeners and wannabee Def-boys. Clean, dumb fun, I guess, especially if you've ever drawn their logo on your jean jacket vest and school books.

Man, I apparently haven't listened to much Gangsta Rap (besides here) and though the lyrics are extreme and warrants it's parental warnings, nothing shocks or surprises me anymore. This is the real deal and it's influence and it's importance in pop culture is significantly noted. I can understand why middle-class white America would be scared, this outright nasty and crazy shit. As a side note, I noticing on my music streaming service, I had to listen to a community playlist since this album wasn't listed under the artist's page. I just know I better not be caught video taping myself singing along to these lyrics in my car.

The Lemonheads breakthrough record, It's A Shame About Ray released in 1992, gained the band a widespread following and critical acclaim and it remains their greatest achievement. The only original founding member, Evan Dando crafted a poppy alternative rock sound on this record preceding a more punk sound on their earlier albums. When this record was released, I instantly fell in love with the songs and wore the crap out of that cassette. It remains a constant in my music listening, as it not only captures something about that time period, but it's such a catchy, upbeat record it always puts a smile on my face. Personally, I rank this high as a favourite from the 90's and it's a shame they haven't released anything as good since. Evan continues to tour this record (played in it's entirety) that celebrated it's 30th anniversary this year.

Another record I hadn't heard and it somewhat surprised me because I enjoyed it. Started out strong, but kind of lost me towards the end, but overall, a solid post-punk work by the Fall, one of their better albums.

An easy-going listen with no weak tracks, very cool and consistently great. The perfect way to warm up on a snowy cold day in December!

I'm not much of a Pet Shop Boys. The album was fine and I have no major complaints, but to me the music is bland and uninteresting. That being said, I actually didn't turn it off and listened to the whole thing through.

An essential album with some of her classic songs. So much has been said about the all-too short, tragic life of Janis Joplin, but it's the music that sings loudly, as she is one of the most important female artists of her time. Her voice was amazing and her personality comes through even on her studio recordings. Such a shame she couldn't share her gift beyond 27.

This is the perfect opportunity to finally listen to this album from Amy Winehouse. Honestly, she is the real deal, she has the pipes and the songs to make this record memorable. I wouldn't say she's a "great" singer, but combined with the terrific musical arrangements, retro sound and her powerful voice, this is the whole package. Everyone is aware of her personal issues and her tragic death and I can't help being reminded of (my last post), Janis Joplin. Both recorded only 2 proper albums and their potential for even bigger and better things was never realized. It's unfair to make the comparison musically, but this a near perfect record.

I burned a copy of this album when it came out because I enjoyed their sound and the songs were interesting and different. Listening now, I can't help but hear so many other bands and influences (Bowie, Arcade Fire?) to their overall sound and a weird sense of deja vu. I still enjoyed it, it held my attention and recalled some of the reasons I like this band. Enjoyable, well worth your time.

Rush was the first band I saw live, in 1978. It was a couple years after 2112 was released and I don't recall if they played any songs from this album, though to be honest I can't remember much from the concert, at least the songs they performed. They are very prog on this record (including a song that takes up all of side one...so prog!), and musically this is a dynamic, epic album, that proved to be a breakout record for the band. I was never a Rush fan (even though, I'm Canadian), I never got past Geddy's voice, but this album is more about concept and superior musicianship, I'll give it that.

I didn't realize the first Foo Fighters album was a one-man show with Dave Grohl playing all the instruments and vocals, quite a feat for a drummer from his fairly well-known previous band. With this in mind, this album is an impressive feat, it's solid from start to finish and the energy and urgency gives the record it's strength, quite the debut! I can't say I'm a Foo Fighters fan, but from what I've heard on this and their later releases, I can't say I don't like it. This is probably my favourite Foo Fighters album, but it's the only one close to being essential.

Clearly, Janis Joplin is the reason this album is a classic! Her unmistakable vocals are powerful and energetic, while the band sets the tone and vibe of the record. I often overlook this album, but it's hard not to like and the Robert Crumb cover artwork is a bonus.

Epic sounding record, with layers of lush arrangements that are close to being over the top, but melodic and easy to listen to. I've only heard a smattering of Lips music and I enjoy most of it. This album I would consider a modern "masterpiece and probably their best album to date.

I didn't think the Damned could record a better album than their debut, Damned Damned Damned, but Machine Gun Etiquette comes close. It takes the energetic raw punk sound of the debut and it expands it with more depth and musical exploration. The songs are solid and overall the record is more consistent. If compared to their previous record, Music for Pleasure, it's a huge improvement and MGE brings back the pleasure in the music for Damned fans.

Easy on the ears, but don't see myself committed to musical relationship with Thundercat, as I don't feel a genuine connection. The songs are okay, though a little too bland for my taste, but maybe if I was drunk and desperate, this might be more interesting. Thanks, but no thanks.

Apart from the "hits", which is a southern hard rock sound, a lot of the record is more rootsy, folk stylings. I hadn't heard the deep tracks on the album before and I found it gives the band a little more depth than I've given them credit for. There are some outright classics on here (Freebird!, Gimme Three Steps), that Skynyrd are best known for, but overall, the record is solid and essential.

There are several "game-changing" albums that helped shape my musical tastes and My Aim Is True is definitely one of them. This album helped define my love of late 70's British punk/New Wave rock that introduced me to similar sounding musicians and bands from the era, Graham Parker, Joe Jackson, Nick Lowe, Dave Edmunds (w/ Rockpile), Brinsley Schwarz and Ducks Deluxe. This was Elvis's amazing debut album and how many musicians have released 3 consecutive stunners from the start of their career this good? My Aim Is True has two of EC's career defining songs (Alison, Watching The Detectives) that are essential to any era and genre. His next album is even better with the addition of his semi-perma-band, The Attractions, but there's no doubt that wouldn't have been made without the accomplishment of My Aim Is True and it's impact and success..

More recently, I've been exploring and purchasing classic jazz albums. My first vinyl buy was a re-issue of A Love Supreme from John Coltrane without hearing any of it first. Of course, it blew me away and confirmed my new passion for jazz, which is beginning to snowball into an obsession. Great record, amazing lineup of super talent musicians and a recording that is seemingly timeless. A must-hear!

For my 300th review, I listened to Super Furry Animals album, Rings Around The World. An interesting listen, with a rich, lush sound and at times, the tunes have a retro feel, while others are sonically powerful and full. I enjoyed the album, not the best I've heard this week, but a well accomplished record, considering it's more recent than most on the list.

Having to endure at least three previous Bjork "projects" on this list, I wasn't looking forward to another. Bjork was a member of The Sugarcubes before she went solo and though she's still annoying and hard to listen to most of the time, it was a much easier to handle because I liked the sound of the band. A more standard, less unique, alt-rock style, the songs are catchy and at times quite good. The guy singing is also annoying, so it made me not hate Bjork's vocals so much. Believe it or not, I might even listen to this again!

I've only heard Coldplay via shows like SNL or when Chris Martin has guested on TV shows (Modern Family, Extras, Simpsons). They try hard to portray themselves as a sensitive, sentimental pop band than wants to be loved. I've read the backlash and hatred towards Coldplay that puts them in a similar category with Nickleback and James Blunt, songwriters/musicians that cause a divisive reaction when their music is played. If you put those opinions aside, what we have is an average British pop band that is somewhat overrated and musically nothing special. At first glance, they sound pleasant and positive, but after listening to the entire album, they leave me with a feeling of over-compensating sincerity. One listen was enough, I don't need to hear more and yes, I'm starting to believe the anti-Coldplay hype is justified.

At the time this album came out, I despised all Disco and couldn't stand anything this funky to dance to. Years later, my views and listening habits have "matured" and I can appreciate the musicianship and production that went into this music. I still don't purposely listen to Disco, but I won't turn it off or rant about how it's ruining rock 'n' roll if it comes on. It is what it is and it's not the worst way of spending an hour.

Though this album was recorded during the later part of his career, Hard Again, re-established Muddy Waters as one of the true Blues greats of our time. He sounds fresh and rejuvenated and his performance is top notch, making this an enjoyable listen. Makes me regret never seeing Muddy live!

A bit underwhelming, but it was still a pleasant listen and there is some good stuff here. Not something I'll spin regularly, but wouldn't turn it off if this came on.

I had never heard of this, so I expected this would sound like 90's Brit-Pop. At times it does, they definitely sound like Oasis on some tracks, while on others they almost sound like they could be American. This was an interesting and enjoyable listen, will have to listen again to get the full scope of the band.

I've haven't listened to much Joy Division, but what I've heard has been fine. I must admit the music didn't grab me and pull me in, instead it served as good background music that was enjoyable.

One of the best early albums by the Beatles when they definitely found their groove with a consistent album of hits and strong material. The filler is slimmed down without any throwaway songs. A solid record!

Generally, I'm not a big Frank Sinatra fan, but i was curious to hear his collaboration with Jobim. I enjoyed the bossa nova styling and the record gets off to a promising start with the classic, Girl From Ipanema, though I still prefer the Getz/Gilberto version. I thought the album lost some of it's charm towards the end, but overall Sinatra does a valiant effort with the material.

On the second album by the Beatles, they are still playing a lot of covers and their originals are getting better, but still haven't reached anywhere close to their potential. A strong record with the band bringing the energy from their live shows to the studio. Their earlier albums are good, but the best is yet to come. ***1/2 out of 5

This album contains a couple timeless classic songs that surpassed anything the trio produced during their solo careers, as their best music was as a group. This album is good, but their followup with Neil Young is even better. There's no doubt this record should be on this list, even for younger listeners, because of the influence it gave to it's genre. For older folks, this could the soundtrack of their lives from the late 60's.

Good rhymes and good beats that kept me interested and wanting to hear more. With that being said, I'm not a fan of Hip Hop or Rap and found it nu-relatable, but it was listenable and guiltily pleasurable.

Back in the day, I never got into The Smiths. My sister had their albums, I listened, they sounded okay, inoffensive, lush (at times), even keel music that was fine, but to me they were boring. I liked similar sounding bands and always felt The Smiths were a tad bit overrated and couldn't understand why they gained so much success and acclaim. This album is a good record, most of them are, but for me, not essential.

The opening track on Music In Exile, begins with a blast, tasty guitar sounds of upbeat blues! It settles into a satisfying album of interesting songs and musical stylings I rarely have heard. The only drawback is I wish I understood the lyrics and the meaning of the songs since it isn't sung in English, but it's well sung and doesn't detract too much. I wouldn't have otherwise heard this, if not for this list, thanks! I will listen again.

Even if you haven't listened to or understand Jazz, Time Out is a good starting out point. The songs sound familiar and you swear you've heard them before and you definitely know, Take 5, which has to be the most recognizable jazz song ever. Buy the album on vinyl (not CD!) and make sure to prop up the album jacket near your stereo system to provide you with enough Jazz cred to be cool. Really though, this is essential listening!

I tend to categorize Elvis Costello's album in three levels and categories, his first three or four albums are at the top of the list, the next level down would be some of his mid-80's records that are often overlooked and then a handful of throwaway records through the 90's and 2000's that are listenable, but far past his prime. I would rank Blood and Chocolate in the second level, a solid album of really good songs that is underrated and sometimes overlooked. It's not among his best albums, but he seems to be near the top of his game with outstanding contributions from The Attractions and producer, Nick Lowe. Definitely worth a listen.

Truly one the finest debut albums by a Canadian band, Funeral shines on almost every track and continues to be Arcade Fire's greatest achievement. I saw the band during the Funeral tour when it came out and I can't think of a better concert I've seen and the intensity and pure physical energy the band puts fore during their live shows was something to see. I've seen them since and the songs from Funeral are still the highlights of the shows. With Win Butler's recent douchey (toxic) behaviour with some fans, I can't bring myself to give 5 stars, the music and album deserve it, but the band has left me with question marks.

A brilliant debut album by the pioneers of the folk-rock genre with their jangly guitar sound that has been often imitated, but never quite as good as the Byrd's signature sound. Though this album is best known for the covers of Dylan songs, it's their original songs that take this record to the next level. Influential still to this day, this album is one of their best.

Overall the album is fine, there are some tracks I really like, yet there were many that aren't memorable. Fairly generic sounding Brit-Pop and If I played tracks of Oasis and The Verve, I probably couldn't differentiate the two bands and at times, I swear I was listening to U2. Nothing special here, but a pleasant and enjoyable listen. ***1/2

Did not enjoy this album. I don't mind K.D's earlier work with the Inclines with her high energy country and western, cow-punk style, but with her solo debut, she drags this genre to a loungy C & W, easy-listening pace that makes me wonder if this was meant as parody or a genuine attempt to pay tribute to Patsy Cline. At times, the arrangements come across as cheesy and it was sometimes painful to listen to and is only saved somewhat by her always incredible voice. There are other albums of K.D. I would deem more essential than Shadowland.

A classic prog-rock album that remains King Crimson's masterpiece. I first heard this on 8-track in our van and the title track rattled the hollow shell of the van interior even with it's shitty sound. Unfortunately, with 8-track tapes, some longer tracks are split up (mid-song) and that was the case with, In The Court of the Crimson King. Hearing on a proper stereo (or on headphones), it really highlights the details and lushness of the sound and the epic magnitude of the songs. Based just on a couple track of the key tracks, this could be 5 stars, but I felt some of the quieter, weird jazzy bits dragged it down a bit.

Politically and influentially, this is an important album of hip hop and rap. Musically, the beats and the sampling are fine, though overall it doesn't move me or make me want to hear more. I acknowledge this is essential for some and I don't dislike it, but it's not for me.

Two back to back Public Enemy albums? I didn't exactly give the previous one (It Takes A Nation...) a glowing review, I thought it was listenable and well done. Fear Of A Black Planet, I thought was more engaging with more interesting beats and as a whole was a more solid record. I'm still not a fan of the genre, so I have hesitation to give it a super glowing review, but this is as good as it gets for me for rap, so let's move on!

Not a bad listen, I have been known to listen to some ska and the songs have an accessible soul sound. A bit blah at times, not as solid and consistent as their debut album, so overall nothing special here.

Enjoyable enough, lots to like here and Stevie is in fine form. Solid, yet I was starting to lose interest about half way through. Not really a big fan of Stevie, though it's hard to dislike him and Higher Ground is definitely a great song!

I didn't know what to expect and I have to admit I enjoyed it. It's not something I would listen to often, but it was refreshing and the sampling definitely brought a different element to the music. A fairly safe hip-hop/rap choice.

An interesting listen, as I'm familiar with Weller through The Jam, a band I love, though their style gradually began to shift towards of end the band's run and evolved into Weller's next band, The Style Council. I wasn't a big fan of the Style Council, probably because they weren't the Jam, as they moved away from anything punk and it bored me. This Weller solo album caught me by surprise because it sounds so much like the 70's (English and American), perhaps like something Steve Winwood would record (Traffic?), with a easy-listening, AOR sound. I liked a lot of it and some I didn't care for as much, but overall it's a mature sounding record, clearly not concerned with radio hits or commercial success, so I have to give him credit for that.

Arguably, this was The Who's masterpiece. Tommy and Quadrophenia, both were epic double albums and in some ways were more important accomplishments, but what set, Who's Next apart is the fact it's a single record under 45 minutes. There is less filler and features some of their most recognizable songs, Won't Get Fooled Again and Baba O'Riley. It's also contains other great songs, Behind Blue Eyes (a beautiful tune), Bargain, My Wife (sung and written by Entwistle) and Going Mobile (sung by Townsend), that place this album as one of their best. It was a good decision by Pete Townsend to condense his, Lifehouse project down to the 9 tracks that appeared on the record. Not to mention, the classic album cover photo!

You can understand why heavy metal is so easily parodied, the cliches are all here starting with the band name (Venom!), the album title (black (darkness)+metal= Black Metal!), the song titles (To Hell and Back, Buried Alive, Raise The Dead, Leave Me In Hell, Sacrifice, At War with Satan...), album cover (demon face+inverted pentacle star+666+inverted cross=satanic imagery, obviously!). I don't generally enjoy heavy metal music, but can appreciate the effort, (sometimes) this hits all the anti-mainstream sub-genres, speed metal, thrash metal, extreme metal, black metal, but it feels like they're trying way too hard to be offensive and satanic. I'm not offended, but they take themselves way too seriously and though punk and hardcore are musical cousins, at least most punk (and HC) bands have a sense of humour (well, maybe not Rollins!) and/or have an awareness they aren't demon anti-Christs that are saving the world.

Last post, I compared punk/Hardcore to Heavy dark metal, in that Metal sometimes takes themselves too seriously and punk at least has a sense of humour and is angry music in a different way. I was directly thinking of the Circle Jerks, probably the first hardcore punk band I liked and was amused by their political and social messaging in their songs. Group Sex is my first exposure to the Jerks and boy did it make an impression! There 14 songs in just over 15 minutes, yet this is an epic record that remains one of the best of it's genre. It's tight, it's fast and it actual made me laugh a few times because of the absurdity of the songs and the pure raw energy of the band. Back in the day, I put this album and Wild In The Street on one side of a 90 minute cassette (Buzzcocks on the other side) and it was probably my most played tape. Still play it to this day!

The last album I reviewed contained 14 songs in 15 minutes of running time, HBS has only 4 songs with two lengthy songs over 12 minutes each. On the 18:42, By The Time I Get to Phoenix, Hayes spends a good part of the first half of the song talking and by the time he gets to the music the song is halfway done. As a general preference, I'm not a huge fan of epic length songs, but the opening track (12:03), the Bacharach/David, Walk On By, is a great song and it doesn't seem too long. It's a nice groove to open with and overall it's nice listen. Previously, I had only heard Hayes because of the Theme From Shaft and this is a solid record from the Soul legend.

I first heard Sufjan Stevens with his Michigan album and was intrigued by the concept of an album for every US state and wondered how far he'd get (spoiler alert: he didn't get very far). It's a shame he didn't get beyond Illinois, but what he did accomplish with this album was quite an achievement. Michigan was a really good record and Illinois was even better with even more focus and detail in the lyrics about the state and the music continued to impress. The music is beautiful and lavishly performed with orchestrated details that are beyond anything I expected from an indie performer and he explores many genres with much competence. Illinois is one of my favourite states and he does it justice with a near-great album.

An appropriate album to rate, since today is International Clash Day! The Clash is one of the best Punk debut albums, not only punk, but any genre. I would consider this even better than Never Mind The Bollocks and the first album by the Ramones. From start to finish, the songs hit fast and hard, clear and concise, a true punk classic. Definitely essential!

I don't own this album, but being of a certain age, most people I know do. Tapestry is one of the top selling albums of all time, so the odds are pretty good there's a copy in your parents home and for good reason, it's a classic record. From an era when albums were at it's peak, this record contains so many hit singles, making this King's "greatest hits" album and when listening to it, you'll probably recognize most of the songs or have heard them at some point. This album is the gold standard for female singer-songwriters and though I don't own a copy, it certainly is an essential listen for anyone that enjoys good pop music, which I do.

First of all, the Kinks are one of my favourite bands of all time and they have released a ton of good music, I would rank Something Else in my top 3 Kinks albums. This album began an amazing run of albums from the late 60's to early 70's (Arthur, Lola, Village Green and Muswell) which is a testament to the great songwriting and musicianship of the band. Something Else doesn't rely just on hit singles, though arguably Waterloo Sunset is one their best, it's a wonderful collection of eclectic songs filled with nostalgia, sentiment and humor. How many bands can use a harpsichord to good effect (Two sisters) in a "rock song? If you think of the Kinks only because of All Day and All Night, You Really Got Me and Lola, explore the depth and brilliance of these essential albums for the full Kinks experience.

Full disclosure: I've owned this album for years and I don't think I've actually listened to all 3 LP's, for sure not at the same time. To properly review this sprawling album set, I did listen to all of it and my immediate impression is that if it was a single album it would be hands down 5 stars. Even as a double album, it's loaded with good songs (a couple of his best) some filler and it's still a rewarding listen. The third album contains the longer jams, which is interesting, but in modern day releases, this would be the bonus tracks separate from the main album. As it is overall, this is Harrison's masterpiece, with world class musician friends as support and it's truly is an epic record, too bad it's a tad bit long.

An okay listen, didn't really resonate with me, but I listened to the whole thing without feeling I didn't like it. Seems to be a lot of Cure on the list.

When I think of Latin music, this is pretty much it! This is the real deal, from one the best in the genre, bandleader, Tito Puente. High energy, infectious beats, how can you sit on your ass when you listen to this. Much appreciated background music, but if you were in a club this would be fun. Not usually what I would listen to, but so much better than most of the albums on this list.

Interesting listen, most of it enjoyable. Probably would be enhanced with the proper mood. Perhaps it would be something to throw on late at night in a dimly lit room and a bottle of booze. Reminds me a bit of Tom Waits, which is always a good thing.

The Meat Puppets are one of those hardcore punk bands on SST that evolved to a more mainstream sound, from fast and loud to chill and low key. I have Meat Puppets II on both vinyl and cassette, despite the fact I'm not a huge follower of the band. The first record was too fast and unintelligible, while their albums after II were a bit boring for my taste. On the second album, I compare it to the Replacements, Hootenanny album, their breakthrough record where their sound brought in more musical genres, styles and wrote more accessible songs. For me, this album was my sweet-spot, I still enjoyed the off-key vocals, ragged, sometimes off putting songs and it was punk enough to keep my interest. Though their sound is not for everyone's taste, I really like this album. Love the cover art too!

Thanks to this list, I've been exposed to more rap and hip-hop music than ever before. I can't begin to say I'm an expert or even understand a lot of it, but at least I can differentiate genuine badass rap from wanna-be bullshit crap and Ice Cube's first solo album is the real deal! The beats are great and he has lots to say, with the obvious misogyny aside, many of the issues are still relevant today. A solid record and a good listen.

Goo was the follow-up to Daydream Nation, which I would consider Sonic Youth's masterpiece, and it had the added pressure of being their major label debut. Up to this point it became their most commercially successful with an increased audience and fan base. The music was less noisy than their previous records and for the most part, was their most accessible sounding album. This was an important alternative/punk record that was a commercial breakthrough and paved the way for the mainstream success for bands like, Nirvana and Green Day. I like the sound of this record as they still retain their raw, primal energy, while the structure of the songs are shorter and more listenable. Personally, I feel Goo and Daydream Nation were the peak period for Sonic Youth.

I didn't realize this record was from so early in the 70's though their music has been a staple radio during the 70's and on classic rock stations. They've been on my radar since I was a teen, I like their music, but it didn't engage me enough and I didn't have the desire to buy their records or see them live. Above average 70's rock, there's lot more enjoyable bands/music, but if you're forced to listen to something on the radio, Zed Zed (I'm Canadian) is okay and not the worst choice...

The music doesn't interest me at all and it was a challenge to listen to the whole thing. I lost the challenge after about an hour and a half and had to turn it off. Self indulgent and boring are just two of the words that come to mind. No.

Wonderfully noisy, loud and intense, so not an ideal background music while reading novels on a sunny afternoon. In the proper context and environment, like sitting in a dark damp basement, a respectably decent album that raises your heartbeat. Slightly above average, but probably won't revisit this for a while and I won't miss it.

Besides the hit singles from this album by Simply Red, I hadn't heard the rest of the songs and was somewhat surprised how jazz-influenced it is. Mick has a strong voice and carries the songs, but the music has a slick faux-jazz, R & B sound that is okay, but wears thin quickly. I was never a fan of Simply Red, simply because of the songs I heard on the radio never interested me. As a whole, a strong debut, but definitely not my idea of essential.

When I was growing up, this was what country music sounded like and I have to admit I'm not a fan, though Dolly makes it a little more tolerable. Parton is now in the Rock 'n' Roll Hall of fame, but don't be fooled, there is NO rock and/roll on this record! The album itself is listenable and there are some worthwhile songs on here, but the genre generally is miserable and avoidable, at least for my tastes. Sorry Dolly!

I'm not usually a fan of funky hip hop soul jazz, but her voice is so easy to love and the music was very nice to listen to. Can't really remember specific songs and I didn't listen too closely to the lyrics, so I'm probably not the most "qualified" to review this album. I didn't have much expectations before, so I was pleasantly surprised I liked, I liked it a lot! Recommended, but not essential.

2Stars for 2Pac.

With an album and title track called, 1984, predictably the album opens with a cheezy "futuristic" instrumental which is an indication the synths have invaded the Van Halen sound. Jump was a song the Winnipeg Jets used back in the 80's when the team took the ice. To bring back the nostalgia of the "old days", they have started to play the song again to remind fans how shitty the team was. Panama and Hot For Teacher rocks out like the "old days", but the rest of the record brings out the worst of the supposed "hair metal" genre which in reality is a watered down version of synth/glam rock gone wrong and mugging to the camera on MTV. The last VH record that mattered if you're a fan and for the rest of us, please go away!

Madness is one of those many British bands that had moderate success in England, but didn't enjoy as much of a fan base in America. The music is fine, the band explores a wider range of musical styles beyond ska, which for the most part works, but I feel they're a bit generic and not memorable. I enjoyed it, I just can't understand how this made the essential list.

Much better than I was expecting. Not just stupid fast hardcore, but intelligent, punk rock that had substance and musically more diverse than your average punk band. Don't really want to say I thoroughly enjoyed, but I was intrigued and wanted to hear more. This is an important band and for some would be essential, at the very least they were influential and original.

Leonard Cohen released a lot of albums and his early works remain his strongest. I'm not a fan of Cohen, but his early records have a certain appeal and if you enjoy dreary, depressing stories, he's the man for you. In a proper mood and listening environment, this is good stuff, but doesn't seem like the type of music appropriate your workout or upbeat party. Proceed with caution. The title says it all, definitely songs of love and hate!

After listening to, Back At the Chicken Shack by Jimmy Smith, I have to reconsider my dislike for the organ. Through it's association with church and sporting events, I never really consider the organ I viable instrument in a band, but this record is a fabulous jazz album that is enhanced by the warmth of Mr. Smith's organ. Perfect background music for a cool brisk day dreaming of summer. Very nice!

I'm usually open to most genres of music and I enjoy most folk music and can appreciate the musicianship and skill. After listening to The Hangman's Beautiful Daughter, I realize there are exceptions. If you take the worst aspects of Donovan's psychedelic period, mix it with the most intolerant Irish Rovers songs fronted by a horrible singer, you have the Incredibly Horrible String Band. My lowest rating on this list is reserved for unlistenable, grating, abrasive music I can't stand (usually metal and rap) and I can add this to the lowest of the low. More proof that "folk" music can be played by all, it's just somehow someone thinks this is essential, what???

A wide range of musical styles and genre make for a strange, though interesting mix of music that is somehow associated with Malcolm McLaren? I've never taken anything seriously from Malcolm (Pistols, perfect example) and I found it a challenging listen, but if you listen to it without any pretenses or expectations, the music is fun and spirited.

When I think of the career defining album of James Taylor, it's only, Sweet Baby James. Not only it his top selling, critically acclaimed and highest charted album (?), it's also his most consistent and memorable. If you're new to Taylor, skip the greatest hits record and start with SBJ. It contains his most classic songs before he became boring and self-indulgent.

The Killer Queen 45 was the first Queen music I bought and the album, Sheer Heart Attack remains one of my favourite albums (tied with Bohemian Rhapsody) of Queen. After their first two meandering albums, Queen pulled it together and released a great rock record, that straddled the genres of prog and metal and with songs like, Killer Queen, Flick Of The Wrist and Brighton Rock, proved the band can write radio-friendly music. I bailed on the band after, Day At The Races as they became much too mainstream and pop music hit machines. It's too bad.

The Jam released a lot of really good albums and Sound Affects is overall one of their finest moments. I think it's their most complete and consistent albums with some classic tracks such as, Start!, Boy About Town, Monday and perhaps Paul Weller's masterpiece, That's Entertainment. A beautiful and wonderfully full sound that reminds me of peak period late 60's, Kinks. Definitely essential!

Can't say I'm a fan of Ozzy, but when I need to hear Ozzy at his best, the first four Black Sabbath albums is all you need. This is hard rocking, stoner rock at it's best, when heavy metal wasn't about hair spray and wanna-be posers and all about loud guitars, heavy bass, tight drums and worshiping the devil. Oh, the early 70's was a good time for music!

Long before Randy Newman sold his soul to the Disney corporation, Newman was considered a legitimately talented singer-songwriter musician type who produced critically acclaimed records. His early 70's albums are interesting and quite good, but then he had a big hit (Short People) and things blew up from there. Then for whatever reason Disney came calling and yes, he sold out to the mouse. Sail Away is an okay enough, can't say I didn't like it, but it's hard to listen to the songs without thinking about Buzz and Woody.

One of the most important debut albums of the 60's that introduced us to The Who, who continue to tour even to this day. My Generation may not be their greatest album, but the title track is THE song I think of when I think of The Who and powerful, intense, explosive sound of the album was the blueprint for the trademark Who sound. They are still finding their footing, as they are still playing some covers, but by the third album, Townsend's songwriting was better than any covers. Essential, but there are better Who albums.

When this album first came out I dismissed it as a poor man's, Faces. Clearly, Chris Robinson was channeling his best Rod Stewart impression and his brother Rich, emulating his Ron Wood/Keith Richards side-kick role. I couldn't deny, I liked the music, as I enjoy bar-band, basic rock 'n' roll. Listening now all these years later and I can hear the appeal of band as they have continued to deliver a solid rock/blues sound. I should also appreciate the fact the music at the time on the radio was moving away from the rock format to a more pop, hip-hoppy, youth targeted style I loathe so much. The Crowes had kept alive the spirit of classic 70's rock and updated it. Their debut is still their best album, filled with some good songs and is well worth re-discovering.

Apart from the song, Come On Feel the Noize, I hadn't listened to any Slade and that was second-hand as that song "popularized" by Quiet Riot, annoys the crap out of me anytime I hear it on the radio. Slade is an okay rock band, though so generic they are hard to differentiate from other similar sounding 70's hard rock bands and you can hear their influence on early Queen. I listened to the whole thing, because there wasn't much to hate, but I will take a pass if I see a Slade album at the record store.

Nina Simone is regarded as one of the finest vocalists of our time and this album highlights her strong and powerful voice. I hadn't listened to much Simone, it captivated me, but lost a bit of my attention towards the end. Overall, well worth the listen, but it requires you to be in the proper mood and mindset to enjoy it to the maximum.

Don't really have a knowledge of what makes good R & B album, so I will have to rate it based on my tolerance level. It was fine listen, didn't have any complaints or a reason to not like it. The listening flew by, which is a good sign , but even now I can't remember much of what I listened to. Not forgettable, but just not what I would listen to normally or would seek out.

Classic record from the Kinks. The Kinks were known in their early days for their hit singles, but by the mid-60's they strung together some great albums. Except for maybe, Victoria, songs from Arthur weren't on greatest hit albums, instead the album was consistently excellent with well crafted and intelligent songs written by the Davies brothers. This is peak Kinks, one of my all-time favourite albums and it holds up today as one of their finest achievements of their career. Must hear, essential!

Slick and smooth sounding, but didn't really engage me enough to care about what the songs were about. It was nice to listen to, I liked most of it and I didn't have the urge to turn it off, which is a good thing.

I have this album on vinyl in my attempt to listen to more Everly's album tracks instead of only the "Best Of" or "Greatest Hits" compilations. Apart from Cathy's Clown and Love Hurts, the rest of the songs are fine, but the quality is inconsistent. Short, but overall very listenable and enjoyable.

After a run of uneven and commercially disappointing albums in the early 70's, Joel hit it big with the release of The Stranger. This was my introduction to Billy Joel with plenty of radio play for Just The Way You Are and The Good Die Young which fit in with what I was listening to at the time (Elton John, Paul McCartney...etc). I didn't buy this album, as most of the good songs were already on the radio, back in a time when I used to tape songs directly off the radio. I hadn't heard the whole record in a while and I must admit it brings a lot of nostalgic memories. I would never admit I'm a fan of Joel's music, but this album personally is all I need to hear from his exhaustive catalogue.

A pleasant listen, not usually what I would listen to, but enjoyable enough. I can hear a lot of different influences and musical styles, so it was interesting, though I had it on mainly as background music.

At the time when the debut album from Elastica was released, I didn't pay much attention to the record. It was a time when alternative bands were becoming more noticed and female fronted bands from the the Riot Grrrl era were getting much attention and signed by mainstream labels. What a time for music, lots of good music being produced from bands that were otherwise considered underground and alternative. Elastica had a cleaner, more polished post-punk sound and image that I now realize is a band I should have taken notice of more. This album is high energy, loud and incredibly catchy. All thriller, no filler and I'm so sorry I didn't catch on earlier. Unfortunately, besides a second album in 2000, I would consider the band a one-album wonder, but oh what an album!

Classic Blues, a raw, live performance from the great Muddy Waters! Authentic American blues that obviously had an influence on the British hard rock bands of the late 60's/early 70's such as Zeppelin, Yardbirds, Fleetwood Mac, the Stones, Hendrix...etc . Put aside your Clapton records and give this a listen, this is the real deal!

This is the mainstream rap/hip hop I grew up hearing thanks to music television (MuchMusic) and the album was a huge hit and definitely helped to popularize the genre. Listening now, it feels like a parody of rap and I can't take the music seriously. With that being said, it's listenable and a good non-threatening gateway entry to the genre if you like this sort of thing.

Not a bad listen, underwhelming at times, but for the most part a decent effort. For me, so many Brit-pop bands remind me of Radiohead with Bono from U2 on vocals, which is okay, but a bit too generic sounding for my tastes.

This is one of those albums I bought recently because everyone should own this record on vinyl. For novelty and nostalgic reasons, Devo is one of those one-of-a kind bands that had an interesting concept and took it as far as they could. I first saw them on TV (SNL or Fridays?) around this time and well, they were hilarious! Personally, I liked them best on the early albums, as their sound was fresh and exciting on the debut, but loses steam towards the end. Still an enjoyable listen and you can't help, but visualize those goofy hats.

Not really my genre, so I'm not a fan, but it was a solidly good listen. Enjoyed it enough to listen to the end, so that's saying something.

Kinda groovy and funky, with a cool laid-back sound. Not a bad listen on a sunny afternoon looking out at the melting snow in the yard. I guess this is what defines easy listening music.

I don't know why, but I've never listened to Prefab Sprout until now. I may have had a preconceived opinion of the band without hearing them thinking they were another boring Brit-Pop band. From the first track until the end I was pleasantly surprised they sounded good and I ended up enjoying the album. A solid record that isn't stuck in one genre or style and overall a fun and interesting listen. On the bonus disc, I appreciated the acoustic versions of the songs that really showcase the strength of the songwriting.

Not a fan of Cohen's "modern" sound, but it did revitalize his career and found a new younger audience for his work. There are some good songs on here and maybe even some of his best known works. Let's face it, he's not a great singer and I prefer his earliest albums, but someone thinks he's cool. His old fans (middle-age women) and younger woman in their 20's love this old French-Canadian guy for some reason. He's just not my man.

A great album by the Band with some true classic songs, along with some deep tracks that make this a solid record. Still sounds fine after all these years!

I remember when I bought a used copy of this album in the early 80's I was slightly disappointed. I knew this "super-group" had many radio hits and were highly regarded, but it was duller and less dynamic than I hoped. It's not to say the album wasn't good, it has many memorable songs on it, but I was still underwhelmed. I always liked Mick Ralphs from his time with Mott the Hoople and he wrote the best songs on the album. Can't Get Enough is a solid rocker and I prefer the Ralph's sung, Mott version of, "Ready For Love". Movin' On was also recorded with Mott before he joined B.C. Still, this is one of Bad Company's best albums and worth having in your collection. 3.5/5

When this first came out I was excited to hear it. It was a sonically, fast attack of female-fronted indie-rock that was refreshing and much needed coming out of the grunge era. This led to similar sounding bands around this time, but this debut by the Yeah Yeah Yeahs remains a high point and personally speaking, the best from the band. Haven't cared much for their other releases, as their sound wears thin and tired after a while.

Classic album by the Kinks! Peak period for the Kinks with an album devoid of any hit singles, yet has a strong collection of songs that highlight the quality songwriting and musicianship that has been the core strength of the band. This probably was a commercial flop at the time, but artistry shouldn't be judged by sales. This is one of the few deluxe box sets I own, because I want to hear all the music from the recording sessions over multiple vinyl platters, both mono and stereo. I can't say the same for most albums.

As much as I wanted to like this album, it starts out strong, it has it's moments and some of the songs are enjoyable, but eventually it felt too long and ran out of good ideas. I started to sound all too familiar, like a heard it before. I'm not a Madonna fan, at all, and I do my best to avoid reading about her personal life or listen to her music. You can do a lot worse than Ray of Light, probably the only Madonna record I listened to from top to bottom, but personally, this is not essential, at all, even if I was a Madonna fan.

I was wasn't expecting much, as I know some of Eno's work is challenging to listen to, so I was pleasantly surprised it wasn't bad. Sounds similar to bands he was producing around this time, Talking Heads, Bowie (not surprising) and his music is somewhat interesting without sounding commercial (also not surprising). A solid listen, but not for all tastes.

You can't deny the appeal of AC/DC, especially if you're a male that just wants to rock out! I was in high school when this album was released and the cool headbanger kids (yes, it's an oxymoron) had their logo drawn in pen on the back of their jean jackets. I don't see any appeal for girls that age unless they aspire to hangout with the burnouts and if Bevis or Butthead wears their shirt, they must be cool!. This is the type of music you crank up in your car or at home after a hard day at school or the office, take off the necktie, put on a black t, turn to volume to 11 and turn your brain off for an hour. It might seem silly to be stuck listening to the same band for 40 years, but who doesn't like living in the past, right?

If you have a fever for old-time crooners, a dose of Frank Sinatra is just what the doctor ordered. If you wanted to describe Frank's music to a newbie, play this album, it's a classic Sinatra album and it's a perfect example of his sound. He's the original Bublé and no one can croon the standards like Sinatra!

I like to equate psychedelic-rock with abstract art because it's hard to judge when it's good, but you know when it's bad. The sound of this art-rock debut from Pink Floyd, is a long way from the sound of their masterpiece, Dark Side Of The Moon released many years later and almost sounds like a different band. There are small glimpses of what was to come, but this is the only PF album with founding member, Syd Barrett. It's full of weird and strange psychedelic sounds that is sometimes painful and difficult to listen to, but there must be something to this, right? I've tried to listen to this record several times over the years and finally listened to it in it's entirety for this review. If you listen to it for what it is (a "art-rock-psych-concept" album), it's a rewarding experience, but it's definitely not for everyone and not suitable for dinner parties, unless everyone is on drugs.

There's no doubt that, There She Goes, is a near perfect pop song that I admit, don't get tired of hearing. It's been used in countless ads and soundtracks for good reason, because it evokes a certain warm fuzzy feeling and nostalgia. As for the rest of the album, it's not the same thing over and over, it has variety and depth, but would it stand on it's own without, There She Goes?...yes. It's a shame The La's didn't get around to release another album, because their debut showed such promise, but at least they have one great song to leave in their memory, which is more than most bands can say.

I was introduced to the Silver Jews through a friend and was curious mainly because of David Berman's association with Stephen Malkmus and they do sound a lot like Pavement. The band produced some pretty decent records and was surprised, Bright Flight made the list. I would have considered American Waters or Tanglewood Numbers before Flight, because I thought they were better records and there were no contributions from Malkmus on Bright Flight. The songs are okay, but at times Berman sounds like a drunken David Lowery from Camper Van Beethoven. Of course, the lyrics are great, but is it essential? No, but an important and interesting band.

Better than average Brit-Pop, first time listener and I enjoyed what I heard. Of course, I've heard of The Stone Roses, but never got around to listening to them and I can understand why fans and critics like them. Poppy, infectious and even a dose of classic rock in their sound, which exceeded what I was expecting.

Someone else's review said RATM sound like a cross between the Red Hot Chili Peppers and the Beastie Boys and that's the first thing that came to mind when I heard this album. The sound is harsher and more intense and I'm guessing more politically motivated. I also think they are bit overrated from what I read and heard and though the music is original and good, it's nothing that will make me go out and buy the record. The band has a large following, so obviously the band has enjoyed much success, so i might be in the minority. It's good, but not memorable or great.

Sister is the album that turned the corner for Sonic Youth. It was their most cohesive effort so far in their career, as their earlier albums were filled with loud noise, experimental sounds and a lot of energy with very loose song structure. They turned some of that energy and noise into more of a recognizable song structure and released their most listenable record so far. I consider Sister as Sonic Youth's, "sweet spot" record where they continued to bash out art rock-noise without compromising their "no wave" attitude, while growing artistically and evolving their sound. The results are quite good and they expanded their sound by the next album, the classic, Daydream Nation. An important record!

The Offspring is one of those bands I've managed to avoid listing to (on purpose), though it's hard to avoid, "Come Out And Play", which seems to appear everywhere. Actually, I don't mind that song, though too much of anything is tiring and separated. I've considered them one of those bands that help take punk rock (along with...Green Day) to the mainstream, well at least pop-punk and is the ideal band for newbies of the genre. Inoffensive, but edgy enough to spike your hair and get multiple tattoos on your face to make your parents nervous. The music is fine, but nothing that hasn't been done before and there are a lot more less popular bands that do it better and are less annoying.

A refreshing change from some of the other choices on the list. Low key Aussie-Rock that probably doesn't get the love it deserves here in America. I wouldn't consider this essential, but it should be heard and the quality is appreciated. A good listen!

I've always thought Chicago's best albums were their early records in particular their first two. The band was jazz-fusion heavy with long jams along with some of their best known songs. The debut (when they were still called), Chicago Transit Authority is a daring double album with several overlong songs that sometimes tries our patience, but if you can make it through the whole album, it's quite good, at least the musicianship and performance. I own this on vinyl, but only until now have listened to it in it's entirety in one sitting. I'll admit, I'll cherry pick next listen and it could have benefited by a better editor or perhaps a single LP instead of a double.

Hadn't heard this until now. Though the music on The Next Day doesn't break any new ground, it is an enjoyable record and a fine way to close a spectacular career. His music hasn't interested me for the past couple decades, but he rocks out on this one and reminds me of vintage Bowie. A commendable swan song.

I normally don't care for hip-hop or rap, but this album from MC Solaar was a joy to listen to. Maybe it was because it was sung in French and I couldn't understand what was being said (everything sounds better in french), but it also had cool beats and a nice jazzy feel to it. To me, the voice was another instrument and it smoothly contributed to the overall sound that was both easy to listen to and relaxing. It was definitely better than I expected!

It is commendable that Nick Cave can write songs about such gruesome and unpleasant subject matter without sounding too grim. He does set the atmosphere and mood admirably with his "Tom Waits-like"growl with interesting storytelling. I'm not a big fan, but I'm intrigued and I'll categorize this under the, "listen again later" file.

If there was ever a band that sounded like where they were from, Calexico would be one of them. Combining a Tex-Mex/Americana sound, I would guess they hailed from the desert or more specifically Arizona. They may not be ground breaking, but they bring together different styles and sounds for a very satisfying mix and pleasant listening experience. This album is an excellent showcase and well worth the time. I saw the band opening for Arcade Fire years ago and they impressed me, but the boomy sound of the large venue definitely made it difficult to hear and didn't do the band justice. I would much prefer to see the band in an intimate-size bar room in the desert.

My younger self wouldn't have taken the time to listen to this album in it's entirety, but as I get older my musical tastes have expanded and I try to appreciate more musical styles. With that being said, on this record, Sly & The Family Stone have a lot of energy and the funky beats can't be ignored. It's an interesting listen and the songs seem to have a darker edge and not such a "happy go-lucky" sound. A solid album with a lot going on and I'm glad I took the time to listen to.

A good loud, grungy, rocky and noisy album that gives PJ the cred she deserves. It's an "in your face" rock record that I prefer over some of her later projects. I guess her early work could be deemed essential or at least worth the listen.

A little too much repetitive, droning, boring sounds for me. It felt like a never ending soundtrack to a video game or a Matrix-like film, that is fine, but not my idea of a good time. Good background noise, if you're at a club or rave or some electronica festival with DJ's dressed as machines. If this is someone's idea of the future, I'm content with my old dad-rock.

Putting aside politics and my general distaste for the man, this album is a collection of some of the worst songs I've ever heard. Song after song of Rock spewing his idiocy and stupid revelations is grade school level name calling. His "gangster" persona putting his hoes, bitches and whores in their place is so laughable, this could work if it was intended to be parody, but I suspect Rock takes himself very seriously. When it came to the song with heavy auto-tune, I burst out laughing and the only thing more hilarious was whoever thought, Devil Without A Cause was essential! Avoid at all costs!!

An interesting mix of different styles and an eclectic collection of strong songs from the band's debut record. This approach can be risky and hit and miss, but fortunately there are more hits than misses. Their music offers a lot of things I like, with a retro 60's sound, modernized for the mid-90's, so I really enjoyed the whole record. I need to explore the rest of Super Furry Animals discography and see how the rest of their career played out. By the way, one of the best band names I've heard in a while!

Apart from Sweet Dreams, the rest of the songs on the album are fairly disposable and apart from a couple others, filler. I admit, Sweet Dreams has a certain nostalgic quality to it, since I grew up during this era so I couldn't avoid it, but I never got into the Eurythmics and I'm not a fan of this genre at all. One star for the hit and one star for the rest of the record.

Actually it was more listenable than I expected. I've heard some Depeche Mode before and they never connected with me probably because I'm not a fan of 80's synth-pop. A little more to it than the robotic electronic mush I was expecting with some decent instrumentation and dance-able beats, but it's true what the Dead Milkmen said, "you'll dance to anything"

I never got into Pearl Jam as much as other Seattle bands from the grunge era and though most of them had their strengths and weaknesses, Pearl Jam emerged to the top, at least commercially and gained a large mainstream following. What's not to love, an impactful, power vocalist in Eddie Vedder and a talented band that were a great live band with many memorable songs. Their debut, Ten was undeniably an important record that had enough good songs to justify their popularity and though I've never owned or streamed this album (before now), I can't believe how many songs I've heard before. It's aged well and over 30 years later it's both a time piece to the era and a reminder that Seattle has produced some really good bands.

I had never heard of Mike Ladd, I'm not into hip-hop. I don't actively seek it out so I'm not surprised. Nothing extraordinary here, the beats are fine and most of it was listenable, it makes for decent background music and the best I can say is I didn't not like it. Not essential for me.

I've listened to Traffic in the past and for the most part enjoyed their music. First time listening to John Barleycorn Must Die and I must say I liked it and surprised by the amazing musicianship. There is lots to like with a very cool jazzy-rock fusion sound with nice piano and flute bits something I didn't appreciate in my younger days. I've always liked Steve Winwood voice who can make anything sound good and he's in good form on this album. This will lead me to listen to more Traffic records.

It's okay, I'm not a fan of much electronica dance music so I can't say I'd listen again, but the girl's vocals are refreshing and the beats are fine. I don't love it, but I don't hate it. 3/5

I bought a used copy of this record back in the early-80's and though I had been a fan of the Byrds earlier albums, I only listened to Sweetheart once before decided it wasn't for me. I was never a fan of Country music, so it sounded too country for my tastes, though it still had some elements of "rock" in it. Fast forward a decade later and a lot of the music I was listening to had plenty of Country-rock vibes to it which was updated and "re-branded" in the 80's and 90's, as Alt-Country. This genre produced some great bands, Uncle Tupelo, Long Ryders, Jayhawks etc and opened my ears to the possibilities of meshing rock and country together with an alternative edge. More recently, I have been spinning Sweetheart of the Rodeo often and it's influence and it's pioneering musical style is undeniable. Thank the Byrds for this bold statement in 1968.

I remember when this was released it was such a phenomena, it won several awards and received numerous accolades and something like 10 Grammy nominations in 1998 (best album of the 90's?), so I assumed it was pretty amazing. I finally listened to the whole album and personally I think it's overrated and a bit underwhelming. Sure, she has a great voice and some of the songs are fine, but I don't get the hype and found nothing spectacular or essential that made me love it. The weird skits/dialogue makes it seem more self-important than it is and I get it's a "concept" album, but sorry it lost me and was middle of the road, at best.

I hadn't knowingly listened to Taylor Swift's music until this album, 1989. I downloaded it along with Ryan Adam's interpretation of his track by track album covering 1989. It is clear I am not a Swifty and not her target audience, as she fills the void left from Britney, Christina and Selena for the financially precious white, middle class, preteen girl target group that seems to drive music business nowadays, but Taylor is above the others because she writes her own songs! Apparently, she has the cred as she entered the "prestigious" Songwriters Hall of Fame four years before this album, so she's clearly gifted and a true talent...for country music. On 1989, it's such a synth-pop mush, it hides any kind of "elite" songwriting and all I hear is a bunch of electronic, dance poppy robotic shit with so little substance it lowers it's standards to appeal to young girls and their gullible parents who are so proudly supportive of their daughter's musical tastes. Blonde, beautiful, rich..."she's such a great role model", let's throw more money her way when she's on tour. P.S. by comparison, the Ryan Adams album is the stripped down version of 1989, at times sounding like, Springsteen covering Taylor Swift. An alt-country, indie rock record that bares no similarities to the Swift record at all, which is a good thing as you would never know these songs are covers. Hey wait, it's not a bad album after all.

Another synth-pop band from the 80's I avoided. Until now, never listened to more than a couple songs and it's so bland I don't need to hear anymore. Kind of a British poor-man's version of Michael Jackson, though Scritti Politti seems to lack Mikey's passion and emotion and it's not my kind of music.

I hadn't thought about Harry Nilsson's music in years, but thanks to the Russian Doll TV show, his song, Gotta Get Up was upfront and center throughout the first season. I had thought of Nilsson more as a drinking buddy of John Lennon, and though I was aware of a lot of his songs, hadn't taken the time to listen to a complete album. I sometimes confuse Nilsson's music with Badfinger, and for good reason, they both definitely had a Beatlesque sound and the classic, Without You is written by Pete Ham and Tom Evans from Badfinger. Nilsson Schmilsson is the essential Harry Nilsson album and is the high point of his career. I enjoyed it and often wonder why I haven't listened to more of his music. Pretty good for a guy in a bathrobe on the cover.

After reading the intriguing backstory about the making of this album and the life of Skip Spence, I was curious to listen to this record. It starts out promising with a hint of Leonard Cohen and Lou Reed in his voice and the songs are strong and credible. Eventually, the songs slowly deteriorate and they come across as demos, fragments and unfinished, not fully realized pieces. Towards the end, the songs sound like, "running the tapes at all times to record everything that Spence did". Does troubled minds + mental illness = creative genius? Sometimes, producer David Rubinson saw something in Spence that was promising and the fact an album was released from these recording sessions is fascinating. Interesting, but not essential...though I would love to come across an original vinyl pressing of the album!

If there was ever a band's image that matches the sound of the group, it would be The Cramps. With the band name written in a "Tales From The Crypt"-like typeset, The Cramps primitive, lo-fi sound wouldn't be out of place as a band on the Flintstones, as they keep the beats simple and ghoulish. They are an acquired taste and not for everyone, but their sound is accessible and not unlike similar sounding goth bands that followed. I bought this on vinyl when I was a teen and glad I did, it still gets some plays even now and is a classic in it's own right.

Talented singer-songwriter, Fiona Apple is impressive considering she was only 19 when her debut album was released. A collection of solid songs that were mature beyond her years, as many were written years earlier and it stands as one of her best albums. I didn't listen to Apple during the 90's, so I'm still "new" to her music and though I don't love it, I can see her appeal and talent and for the most part the record is enjoyable. She has one of those voices you either love or hate, but for me her voice suits the style of music and message she's trying to project.

If I was a fan of Bluegrass Country music, this would surely be a classic, must-hear album with it's amazing musicianship by some of the legends in the genre and a wonderful collection of songs. I can't say I didn't enjoy it and especially liked the banter and dialogue between the musicians and easy-going casual recording atmosphere. It is long, so it's a lot to take in, but if you're new to Bluegrass, I could recommend hearing this at least once. As I said, I'm not a fan of Bluegrass, but I can appreciate the quality of the music and though it hasn't converted me, I do give it respect and once in a while it's okay to explore other music I don't normally give a care about.

For 80's Synth-Pop it was okay. I normally don't like anything from this genre and era, but some of it was catchy and easy to listen to, at least as background music. Nothing special, so I can't see myself buying it, but the occasional listen is fine.

The title of this album is Wonderful Rainbow and if you had any preconceived ideas what a rainbow would sound like, throw those theories out the door. This is noise rock, and if you were expecting sweet sounding melodies and beautiful waterfall sounds, turn away because this isn't music for you! My tolerance level is pretty high, so even I can only take this album in bunches, as it gets tedious quickly. Imagine the sound of trying to start your car in the winter with a shitty battery and trying over and over to get it to turn over or the glorious sounds of multiple lawnmowers in your neighborhood driving over branches, metal bits and kids toys, this wouldn't be unlike what's on Wonderful Rainbow. To be honest, it is what it is, artful noise rock playing with wonderful abandon, not worried what the neighbors think and taking it to the max, both in volume and in excess. Either you love it or hate it. Me, I would move out of the neighborhood fast!

Bob Dylan has to be considered one of the greatest singer/songwriters of our time. He has endured a long career since the early 60's and continues to produce and release new recordings. Of course, with a ton of albums and songs he's recorded, his output has been uneven with lots of crap and boring music, but also some timeless classics and a handful of releases that I would consider essential. There is so much to say about Dylan, so let's focus on Highway 61 Revisited from 1965. I would rank this in his top 2 best records, it's super influential and it really elevated his career at the time. The opening track, Like A Rolling Stone is undeniably a great song, so that alone is worth the price of admission and the rest of record isn't filler. Truly a classic and yes, essential!

The Slits were no doubt an important band, not only because they were one of the few (maybe first) all-female English punk bands were perhaps years ahead of their time. The music on Cut is more of a Reggae/Dub, art-rock, post-punk sound than punk and on several tracks the vocals remind me of Bjork. I have to admit, at first listen (years ago) I was a bit disappointed I thought they would be more edgier and fast, but there are some standout moments and the more I listen to the album the more it grows on me. The version I listened to this time was the deluxe version from 2009, that included Peel sessions from 1977, along with rough mixes, demos and outtakes from Cut. On these tracks, the band does sound more punk, less polished and much more urgent and interesting, which I prefer over the final/cleaner mix on the actual album.

The debut album from the "Greatest Rock 'n' roll band" is a solid introduction to the band and though it's comprised many of covers, it showcases the raw, enthusiastic sound of a promising bunch of scruffy lads that would make a huge impact on the music history. The performance of these covers is adequate, but the look and sound of the band was unique, and the Stones don't really take off artistically until they find their own style and start writing and performing their own songs. This is a good sampling of their potential and an important album historically and it's an essential listen to hear the band at the beginning before you tackle the rest of their long (and sometimes uneven) discography.

A refreshing listen, something you don't hear much nowadays. Some cool rhythms, but after a while the drumming gets a bit much and it would be much more interesting to see and hear this music live.

I had to remind myself that Howard Devoto was a founding member of the Buzzcocks and only recorded an EP with the band before forming Magazine. You can't deny they sound a bit like the Buzzcocks, but more new wave sounding rather than punk. The keyboards and more pop oriented sound help distinguished themselves from the Buzzcocks and they released an impressive debut. When I heard them years ago, it didn't do much for me, but listening now, I like it a lot more than previously.

Honestly, the only King Crimson I've listened to is, In The Court Of The Crimson King and not many prog rock albums could top that masterpiece. Larks' Tongues is a fine album, pretty standard prog with some highlights and the musicianship is top notch. For me, it's a bit too proggy and avant-garde to hold my interest for long, but overall an intriguing and sometimes challenging listen.

When I first heard this album when it came out I thought it was fantastic. The groove of their metal/hard rock sound reminded me of the Chili Peppers and most of the songs were upbeat with a lot of energy and excitement. I'm not really a fan of Perry Farrell and his Porno For Pyros and solo projects and I can't say I would have listened to this again if it wasn't for this challenge, but the band had a pretty good run as their first two albums were solid and very listenable. Listening to Ritual De Lo Habitual now, wasn't as thrilling as the first time, but is something I might listen to again, for old times sake.

It sounded fine, but it really didn't hold my interest towards the end. I can't honest say I've listened to any music from the Congo and it definitely had an appealing vibe with catchy rhythms and beats, so I'm open to hearing more.

I first read about the Strokes and I think I saw them on SNL before hearing the album, I wanted to not like it. They seemed to be a group of rich, spoiled, privileged-looking white boys who somehow weaseled a record contract and I doubted they would produce authentic rock 'n' roll, especially with a lead singer with a name like, Julian Casablancas. Their debut album, Is This It...is it! A surprisingly excellent record that blows most of my theory away. A great collection of songs that are catchy and ear-pleasing without the pretentiousness and manufactured sound I was half expecting. There was lots of really good music released in the early 2000's and this one stands out as one of the best and listening again over twenty years later, it's as good as I remember. Ha, so much for first impressions.

I really wanted to hate this album. Kanye is a horrible person, but I try to listen to the music objectively without clouding my judgement with THE person and their issues. With that being said, Yeezus is a piece of shit, the kind of crap artist's release because they can and gullible people will still buy and praise. This has all the reasons why I can't stand narcissist, Nazi-praising, ego driven lunatics like West. His constant talk of pussy, titties and what's he's going to do with woman and his moronic god complex is summed up in his song, "I Am A God", of course. Not to mention the annoying auto-tune, the ridiculous rap shit he spews, with lyrics which could have been written by a delusional teenage boy. I can't believe I "listened" to the whole thing!

I listened to this back in the day, the band was surprisingly good and this album is a solid and at times, beautiful listen. A lot of comments compare them to the Flaming Lips and I do remember listening to similar like-minded alternative bands around this time and probably discovered Mercury Rev through listening to the Lips. Nothing essential here and they're music never really grabbed or stuck with me, in fact this is the first time listening to the album since the early 2000's.

Without the aid of pills or a dance club, Screamadelica was a energized and upbeat dance party that was better than expected. It started strong, with a surprisingly diverse collection of songs that kept me interested, but then it felt overly long with extended tracks that went on and on. It's hard to keep the energy up, but overall it was fun, without having to leave the comfort of my home.

The best, or at least my favourite post-Husker Du album from Bob Mould's power trio, Sugar. Mould's first couple solo records after Husker Du broke up were subdued and softer, but Mould turns up the volume again with his new band and Copper Blue is a return to melodic, catchy power-pop rock that was evident on the last Du record, Warehouse. Grant Hart and Mould released some decent albums in the 90's, but Copper Blue stands out and is there a better side one, especially the first four songs that open the album, in the 90's? Solid album and I still play it often!

In some ways, I appreciate this "old-school" rap because this is the style of rap I remember growing up, but I'm still not of fan of the genre. It's interesting with nice beats and there isn't a reliance yet on too many gimmicks and effects. I enjoyed most of it, so I give it a pass.

I had never listened the an entire B,S & T album and I'm assuming this is their best. It contains some of their classic, well-known tunes I've previously heard on the radio and many songs I hadn't. Overall, the hits really are the best tracks and the rest of the record didn't keep my interest. A range in styles and genres that were fine, but really, a lot of it felt like filler.

Released during a run of Classic albums (Beggars to Exile), Let It Bleed has a couple of undeniably essential tracks. You Can't Always Get What You Want, continues to be a live favorite, utilizing local choirs during their shows and the curious intrigue of songs like, Midnight Rambler and Gimme Shelter brought the Stones some darker notoriety during this time. The Stones show their range of styles on many tracks, country-blues, country-folk, gospel, Chicago blues and rock, that keep the music interesting. A great album, but there's a few tracks that fall short that prevent it from being one of their best.

I have to admit, I enjoy the Louvin Brothers album cover art more than their music. This one and Satan Is Real have a goofy, bizarre horror film poster quality to them, which clearly gets points from me for originality. The music is country, sort of a parallel-universe Everly Brothers with tight harmonies, good instrumentation and a fiery relationship. It's almost too country to me and their baptist faith surely influences their music. It was an okay listen, though I can't say I enjoy that much mandolin and I was looking forward to it to end, which isn't a good thing.

Hadn't listened to much from Marvin Gaye, but recognized several songs on, Let's Get It On. The title track is the "go-to" song for TV and movies whenever love & romance is in the air and the rest of the album follows this theme. A solid album with Gaye's smooth sexy voice creates an the amazing atmosphere of smooth soul and funky funk. It's the perfect mood maker and THE album to put on your turntable before saying, "let's get it on!"

You can't deny the title track, Ace of Spades is a great song. After over 40 years since it was released, the song is experiencing a weird revival of sorts appearing in numerous movies and TV shows when it calls for an intense, frantic, drugged up scene and it really is effective for the ambiance and mood of the scene. Apparently, Motorhead loved that song so much, they built an album around Ace of Spades and recorded that song over and over to fill the rest of the record. Or, so it seems, the sameness of the formula is play fast, have Lemmy shout gibberish loud and sloppily and repeat...! They make AC/DC sound like they have range and diversity...yikes! Is Motorhead, hard rock or punk or metal or hardcore or speed metal or punk speed metal? Judging by the leathers and long hair, I lean towards metal, but who cares, the song, Ace of Spades is fab! The song itself deserves 2 stars, but the rest of the album sadly only 1.

I'm not an expert in this genre of music, but over the years I've been exposed to similar sounds and though it has meaning and purpose, I can't say I'm interested in hearing more. I have no idea what's going on and it seemed to go on far too long which really tests my patience and tolerance. Musically, it's skilled, world beat, folk, very ethnic with vocals that are used as another instrumental sound, so it's okay background music.

The 90's produced a lot of good, heavy hard rock, grungy bands that may have been overlooked, because they had a similar generic sound and look and got lost in the crowded alternative scene. Queens of the Stone Age is one of those bands that I overlooked and didn't really listen to that much. The sound is heavy and their debut album starts off strong with a stretch of solid rockin' songs. I like their sound and the songs were good, but there are so many other bands from this era that I liked better. To me, their music isn't very memorable and I honestly can't remember what I listened to yesterday. Good, but not great.

Elvis Costello's debut album, My Aim Is True was a landmark album created at the beginning of the punk explosion in England and launched Costello's career to what it is today. The follow-up, This Year's Model, had a similar sound and though it wasn't necessarily punk, the attitude was still there. The contributions from his band, The Attractions (which shouldn't be understated) who brought the energy up with a more new wave sound with a whole record of hyped up, catchy and smart intelligent songs that made This Year's Model an improvement (yes, it's possible) from the strong debut. Even today, when I think of my favourite Costello album, with songs like, Pump It Up, Radio Radio and No Action, it still holds up today as the quintessential Elvis album.

First time hearing Chvrches so I wasn't sure what to expect and it turned out better than I expected. Played nicely in the background, nothing really stands out for me, but at the same time there was nothing I didn't dislike. Not a fan of synth-pop, so I probably won't listen to more, but I could do a whole lot worse.

A good solid record with enough melody and good songs to complement the driving hardcore sound from Drive Like Jehu. Not for all tastes, but I would have been all over this during the 90's when this was released and even now it's still very listenable. A bit long, but then again they only released two albums, so we should happy with what they put out.

The Concept was my introduction to Teenage Fanclub and after loving the song I've been a big fan ever since. Some of the best Big Star-inspired music I've heard in a while on their third album, they turn in a near-perfect mix of alt-rock, power-pop with crunching guitars, catchy melodies and memorable songs. I would rank 1995's, Grand Prix as their best (and personal favourite) album, but the signature sound of the band was really taking shape starting with Bandwagonesque and you can't deny it's impact on early 90's indie rock.

Not really my taste in music, but it has some okay songs and it was enjoyable at times. Not a fan of the "skits", annoying more than anything and it was way too long. I was getting tired of listening to this and checked to see if it was near the end, ugh, it wasn't even halfway through. I did stick it out until the end, barely!

I have to admit, I enjoyed the White Stripes previous albums to Get Behind Me Satan. I know some duo artists are suppose to expand their sparse sound by introducing additional instruments, but I prefer the guitar-heavy sound from the pair. No wonder White preferred in a larger band format after the Stripes, so you can't deny a guy for expanding his musical horizons.

I don't what I was expecting, but it was a lot better than I was anticipating. Very theatrical sounding with lots going on with interesting unique songs. Promising enough for a repeat listen and maybe explore more from Sparks.

Once I got over my initial realization that the songs were mostly ambient instrumentals I listened to the music differently. The songs were more like a soundtrack without a movie with interesting atmospheric, experimental sounds and rhythms. Originally, I was ready to write it off as something I normally don't care for, but instead it was an enjoyable listen and worth exploring more of Tortoise.

At first glance it seems like I love Bob Dylan since I've already given out three 5 star albums for Bob so far. With such a massive catalogue of albums he has a lot more misses than hits, so sifting through his work can either be rewarding or you could be left wondering if he's the most overrated artist of all time. Those five stars were for essential recordings from the 60's and though he released at least 10 albums in the 70's only a couple are essential Dylan. Blood On The Tracks released in 1975 might just be his last "great" record with only Desire, (released the following year) close in quality. Not only is Blood On the Tracks a beautiful, personal and well produced record, it's one of his most consistent with several memorable songs. Yup, another classic, but sadly his last.

So much going on on this album, lots of mood shifts, interesting instrumentation and arrangements. They really expand their range and for the most part it's satisfying, but I know they have even better albums I should listen to again. I do like it a lot!

Not a country music fan, but generally I don't mind some of Willie's work. My knowledge of country is limited, but I do know I can't stand newer country artists, so "old school" artists like Willie and Dolly I will always have respect for. Nothing really stands out for me on Red Headed Stranger, but overall it was a fine listen and there wasn't anything I didn't not like.

Not a fan of metal and knew I wouldn't like this, but Slayer isn't your typical heavy metal hair band and it's music isn't too heavy or depressing. They play at breakneck, superfast speed, definitely a thrash metal sound that leans more towards fast punk than metal, at times, which I can appreciate. Not horrible and I found it mildly amusing and listenable, in small doses.

Not sure how this is classified? Chamber pop, classical, Baroque, music from a different era? Regardless, she clearly is talented and this music obviously must have an audience, but it isn't music that appeals to me in the slightest. Interesting, but not enough to explore anymore.

I'm a fan of Billy Bragg since his first LP/EP and though I love his first two releases, his third, Talking With the Taxman About Poetry was a step forward. His sound benefits from minimum contributions other than just himself and still conveys a powerful message and musical power that makes Bragg who he is. Personally, I think it's his strongest album and it's his attempt at a slightly more commercial sound, yet the sound here is still raw and it's catchy and enjoyable before he becomes almost too political and complicated.

She has a strong voice and the musicianship is top notch, but I can't help thinking this is kind of bland. The songs are fine, but nothing stands out to make me want to hear more. As a singer-songwriter, Armatrading was an important artist in the 70's, I just don't feel the love.

Another Girl, Another Planet is a great, timeless power-pop masterpiece! I wouldn't have heard of The Only Ones if it wasn't for a superb live cover of the song by the Replacements. The Mats do the song justice, but do the Only Ones have any other decent songs? The rest of the album is okay, at times they sound a bit like the Buzzcocks, punky, power-poppy, while at times it's a little dull and uninspired. Not to say it isn't a good album, it's that maybe it's top heavy and it's hard to top a song like, Another Girl...

Unaware of this record or group, so I didn't know what to expect. The music blazes off to a solid start, raw, energetic and a powerful singer. The songs were good, but didn't resonate with me enough, though it was an eclectic mix. It feels a little dated and I can't say I would listen multiple more times.

When this album first came out, I wasn't interested in The Killers. To be fair I hadn't listened to more than a track or two, but listening 20 years later to the whole record, it was quite enjoyable. It's catchy and the songs were easy to listen to, which leads me to want to hear more. A solid, rambunctious romp of Hot Fuss should be enjoyed by all!

I'm presently reading, Chuck Klosterman's, The Nineties book and there is a chapter about Kurt Cobain, Nirvana and Nevermind...coincidence this album would show up now? Rolling Stone notoriously rated Nevermind 3 1/2 stars, but who knew this record would become such a cultural phenomenon and be rated one of the great albums of the 90's. I will admit, I bought the cassette version right after it came out and at first listen thought it was catchy and highly accessible and thought it could have commercial potential. I had been listening to alternative, punk music at the time and at the time never expected this music to be played on the radio. Listening now, the music still sticks and almost every track is recognizable and good, so it's hard to be too critical. You can't call it selling out because the music isn't compromised and still has a punk edge on most tracks. A definitive album of the 90's, but all-time greatest, not so sure.

This probably the only Peter Gabriel album that appeals to me with many of his best known tracks, Sledgehammer, Red Rain and In Your Eyes. The rest of the record unfortunately sounds dated and at times dull, so clearly I'm not a PG aficionado. In general, his music doesn't excite me, but I can hear it in small doses.

This sounds like a musical from another era and the fact a lot of the songs are covers it's hard to tell. It has an interesting sound that oddly appealing at times. Not my music of choice, but it is okay to listen outside of your comfort zone sometimes, right?

A real grab bag of styles explored here which makes it both a challenging and intriguing listen and at times I had to check to see if I was still listening to the same record. It has it moments and overall I like it, so I would recommend it, but essential? I don't think so.

Back to basics rock and roll! Jack and Meg provide a fuller sound than you would think as a duo and the sound is mature and well performed. The best songs are the ones were the energy is up and they let loose and this might be their most enjoyable effort.

For the most part the album is enjoyable, the songs are catchy and it's competently performed. Somewhat surprisingly, this is the Screaming Tree's 7th studio album (in 10 years) released in 1996, so the band was around pre-Grunge era. I like it, though there isn't anything innovative or edgy about the record and it's sound is so dated, late 80's/90's it doesn't stand out. Not essential, there are a lot more records you should listen to from this time period.

I'm not a fan of club culture and house music, but the 60's pop influences they inflect in their music was refreshing. A pleasant soundtrack to my afternoon, though I doubt I'll listen to this often. Interesting , but not essential for me. Bonus points, the cover art is cute and fun!

They have a heavy sound that leads nowhere, in my opinion. Nothing terribly exciting or above average with their sound and really a second tier hard rock/metal/grindcore/hardcore band. Okay, but far from essential.

Sounds like a synth-Bowie early 80's when this album was released. You can also hear their influence on Bono and it's lasting impression with his music with U2. It was an okay listen, but doesn't interest me beyond a listen. It's funny how I had never heard this before.

A classic record from the Small Faces and I'm glad I own a vinyl copy. Apart from the narrator cutting in and out of the music, the music is excellent and though there are only a couple minor hits on it, it's consistently solid with strong songs. I must hear or at least, must see, as the album jacket is very cool!

Relaxing ambient background music that was enjoyable, but not an essential listen. Not the type of music I would sit down and listen to intently, as it's repetition got a bit tiresome after a while. I must have been listening to the deluxe digital version, because it seemed too long.

Weird, dark moody record with annoying synths that actually give it the atmosphere you would expect with a band/album title, Suicide. Girl and Frankie Teardrop are both disturbing and embarrassing with a lot of screaming, creepy vibes and hilarity. A challenging, difficult listen, but worth the time if only to hear what they sounded like. Music to torture and punish your friends and family with! Yikes!

Iggy Pop fronted this great band, The Stooges and with the band produced his most interesting and "must-hear" work. Pop's music career has been all over the music map, dabbling in pop and other genre's and though he produced some good music, he was no Bowie. His best work was when he rocked hard with the Stooges and you can't deny their influence and importance in early 70's rock. All three (official) albums are essential listening and Raw Power is as good or better than the first two.

When you think of a song that is the best example of a "career defining song (or album)" by a musician, I immediately think of Don McLean's, American Pie. That song, American Pie is one of those epic songs that people either love or hate. I guess you would be considered "un-American" if you hated it, but it's more because of it's mass over-exposure and being told it's the greatest American song ever. In some ways, I feel sorry for McLean. Sure, the song made him rich (he still makes between $300,000-$500,000 per year in royalties!) and famous with many accolades to his name thanks to American Pie, but it's one of those songs that a musician is condemned to perform at every single show (think Del Shannon)! I'm sure he's contractually obligated to play it and could you imagine the outrage if his concert didn't include this 8 1/2 minute song? The record label and McLean were smart enough to title the album after the song to avoid confusion at the record store so they don't accidentally buy one of his many other albums by mistake. Anyways, you can't deny it, it's a good song, the rest of the album is average (3 stars) and the song probably deserves another star.

The opening song for the live concert was Ace Of Spades, which is great, but do we really need to hear the rest of the show?...no.

Not generally a big fan of the Beastie's, but for my tastes I prefer this debut album which still has a punk energy that straddles the line of rock and rap. The songs are cringy at times, but what rap albums aren't? At the time, it was unique and somewhat barrier breaking. It's entertaining, creative and the beats are mighty fine and you can't deny, Fight For Your Right is a great song to introduce the band to the mainstream. Still my favourite Beastie's moment!

I noticed that David Holmes has scored several TV series, as well as film soundtracks, which makes sense since, Let's Get Killed has a soundtrack sound to it. Nothing to get excited about, (you can guess he was a DJ) but the music is enjoyable and makes for fine background music. Kind of living my own soundtrack to the afternoon. Nice listen, but far from essential.

If you overlook the "dated" strong language, extreme misogyny, violence, sexist rants, idiotic skits and Biggie's weiner size, it's a typical gangsta rap record that lives up to his notorious reputation. It's a curious okay listen, but after a while it just gets tiresome to hear the repetition of motherf*cker, b*tch, n*ggar...it loses it's effect and gets annoying after a while. Also, it goes on way too long, now I'm ready to die!

Didn't expect I'll like this, but I found it an easy listen, it's poppy and fresh sounding. The music is a bit dated (so 80's!) and generally I'm not a fan of drum machines and synth, so it's probably not something I'll listen to often, but it was pleasant and an enjoyable background music.

Honestly, I've never been a fan or follower of Oasis, always thought they were overrated and over-hyped. That being said, the music speaks for itself and this might be as good as it gets, as far as Brit-Pop in the 90's. It's hard to deny it's influence and impact on pop-rock and the hits definitely lifted the band to the mass mainstream. You can love or hate the band, but at least on (What's The Story) Morning Glory, the music is pretty darn listenable.

Rock music works in mysterious ways sometimes. For whatever reason, Frampton Comes Alive is the biggest selling live album of all time. Peter Frampton had previously released a handful of decent, but unspectacular records in the early 70's, so it's success seemed to come out of nowhere. Almost everyone I knew owned this double LP when it was popular and I only recently acquired my own copy from a collection I absorbed. Admittedly, most of the live tracks bested their previously released studio versions (much like Cheap Trick's, Live Budokan), but some of it, besides the hits are dull and feel like filler, like most concerts can be. A solid sounding live album that sprawled out into a double album is questionable (it retailed only $1 more than a single LP), as it could have been even greater as one record. Oh well, it fared pretty well as it was, so who the hell am I to question this.

I've said it before, I'm not a big fan of Leonard Cohen, I appreciate his early work for what it was, but I found his talking poetry set to music tedious at times. The sparseness and lyrical genius of, Songs Of Leonard Cohen gave Cohen the showcase to show poetry set to music can be great and it's influence and classic songs makes this essential. A Canadian treasure!

A harsh and difficult listen at times, but what sets Ministry apart than say... Motorhead (or like-minded bands) is that the songs don't sound exactly the same. On the surface, it sounds like a lot of yelling and roaring, but there is some substance and intelligence behind the songs and I like the music. I listened to it all, didn't love it, but it could been a whole lot worse.

When this album came out, I remember disliking it. This album and anything else that resembled dance-able, new wave, synthy-white boy-Brit-pop. It reminds me of a lightweight Duran Duran or Tears For Fears, all bands I avoided with a passion. The music has it's place and it's enjoyable enough on the surface, but deep down (to me) it doesn't have soul or depth to deem it essential, by any means. I don't hate it, I just don't understand why this band or album has any relevance.

Nice sounding record and pleasing background music. I don't listen to much British electronic music and I can't stand most club music. This one is listenable, so this one gets a pass. Essential? Definitely not from me.

This is one of those albums I've always meant to have a listen to, but never got around to it. I know this is considered a classic record from Love and it doesn't disappoint. More of a folk based sound, rather than psychedelic, it's lush sounding and every song is well crafted and performed. A solid listen and worth the wait.

A good debut, some solid songs especially, Solsbury Hill, but other than that there isn't much to love. I don't mind Genesis, I despise Phil Collins and I can tolerate Peter Gabriel in small doses, if that tells you anything...

Despite my music streaming service having dozens of Burman's soundtrack albums, I could only find a couple tracks from Shalimar. What I did hear was impressive and a refreshing interesting listen. Kind of James Bond-ish with an Indian slant, it had me wanting to hear more! Who would have thought Bollywood films had such cool soundtracks? Thanks for the suggestion!

This kind of went on and on and on...a bit too repetitious to be interesting and it felt like a never-ending rave gone bad. Started off okay, it kept my interest, but I really wanted to turn it off about halfway through. Too electronic, drum machine-y and house-y for my liking.

Embarrassing listening to this album now, very dated and the songs really do suck. Apart from Detroit Rock City, which still isn't a great song, the rest of the album is pandering, boring and they sound like a parody of a "metal" rock band. The album cover is the highlight and I prefer the clown-face band in their comic book personas in the Marvel Comics Super Special from 1977 that used the band members blood. Too bad they didn't put their blood and soul into any of their music.

There was a lot of great music released during the Grunge era during the 90's, with some incredible bands that have withstood time, but at the same time there were countless forgettable bands that released an album or two then disappeared. Soundgarden was one of those bands that rose during Grunge and have left a legacy of music that is both memorable and still relevant. The band was active in the 80's and 90's, broke up then reformed in 2010 until singer Chris Connell's death in 2017. The band's earlier albums are all good, but their most notable achievement was Superunknown. It contains some of their best songs and is solid throughout. I can't say I'm a big fan of the band, but I'll still play this album occasionally since I bought the cassette for my son when he was in elementary school, because he loved Black Hole Sun.

Interesting listen. The retro sound is very reminiscent of 60's easy-listening orchestrated pop or something Burt Bacharach might have had a part writing. Lush sounding, nods for style and the feeling of being transported to another time. I quite like it, but may wear thin after while. Worth the listen.

Roxy Music's early albums were unique and all worth a listen, but Country Life might just be their best album. The opening track, The Thrill Of It All, should be a part of everyone's soundtrack to their life, is probably my favourite song from the band and the rest of the album is solid throughout. I've always been a bit iffy about Brian Ferry as a vocalist, but here he proves to more than up for the challenge. As far as the album cover, track down the original pressing, no one wants to look at a photo of just a pine tree.

Not my preference for music, so I expected to not like it. Not a bad listen, it has it's good points and the beats are okay, but not something I would purposely listen to again. I give it a pass, barely. 6/10

Nick is always an interesting and sometimes fascinating listen. His storytelling is dark and the songs fit the mood and persona of his vampire looks. Don't know if so many of his albums deserve to be on the list, but you can do a whole lot worse.

Clapton's solo career was so overrated, the music was boring and he definitely didn't showcase that he was supposedly the "greatest" guitar player ever. His best music was with other equally or more talented musicians in bands such as Blind Faith, the Bluesbreakers and the one-off album by Derek & The Dominos. Layla And The Other...songs features the song, Layla, which might be Clapton's greatest achievement, though I have gotten sick of hearing it so often. The rest of the assorted "love songs" were mainly above average blues numbers, sometimes extended jams that show off what Clapton and Duane Allman were capable of. Since it was a double album, there is plenty of filler which (to me) prevents a higher grade, but all in all, it's a pretty damn good record.

I am familiar with some of the Bee Gees pre-disco era and some of it is really good. Odessa is a concept album that is an overindulgent mess with directionless songs, a concept no one cares about and a performance that is schmaltzy and cheesy at times. A double album to boot, there is so much filler and with an opening track that is horrible, it sets the expectations low. Granted, there are a few good songs sprinkled into the mix, especially the Beatle-esque pop ones and a couple songs that resemble a poor man's Kinks attempt. I dislike disco (I attended a couple "disco sucks" rallies in the day), but I would actually prefer Saturday Night Fever (ugh!) or Spirits Having Flown and maybe even the Sgt. Peppers soundtrack...okay, it's not that bad!

For the most part, I enjoyed The Coral's retro pseudo-psych sound. At times, it legit sounded like a different era (60's) that takes me back and the musicianship captures that sound well . With that being said, I'm not sure this music will be memorable, it doesn't offer any new ideas or unique styles. Can the band move forward and expand on the sound? I like the album, but it's limiting and I can't say I'll remember much of it tomorrow.

Didn't know what to expect. A lot of Brit-pop bands are hit and miss with me, but basically all I want to hear is crunchy, bright guitars, catchy songs and a band that is non-pretentiousness and passionate. Tellin' Stories checks most of those boxes and the music is enjoyable enough to not check my watch or to see when this would end. Maybe I underestimated the Charlatans or I had preconceived notions about the band, but whatever the reason, the music is fine and I'm glad I gave it a chance!

Yes, I can understand why many people feel this is overrated. The songs are fine, in fact I enjoyed a lot of the songs, but there's nothing really original or groundbreaking with their sound. With all the hype surrounding this album, I was expecting worse, so my expectations weren't high and for the most part it doesn't live up to the hype. Still it's a decent album worth hearing, but don't worry if you don't hear it before you die..

Never really understood what the big deal was with Winehouse. She became a celebrity who often appeared in tabloids and "entertainment news", due to her off stage addictions and indulgences, but really what was the fascination? The story of a talented singer, lost in a sea of drugs and booze isn't an uncommon tale, but somehow she had the look and tragic story. She was an above average jazz singer who had a good voice that was years beyond her age with a persona as a diva from beginning to an end that came way too soon. The songs are okay, her music brought the jazz genre into to the pop mainstream and she was an amazing performer. I still think she was a tad overrated and not as essential as we might think.

Uninterested and wasn't looking forward to listening after scanning over the song list and painful running length of the album. Over produced, generically 80's, but not as commercially mainstream as I expected, so it was listenable. Jackson is no doubt a gifted performer and I prefer her music over her brother, well, all her brothers (which isn't saying much) and she has a fine voice. The concept and the songs are lost on me, but it's not surprising because this a genre and styling I usually avoid, not my taste in music. There are plenty of people that probably love this record and love Janet, but I'm not one of them.

A lot going on with many interesting ideas and sounds. I wasn't that focused in on the music, but it was enjoyable enough with an eclectic sound somewhere between Beck and the Flaming Lips. Ambitious and worth a listen.

This reminds me of all the music I didn't like in the 80's. Highly produced, cheesy Brit synth-pop of forgettable, syrupy generic sounding drivel. Okay, it wasn't that bad, it was listenable and it did take me back to the early 80's, at a time I was rejecting this type of pop music. Now it just sounds dated and maybe a slight guilty pleasure, just a tiny bit.

Really I haven't listened to any Country Joe apart from the Woodstock film with the bouncing ball over the lyrics to his Vietnam song he was performing. Thought he was interesting, but listening to an entire album was a challenge. Kinda psych, kinda bluesy and folky, the songs and lyrics were okay, but underwhelming with some songs a bit too long. So, I'm surprised to read he's recorded 33 albums and had a career spanning 60 years! Impressive, good for him.

I'll admit, this was a lot more enjoyable than I expected. The Jesus And Mary Chain are one of those bands I never listened to, thinking they would be too dark or gothy, but actually I kind of like their sound. I probably won't buy all their albums, but I will listen to more. Intriguing.

I was cringing at the thought of putting up with another hour of Metallica. The growling, the rapid fire guitars and drums, American thrash heavy metal at it's finest, right? This might be as good as it gets for metal (for me) and I can tolerate it. Obviously, it's not one of my favourite genres, but my younger self might have thought this was kinda cool in it's day. You can do a whole lot worse, so turn off your brain, have plenty of cold ones and sell out your soul, at least for an hour.

This is one of those under-the-radar albums I had never heard of before and since it is electronica, it's not something I would have seeked out. The album cruises along really without much song structure or format, but of an ambient, instrumental, almost soundtrack quality to it. For me, it was an okay listen, it didn't grab me and pull me in, but at the same time wasn't annoying and I wasn't tempted to turn it off early. I let it play, it served as decent background music and life went on. No more, no less. Essential...no.

The only Temptations album I own is the Temptations anthology triple LP set that contains all the essential tracks from their long illustrious career. All Directions from 1972 contains their epic, Papa Was A Rolling Stone along with some other worthy tracks that show they weren't just a hit single group. Overall, the album seems very short (apart from the over 11 min of Papa), but strong on material, too bad you're left wanting to hear more.

A lushly, orchestrated Beatlesesque album from UK favs, XTC. I am a huge fan of the band and there have at least a couple records that I would deem essential, but this isn't one of them. It is a very good record with several excellent songs, but I would hold off in calling it a classic. I like it a lot, but I wouldn't place it in XTC's top 5, but still better than most music from it's era.

It had it's moments and there are some interesting tracks, it's not something I would listen to often, but it did grow on me by the second listen. I understand their appeal, influence and they definitely have a distinct sound, at times dark, other times poppy and dance worthy. Solid, but not really my taste.

I hadn't heard of this album or group and during the first song I feared the worse. Generic sounding 80's style pop, very dancey and sung in French, not the type of music I usually like. But, you know what, it wasn't bad. The grooves and beats were infectious and I didn't mind the "retro" sound that was modernized and quite accessible. The French language vocals were fine and I preferred them to the English version, which might be a good thing so I wouldn't focus too much on the lyrics which weren't strong. Overall, a pleasant listen to brighten up my day on an otherwise gloomy day outside.

Another record I thought I would dislike, but after listening (for the first time), it actually kept my interest and most of it I enjoyed. Kind of a hip-hoppy, bluesy sound that reminded me a bit of Beck and the grooves kept this album listenable...in small doses Definitely not something I would have seek out, but I guess it must be influential or maybe it's something in the special sauce got this on the essential list.

Some mighty fine dirty, garagey, bluesy rock from the Groovies that are still refreshing to hear so many years later. Raw sound, with lots of grooving and boogieing, works best for the band and though not all the songs are great, there are many that deserve extra play. Speaking of "extra", the bonus tracks on the CD version contain energetic covers of some classic songs that are within the Groovies wheelhouse, very nice treat! A fine record!

One of those albums I've been curious about especially with their bold band name and it's a one-off effort. A very interesting listen with sounds that might have been ahead of it's time with experiments in electronic sounds (though quite primitive by modern standards) and leftist political themes. It's psychedelia sound, along with some bizarre noises and weird stuff going on that makes it intriguing and worth the listen, at least once. Not sure if I love it or it's annoying, but it's fascinating enough I should listen again just to be sure.

Not aware of this album (or band), so I had no expectations before listening. A Chill, cool record that isn't flashy or in your face and it's a good solid pop record. Not sure how this would be categorized, but I'm a sucker for co-ed vocals and it was an easy and somewhat relaxing listen. Actually, listened twice, once in the afternoon and later at night and it's enjoyable either way. Essential, probably not, but not a waste of time.

Nirvana released their last studio album, In Utero, 30 years ago. A dark, disturbing, intense album that solidified their legend with much critical and commercial success. MTV Unplugged was the first material released after Kurt Cobein's untimely death, a subdued live performance that was semi-unplugged (amplified acoustic instruments) with a live studio audience that featured stripped down versions of Nirvana songs and numerous covers, including a trio of songs from the Meat Puppets (with the Kirkwood brothers guesting on those songs). At the time of the release, I was getting sick of the mainstream attention the band was attracting and haven't listened to the complete record in one sitting for sometime. Nirvana was a band known for their loud, sloppy, spontaneous energy and amazing live shows and to hear the group in a calm, tightly produced TV studio setting (candles?) and normal looking teens and adults watching the unplugged show was weird. What MTV Unplugged accomplished was it showcased that Cobein wrote great songs and they were quality musicians and performers, but also that their audience was becoming more wide ranging and diverse. In the end, the band stood by their ethics and wrote and performed material they wanted. They weren't the second coming of Elvis, nor were they the "new" Beatles, but somehow a band that only released 3 studio records is celebrated and renowned. Mainstream attention and success, unfortunately was probably the demise of the band and Cobein's life and for whatever reason, Unplugged, Nevermind and maybe In Utero will still be remembered another 30 years from now.

I can't say I'm a fan of Primal Scream, nor have I listened to much of their work. I love the film, Vanishing Point, this album, not so much. Nothing to get excited about and for the most part forgettable, at least I can't remember what I listened to. Reminds me a bit of U2, if U2 took acid and tried to be experimental. I can't understand why this is essential, but maybe you have to be in the proper mood. Clearly, I wasn't.

Since I've given two Beatles albums 5 stars already, Rubber Soul should receive the same. Personally, RS is probably my favourite Beatles record. It's that sweet spot in 1965 (Revolver included), the turning point for the band, writing all their own songs on an album that has barely any filler tracks. Beyond this period, the band became more experimental and hit and miss, but if you want perfectly crafted 2-3 minute pop songs, Rubber Soul is hard to top. Many highlights on the album and the version I listened to (UK) is superior song-wise than the US version. A good place to start if you've never listened to or heard of the Beatles.

Well I appreciate the relatively lo-fi, indie sounding approach, it was hard to get into this album. It was slow, moody and kind of depressing, but the songs were well written and it probably was good. It was hard to comprehend listening once, so I plan to listen again with more of a focused listen. It didn't seem like a good idea to listen in the mid-afternoon when I needed an energy boost and I feel it sucked more life out of me by the end. Overall, interesting enough to explore more from "Prince" in the future.

Another artist I hadn't heard of or listened, so I didn't know what to expect. Sort of a hip hop/rap, modern R & B , soul sound that was pleasant enough and easy to digest. Normally, this is a genre I tend to avoid, but I liked most of it and didn't annoy me like a lot of hip hop does. Nothing special, can't say this is essential enough to hear before you die, but I'm glad I did.

Even if I was in the mood for some thrash and even in the best of times you have to force me to listen to Anthrax. There's so much Metallica and Motorhead on this list, it's all starting to blend together. I'm at home sick and the last thing I wanted to hear was some high speed heavy metal pounding in my head, so I honestly wasn't in the mood. The music is fine and it's not the worst thing I've heard here, but why is Anthrax considered essential?

As I'm fighting off a cold, I laid down to take an afternoon nap and I put on some music to help me rest. The New Tango was the perfect music to relax to, with the soothing sound of vibraphone and accordian. It was mellow and chill and I appreciate the musicianship and I surprisingly enjoyed it. It's all about the mood and if I listened to get while working it might not have gotten my attention so much. Not the genre of music I normally listen to, but it's sometimes good to listen outside your comfort zone and this was comforting, at least at that moment.

A real mixed bag of styles and odd, strange songs that are off-beat and sometimes interesting and overall an adventurous listen. There were a number of songs I liked, but also some that were a bit blah. So I like it, but I can't say yet if I love it. This indie "art-rock" band is trying hard to be eclectic and for the most part it succeeds. I'll listen again and more music from the Dirty Projectors and see if the music sustains itself (lasting impression), so maybe I'll have to increase my rating...? Or not.

This is one of those albums I'm glad I listened to, not because it was a great album, but it was interesting and different and it's not normally something I would seek out. Sure it was weird, slow, creepy and sometimes challenging, as it is a mix of different styles, genres and ideas from the bizarre mind of Alison Goldfrapp. Generally enjoyable, but still it's not something I would seek out much further...maybe?

If your idea of a good time is to have a grown man growl, bark and scream at you, Slipknot is a band for you! In an attempt to be creepy and terrifying, they succeed, though at times they are trying way too hard to be edgy and come across as ridiculous and laughable. I definitely laughed more while playing this album than anything else on this list, not because it was funny, but it was so "over the top" hilarious, if it was a parody or pseudo-hardcore death metal band, but I think these guys are serious. If your goal is to clear out the cool smoking kids from behind the school, audition for clown school or to piss off your parents and friends (if you have any), mission accomplished!

Growing up in Canada during the 70's, artists such as Neil Young, Gordon Lightfoot and Joni Mitchell have been so ingrained in our culture, I sometimes overlook the talent this country has produced. I can't call myself a Joni Mitchell fan. I appreciate her "hits" and sometimes you don't realize how much music she recorded and how many concerts she must have performed since the late 60's. I own only one Mitchell album (ok, it was part of a collection I received), Blue which is a classic, perhaps her best album, but I still wasn't blown away by her artistry. Similarly, to Young and Lightfoot, she produced a lot of "essential" records, but also a ton of duds and weird stuff. The Hissing of The Summer Lawns has some weird songs on it (The Jungle Line) and though you have to give her credit for exploring different sounds, I'm not a huge fan of synths and sampling, which she was experimenting with on this record. Most of the album has more of a jazz-pop styling and though it was pleasing to listen to, I didn't love it. For most of the Mitchell albums I've heard, there is always some bit and pieces and good tracks to appreciate her talent and I would say the same with The Hissing.

Several years ago, I attended an open house at Artspace, a building that housed many arts groups in the city. On one of the floors, a band was performing to a group of enthusiastic people jam packed into a small space. The band broke out into a cover of Dexy's, Come On Eileen, a song I like, but never really grabbed me, but this band played such a raucous version of the song that gave off an energy I had never felt from the song and transported it into a memorable experience and now I love the song. Many consider that song to be a "one-hit wonder" for Dexys Midnight Runners, but the album it was on, Too-Rye-Ay and their debut, Searching For The Young Soul Rebels are good, solid records. Listening to their third album, Don't Stand Me Down leads me to wonder if the band ran out of ideas or if they were trying too hard to recreate the magic of Eileen. On a couple of the songs, it seemed like they were going to break out into Come On Eileen with similar sounding musical phrases and, One of Those Things sounds more like, Werewolves Of London than Kid Rock's embarrassing cover of the song. The conversation/talking/mumbling through many of the songs was annoying, especially during (the way too long...over 12 minutes!), This Is What She's Like, which is otherwise a decent song. When they get down to actually singing songs, it's not bad, but overall they produced better albums and can't understand why this album made the list? Now come on...Eileen!

A perfect way to describe the music of One World, is the image on the cover, a mermaid (merman?) rising from the ocean on a arc wave along with a bunch of cultural symbols, the sound is unique, yet calming and relaxing and I can't help but think of water. The music is interesting, though not too exciting, which is fine because that's not the point. The recording reflects the emphasis of the sound of nature and the outdoors, recorded away from the noises of the city and it shows. A progressive sound and Martyn's distinctive vocals make this worth the listen.

Not a fan of the genre, but as far as dance, house music, electronica or whatever this is classified as, it's a good listen and I don't have too much to complain about. I appreciate the musicianship and it's production and have to admit I was nodding my head and tapping my toes through a lot of it. Funky and fun.

Though his singing is fine and the songs were chill, it was too chill, boring and not very interesting. I hadn't heard this before and I'm sure I wouldn't have listened long if I stumbled across this album. I'm perhaps not the target audience for this music, I like some R & B, but not his, which is fine...let's move on...

Start to finish, Let It Be is my favourite Replacements album! The songs are strong and Paul Westerberg's growing confidence as a well-rounded songwriter is on full display. Though this album had no "hits" in the traditional sense, I Will Dare, Favorite Thing and Unsatisfied are some of the best Replacements songs that many people probably haven't heard. Even the lesser songs that probably have been heard from by other artists, Black Diamond, the Kiss cover (the only cover song the Mats put on record) and Androgynous, that was covered by the Crash Test Dummies are solid and the Replacements recorded superior versions. The Replacements was a band that changed how and why I listened to music and I've been a huge fan ever since I first heard their next album, Tim, their major label debut. Let It Be remains an essential record to anyone that hates "phony rock'n'roll" and feels unsatisfied with the music that was forced on us in the 80's. And yes, it's way better than that other Let It Be album!

Since 1995, when they released their debut album, AM, Wilco has produced some consistently good music, to much critical acclaim and have even been recognized by the mainstream with Grammy nominations and wins. I would only consider two of Wilco's albums as essential, 2001's classic, Yankee Hotel Foxtrot and the epic, Being There. Though it didn't win any Grammys (which is a good thing!) it's jam packed with songs that have become mainstays on the band's live setlists and really highlighted Jeff Tweedy's strong songwriting. I would consider this their most important record showcasing their earlier alt-country rock roots, as well as genres in folk, rock and more experimental sounds that would later evolve Wilco's sound on later records. It's a sprawling record that is considered a double album (priced as a single CD in it's day) and if I had to criticize the album is that it's maybe a tad too long. There's too much good material for a single album, but towards the mid-point of disc two, it drags a bit and runs out of steam. Disc one might be the best 40 minutes of songs in their career!

Not a rap fan at all, but this wasn't bad. Listened to the whole thing and it was an okay listen, can't say I loved it, but it was better than I expected. I am now leaving the Wu-Tang...

Some of the earlier albums (Murmur, Reckoning and Life's Rich Pageant) I would rank higher than Document, but it's an important record for the band as it helped break the band more into the mainstream, for better or for worse. Hits such as, The One I Love and It's the End of the World...attracted attention on MTV and the band moved further away from their "indie-cred". This was the last album I deliberately bought, it's good, but there is more filler than their previous records and their music begins to lose their charm and uniqueness (the reason I started listening in the first place) after this album.

Not really a fan of U2, but a few of their early albums before Bono became such a self-aware twit, are worth listening to. War is probably the last U2 album I can stand, it still rocks well, even now and they still have some edginess to their sound, something that they lose beyond this record. I don't like the band, but this album is okay.

Not usually a fan of reggae or ska, so UB40 has been off my radar since that, Red Red Wine song (ugh!) was on the airwaves. Listening to their debut, it's evident the band is skilled and has a knack for writing songs and lyrics I can agree with. The music is fine, but often reggae is boring and so repetitious it's hard to take after a while. Signing Off was a good listen, but I prefer it as background music.

Neil Young has released an insane amount of albums during his career and even to this day he records and releases them at a consistent pace. Along with Dylan, his albums range from good, listenable, bad, horrible, weird and even a few classics. Everyone Knows...is one of the best and established Young as a talented songwriter and guitarist along with his stellar band, Crazy Horse. Three of his most important songs are on this record, Cinnamon Girl, Down By The River and Cowgirl In The Sand, and the guitar interplay between Young and Danny Whitten, sets the standard for rock guitar jamming. It's not all great, but this might be Young's greatest moment on record through his otherwise uneven career.

I'll admit, I've never been an Alanis Morrissette fan. I avoided Jagged Little Pill, though it's almost impossible not to hear songs from the record on the radio airwaves back in the day and it seems to be as popular as ever now with the seemingly endless editions of the album she's continues to rehash. The album has been through the now standard (every 10 year) anniversary treatment with remastering, 2 disc and 4 disc versions and "collector's edition, along with an acoustic version of the album. Though she has released several other albums, Alanis has continued to milk her "one-hit album" success with a stage adaptation of the record. this has been running for the past 5 years and passed through our city last month which you can be a assured I did NOT attend. Oh, the music from Jagged Little Pill is probably considered an essential listen and continues a streak of "great" and popular Canadian female singers in the past 30 years (Celine, Avril, Shania, Nelly, K. D. ...), so it's place on this list is hard to dispute.

Rundgren has always been under my radar, but I do know he writes some pretty great pop songs. His depth of a songwriter is evident on A Wizard, A True Star with a varied range of songs and for the most part, enjoyable. I wouldn't consider this his best work, but it's a good effort and worth the listen.

Very interesting listen, I've been meaning to listen to Captain Beefheart for a while. A great combination of electric blues and psych with a sound that is more conventional and straightforward, with less weirdness, than I was expecting, but at the same time eclectic and unique. Very cool, I think I'm a fan!

The album starts off promising with some energetic songs including that, Song 2, which I didn't realize was by Blur. You hear that song at pretty much every sporting event as a way of pumping up fans and it's a good solid song. I must admit beyond the first handful of songs, it becomes a blur (sorry!) and loses it's stream towards the end and was a bit of a struggle to get through. Otherwise, a decent listen and apart from a few songs I probably won't be spinning this often.

Here's the main reason I don't listen to most electronica. It's seemingly endless loops, repetitious electronic sounds over and over that flow into each other and really makes me feel I'm stuck in a soundtrack to something futuristic (at least someone's idea of the "future"). I guess it's okay as background, but it got annoying and distracting after a short while. There are a couple songs that are fine and worth hearing, but overall if I want to hear music like this, play a video game and turn off the screen.

Right from the lead off track, Respect, it's obvious this is an essential listen. Aretha at her peak and really there isn't much to say that hasn't been said already and through the rest of the album she's in fine form with some great songs. Not usually my genre of choice, but you have to respect the influence and impact this music at the time and even today.

Though I can't stand Ozzie Osborne and most of Black Sabbath's catalog beyond the early early, I can't deny that Paranoid is a heavy metal classic. Like many kids growing up during the 70's, the song Paranoid was the gateway to listening to metal/heavy rock, so much better than most of the crap on the radio. Ironically, I probably first heard the song on the radio and was hooked by the rhythm and heavy riffs. This is the only BS album I actually own and the rest of the album carries on the darkness and metal hooks and I have to admit, I like it a lot. Some of the best "signature" songs for the band are on here, War Pigs, Iron Man and of course, Paranoid. I'm not a big fan of metal and to me later Sabbath hits parody territory, but there are few metal albums that I love to listen to repeatedly and this is one of them.

Long before he became the go-to composer for film scores/soundtracks and the Toy Story franchise, Newman was a well respected, critically acclaimed singer-songwriter who released quality music much under the radar. A lot of it was satirical, observations of American life, it's politics, it's people and the little things we try not to think about. His life changed commercially with that annoying, Short People song in 1977, but Good Old Boys was three years before the album Little Criminals (that contained Short People). For the most part, Good Old Boys is enjoyable, the songs were fine, but to me, it's not that memorable and unless you really concentrate on the characters and story (it's a concept album!), it's loses me a little.

When I first heard the Style Council shortly after Paul Weller's previous band, The Jam broke up, I was very disappointed. Gone were the Mod-inspired punk rock rhythms and finely crafted pop-rock songs replaced by a cool jazz-style incorporating soul, pop, and funk. I should have suspected that Weller was evolving his sound, moving away from the youthful frantic energy of punk to a more "mature" music that was already evident in some later Jam songs. Cafe Bleu opens with a piano instrumental that sets the tone of the record. Piano lounge jazz replacing Rickenbacker guitars with Waller exploring all kinds of genres, including some kind of rap/Hip Hop fusion on a couple tracks. It's not all bad, but it's surprising and it's hard to believe the front-man/singer/songwriter from the Jam and the Style Council are the same person. Forty years later, my tastes have also evolved and I kind of dig (and understand) some of this album now, but I much prefer anything by The Jam. When I finished listening to the record, I immediately blasted, The Jam's, live compilation, Fire And Skill...oh, sooooo good!

Oh, another electronica instrumental album that I hadn't heard of before and unsurprisingly it didn't exactly win me over. I've never enjoyed most electronic-type music and this is no exception. It's boring, tedious, repetitious and transforms you into a trance-like state that seems endless. Perhaps, in small doses this would be okay and being in the "proper" state of mind might help, but to me, it doesn't elevate past background soundtrack mode...which is fine, but not essential.

Despite having no idea what they're singing about, it must be uplifting and happy because the music sure is. They can definitely sing and the rhythms and beats are smooth, so it was an easy listen, not too challenging or complicated. Many feel LBM wouldn't have become internationally popular without their contribution to Paul Simon's album, Graceland, but the same could be said back as they helped revitalized Simon's stagnant career back in the 80's. On their own right they are a mighty fine talented group.

Never listened to these guys and wouldn't have bothered if it wasn't for this challenge. They sounded pretty much like I expected, loud, intense, hard-rocking metal band. It actually was more listenable than I thought it'd be and I listened right to the end. It was enjoyable enough, though their music wasn't what I would call memorable, though there are a lot worse bands on this list.

Smooth jazzy, hip hop which I didn't mind and it's simplicity and not-too complicated sound was definitely a plus. Not something I would normally listen to, but it an easy, chill listen that I played in the background without hurting my brain!

I only own three Marianne Faithfull albums, her debut, her second (Go Away From My World) and Broken English which was released 14 years after the first two. A lot had happened in Faithfull's life between these two time periods, as Broken English was only her second album from the 70's. Her early albums were in the folk genre, innocent and gentle songs and all that soon changed with her personal relationships with the Stones and lifestyle changes (drugs, drugs and drugs) that would plague her life for the next decade. Broken English would be considered her "real" comeback album in 1979, with more of a modern electronic sound with elements of new wave, punk, blues and reggae. I first really listened to this record years ago and found it a difficult listen and I couldn't get past her voice, but listening now (for this list), I was more open minded and found the music interesting and worth exploring again. It's hard not to compare the effect on her voice through the years ( laryngitis, heroin, alcohol and probably smoking), but it reflects her life of hard living with addiction and the toll it took on her. Broken English isn't for everyone, but it is an important document of one of the musical highlights of Marianne's career...fortunately she is still recording and active.

A proto-punk classic from MC5, a raw, energetic performance that remains influential and important to punk and hard rock bands that followed. A good decision to release a live versions of the songs, because it may have been hard to translate the energy and spontaneity of the band in the studio. The album starts out with a bang, back to back to back great songs, but it loses some of it's energy and spark towards the end. Overall, you should hear this at least once.

I always felt, Eric Clapton's best recordings were the ones when he played with others in a group versus his solo albums. If you put aside that Clapton was a terrible person, his work as a musician was usually top notch, though his songwriting was questionable and I don't like most of his solo work. 461 has a one of his big "hits", Bob Marley's, I Shot The Sheriff, that was bland and boring, In fact, most of his solo work, I felt was underwhelming and a man so "talented" should have produced better and consistent records. I guess you can live off reputation your whole career.

If enjoy long drawn out guitar jams, shapeless song compositions with endless self indulgent guitar noodling, this is the album for you! I would have to be drunk (or stoned) out of my head to really enjoy this, but I'm not sure it would help unless you were in the mood. You have to admire the effort and clearly these guys have talent, but can't understand why this would be considered essential? Happy trails...on to the next!

I listened to the "Very Best" version instead of the box set, which is a good thing because I wasn't in the mood for 3 hours of Ella, no matter how good it was. I was happy to listen to this version with Ella at the height of her vocal powers and the songs felt like it was from an old soundtrack or stagey event, which is a good thing. Very easy-going listen from one of the true talents of her era. Sit back and enjoy!

Generally, the Stiff Records label released a lot of interesting and innovative bands, as many of them went on to larger labels and bigger fame. One of the artists on the label that I never cared for was Ian Dury. Yeah, some of his songs were quirky and mildly amusing, but it was lightweight and didn't carry the appeal or originality, as many other British artists of the era. There are some good songs, many memorable, on New Boots...but some were uncomfortable and creepy (lead off track, "Wake Up and..."). Overall, worth the listen, but there are better Stiff albums that should be on this list.

Enjoyed the rawness and straightforwardness of the record. I'm not a rap fan, but I can appreciate the importance and significance of the release. It was groundbreaking for the time and opened the door for a wave of wannabe rappers. I can tolerate this in small doses.

This is one of those albums you can sit back, relax and enjoy! Al Green's smooth soothing voice is the perfect way to spend an hour or so and the songs make me think about the reasons I love listening to music. I haven't listened to a lot of Green and this definitely won't be the last time. Solid!

This album is in the category of, "we've heard this all before, but done better". Though I like garage noise rock, this doesn't convince me to want to hear anymore from The Icarus Like. There's nothing wrong with it and some of the songs are both intense and interesting, it's just that they don't bring anything new to the table and may have gotten attention (and a record deal) riding some kind of wave of noise music acceptance. I've heard enough!

Artists such as Frank Sinatra, I have always considered music for old people. Does growing old mellow you out and you seek out music that was recorded over a half century ago? In the 50's, this was probably considered music for the young and hip before rebellious leather-clad rockers took over the scene. Listening now, I never want to be labeled as a person that listens to old people music, even when I'm super old, so you have to approach this music like it's the early roots of a genre, the b & w TV of it's time, there really wasn't many other options. Sinatra's crooning with the orchestration feels like a film soundtrack, the songs sound similar to one another and really there isn't much depth or creativity to the music. His singing is fine and there's no doubt his importance to popular music at the time and his last legacy is deserved, but this doesn't age well and it's rare people my age would bother to listen. With that being said, everyone should sample Frank at least once, it is what it is, if it's not your thing move on....I have.

Solid indie-rock from Mark Eitzel and his band. An easy listen that is straightforward and low key, though not terribly exciting, has some fine moments with above average songwriting. This style of music isn't something I would normally rate high, but it's so much more satisfying that a majority of the albums that made this list. Nice to see it recognized.

There aren't many bands that had such a successful run over a two year period than Creedence Clearwater Revival, from 1969-1970. Starting with their second album, Bayou Country to Pendulum in late 1970, the band released 5 albums and several hit singles during this period. At least three of them are essential listens and Cosmo's Factory is probably the best of them. Six of the eleven tracks on Cosmo's were released as singles and though this wasn't a "greatest hits" record is sure seemed like it. The album is solid (with little or no filler), and the sound is diverse with many styles and genres. It highlighted the band's, most notably, John Fogerty, songwriting and musicianship. A classic record!

Interesting album. Judging by the cover, I was expecting to hate the album, but a few tracks into the record I started to enjoy it or at least settled into a comfortable mindset. Sort of odd and weird at times, I liked the music, kind of retro with appropriate orchestration and the sound sounded bigger than I was expecting.

Noisy, raw and borderline unbearable, yet there are glimpses of something interesting hidden beneath the sludge. Nick Cave's early band doesn't begin to showcase his talent, but you have to give him credit for trying, but really that's about all...

Not sure if this was planned, but Ghosteen was preceded (on this list) by Junkyard, an album from Nick's band, the Birthday Party from 1982 and this album was released 37 years later. A lot has evolved in Cave's sound through the years and Ghosteen is definitely a mellow, haunting and sometimes beautiful album. It's an album of grief and reflection (his son died in 2015) and it comes through in the music quite well. Not a record to spin during a party, but instead a listen in a dark room with headphones would be appropriate.

I hadn't listened to anything from Alex Harvey until now, so I didn't know what to expect. An oddly amusing record that changes gears often with a variety of styles mixing glam, hard rock and cabaret. Can't say it wasn't interesting and a lot of the sound is given a lush (maybe over produced) production. There really is a song on here called, Gang Bang, right? Bold...

I can't say I'm a fan of Lenny Kravitz. His music has such a generic sound to it, maybe I expected more, but really he's been over-hyped and somewhat overrated. If I was forced to listen to one Kravitz record it would have to be his debut, Let Love Rule. The songs are fine and he still has passion and emotion behind some of these songs and I even recognize and like a few of them. A solid debut, too bad I don't feel as strongly about his future discography.

A brilliant debut from Belle & Sebastian! Their sound is unique with smooth. calming melodies, thoughtful lyrics with a cool indie rock music that has been their signature sound throughout their career. It's crazy, because Tigermilk isn't even their best record, but a blueprint and preview of even more wonderful things to come.

The song, In-A-Gadda-Da-Vida is one of the best known songs from the late 60's, referenced everywhere and is so recognizable and iconic, it's one of those love it or hate it songs that often (as a joke) gets requested at live shows (much like, Freebird) that will bring automatic hatred and anger from other audience members and the musicians on stage. Who can bear to listen to 17 minutes of self-indulgence and mind-numbing acid psych-rock on a sober mind? To be honest, this might be the first time I knowingly listened to the complete song and album and since In-A-Gadda (the song) takes up all of side two, at least half the album is kind of listenable. Side one is so underwhelming, it makes In-A-Gadda, (the song) seem like a masterpiece. Some people feel the album is essential, well the song probably is at least for pop cultural reference and classic rock blocks to kill time, but overall the album is overrated. 2 stars for the song and 1 for the rest of the record.

When the song, Heart of Glass first aired on the radio, I immediately dismissed and hate it. Generally, I disliked any disco songs and around this time in 1979, a lot of mainstream artists (Stones, Kinks, Who, Rod Stewart, Queen...) jumped on the trend and toyed with the disco beats and included at least one disco track on their albums. Listening to the entire album now, I realize there is a lot of great tracks on Parallel Lines that aren't disco and some of their best rockers they ever recorded. If you're discovering Blondie for the first time, this would be the place to start. It's by far their best album and includes most the songs you've heard before. Personally, this album and the debut are the only essential Blondie records worth listening to.

Not usually a fan of reggae, but the time flew by because, I was so relaxed and mellow listening to Legalize It, even without the aide of any legal or illegal drugs. Good listen, cool vibes and warm thoughts that made it easier to cope with the massive snowstorm today where I live.

Not the worst thing I've heard, but at times it's weird. Some songs are good, middle-of the-road folk-pop, but those over the top, orchestrated show-tunes are downright bizarre. Think of this, American, David Ackles doing his best Neil Diamond impression with a hint of Tony Bennett, performing an off-Broadway vaudevillian musical (or high school musical?), American Gothic recorded in London, England produced by Bernie Taupin and they wonder why this album never found an audience? Again, some of the songs are quite beautiful and interesting, but lost me when he started to sing about Jesus (minus -1). Ugh!

I remember Kate Bush, the first time around in the 80's and never found her music interesting and her voice irritated me and made it a difficult listen. I know at the time she was hugely popular, maybe more so in England than North America, but it didn't appeal to me, though there is some good material on The Dreaming. There's been a sudden revival of her music thanks to "that song" featured in the TV show, Stranger Things and a whole new generation and their mothers are chomping at the bit to hear more. This album or Hounds of Love are a good place to start, probably her best albums, at least for me, the most listenable K. Bush records.

A decent album in that it was better than I expected and listened (though not intensely) until the end. I'm not much to listen to club-style dance music, so it's not my kind of music, so I listened and moved on. Still, I rather listen to this than anything by Madonna and most things from Prince.

It might seem like I'm a huge Bob Dylan fan, because I've already given 5 stars to four previous Dylan records. For the most part, I like Dylan, but he's released so much material I wouldn't consider essential and a lot of what I would even call unlistenable music. Those four albums are essential listens not only for Bob Dylan fans, but for popular music as a whole. Bringing It All Back Home is close, it includes some outright Dylan classics, Subterranean Homesick Blues and Mr. Tambourine Man and side one is recorded with an electric band, which was a game changer to his career. Most of the album is terrific, but it doesn't quite reach what I would consider, "epic status" as Blonde On Blonde, Highway 61 Revisited or even Blood On The Tracks. Still, this stands as one of his best.

Dirty raw Rock' N 'Roll, the way it was meant to be! The Stooges were very influential and essential for the development of punk in the mid-70's and Fun House captured the band at peak performance. The thing that stands out for me about this record, is the amount of songs I recognize recorded by other artists. Some of them I didn't realize were covers and so many songs on this album are the original versions and in most cases the superior versions. Super strong side one, though side two kind of peters out towards the end, but overall solid.

Traffic is one of those bands I really like, they have a couple songs that are classics and I own a couple of their better albums (John Barleycorn.../...High Heel Boys), but I always felt there was something holding them back from being truly a great band. The early albums are good, but they also released several sub-par later records amongst many lineup changes. What elevates Traffic over other bands of the era is the sophisticated level of their musicianship. These were talented players and Steve Winwood and Dave Mason wrote some fine songs with Traffic (their second album) and their debut, Mr.Fantasy showcasing this best. Lots to love on this album with an eclectic mix of jazz, folk, rock and blues. A good, enjoyable listen!

Another unintended (right?) coincidence reviewing this Steve Winwood a day after a Traffic record. Unfortunately, over ten years later, Arc Of A Diver doesn't age as well as Traffic's second album, with dated 80's electronic commercial pop. This is about as MOR, AOR it get and it did yield a hit and it was his breakthrough album as a solo artist. When, While You See A Chance was "topping" the charts I didn't care for the song. It opens with some cheesy synths and it's funny because listening to it now it feels nostalgic and so familiar, with it's catchy rhythms, surely signs I'm getting middle-aged and mellow, so I don't mind the song. The rest of the album is fine, though it's still not as good as (later period) Traffic, when their albums were a challenging listen.

X had a great run of must-hear albums in the early-mid 80's with music that was smart, intelligent punk combining styles of rockabilly, country, blues, R & B and roots rock and put on energetic live shows. The first album, Los Angeles was groundbreaking and added California to the punk rock map. Their second album, Wild Gift was just as good, it was rawer and less over-produced than the first and the songs were a continuation in style and intensity of Los Angeles. In some ways, I prefer Wild Gift, it was maybe a bit overlooked and underrated in the overall X catalog, but it was an important record and lasting punk masterpiece, before the band signed to the Majors and smoothed out (and quieted) their sound. Solid and essential, if you can find it!

The collection of songs on the American version of Are You Experienced, could definitely be considered a "greatest hits" album with so many of Hendrix's classic tracks, Purple Haze, Hey Joe, The Wind Cries Mary, Foxy Lady, Fire...the first three omitted on the UK version. To me, this album is the gold standard for guitar blues-rock, an electrifying record that is a classic any way you look at it. I heard this album when I was a teen and wore out the cassette I taped it on and there aren't many records that live up to or compare with this stunning debut. The U.S. album cover is also superior to the UK version.

I won't even pretend I like this album. Clearly, I'm not the target audience of Christina Aguilera or any other female "pop stars" from this era. This is music for people that buy their music at shopping malls, watch too many music videos and "cool" moms who think Christina and Britney are good role models for their daughters. "Empowering", "feminist", "sexualized"...Stripped? More like corporate manipulative image-based "music". As for the music, she can definitely sing and some of the songs are quite good, but the fact she's still relevant today amazes me and at the same time doesn't surprise me. If you like this kind of music, good for you...next please!

Recently, I had the pleasure of listening to the first recordings Elliot Smith recorded back in high school with the band, Stranger than Fiction. What was revealed it that even at an early age Smith was a self-aware musician, singer-songwriter that matured with each recording that eventually led to his work with Heatmiser. By the time he released his first solo album in 1994, he was already a seasoned performer and his growth of a songwriter was obvious and is highlighted on Either Or, Smith's third album. The feeling at the time was that Smith could be "popular", but he didn't want to be. A solidly consistant record that didn't need "hits" or heavy production to get the message across. I enjoy most of Smith's albums for different reasons and Either Or, rightfully should be considered one of his finest.

This is such a 80's Brit-pop sound, bouncy, fun and at time infectious, but really nothing that makes it stand out as being essential. If you played this alongside other similar sounding bands from this era, it would be difficult to differentiate them, just not memorable. With that being said this was a good listen, I didn't feel the need to turn it off early and I might listen again in the future.

This was better than I was expecting. I'm not much for "club" music, but it turned out to be an engaging listen, some good beats and groovy rhythms. I wasn't expecting to listen to it all, but I did and I might again...

I'm sure when this was released this seemed like what they thought the future would sound like. Sequencer-driven, synth sounds has the makings of a sci-fi film soundtrack with upbeat, swirling, electronica sounds that had my head spinning, stunned and left me feeling drone-like. Fast forward almost 40 years and the future isn't what it was it cracked up to be. Music we listen to is either classic rock from 1974 or "modern music" with machine driven beats interrupted with drone-like "singers" whose voices are electronically altered and auto-tuned, maybe Tangerine Dream was onto something. Considering all that, I would much prefer Phaedra to what's popular on the radio now! Let's live in the past to live in the future present.

Previously, I rated The Jam's, Sound Affects, 5 stars and All Mod Cons is just as good, if not better. The Jam's debut album, In The City, clearly was influenced by early Who, and whose raw Mod sounds showed flashes of R & B, Soul, as well as punk. By the third record, the Jam's sound have evolved and matured and the best comparison would be the songwriting and imagery of Ray Davies and the Kinks. The obvious is they covered the Kinks, David Watts, but it goes beyond that with Paul Weller refining his wordplay and tightening up the band. The results are spectacular with a collection of brilliant songs resulting in the Jam's best album and most satisfying. I've ranked most the Kinks albums on this list, 5 stars and the two best Jam albums aren't that far behind as far as quality and enjoyment. I also learned, All Mod Cons is abbreviated for all "modern conveniences" and the album cover photo is a visual joke with the band members posing in a bare empty room...haha..

An interesting mix of many genres with emphasis on beats, rhythm and hip-hop styling. Worth the listen and a lot of it is really good, but isn't something that will have me coming back for more.

If you're into sonic soundscapes of electronica and endless repetition, repetition, repetition...then this music is for you. Never been of fan of DJ-driven beats, sound bits and sampling, so I never got the appeal of DJs. At times, this got so annoying I had to advance to the next song. While some tracks were pleasant to listen to, this is all background music to me, I just wish it would stayed in the background. The title track, Destroy Rock & Roll got soooooo f*cking irrating! Yeah, I can list off as many artists and bands as he can...Cindy Looper, Cindy Looper, Cindy Looper...Missing Persons Duran Duran, Missing Persons Duran Duran, Missing Persons Duran Duran, Missing Persons Duran Duran, Missing Persons Duran Duran, Missing Persons Duran Duran, Missing Persons Duran Duran, Missing Persons Duran Duran, Missing Persons Duran Duran, Duran Duran, Duran Duran, Duran, Duran Duran, Duran Duran, Duran Duran, DuranDuran Duran, Duran Duran, Duran Duran, Duran, Duran Duran, ...Oh, how I miss rock & roll!

Though, Bridge Over Troubled Water was considered by many as the high point of the Simon & Garfunkel catalog, I was indifferent and unsure if it was their best album. Commercially, this is their best known work and contains some timeless classics, but the title track I always thought as over-blown produced and even schmaltzy and never liked the song. Same with Cecilia, I didn't care for the song. I would consider, The Boxer one of S & G's best songs and I still rank it one of my favourite songs from the duo. The rest of the album is okay, but not essential and if you're just discovering the group (or cutting through the filler), start with the greatest hits album and earlier albums which have some really good deep tracks. Oh, and Paul Simon's first two solo records are better!

Very dated sounding with that reverb-heavy drum sound and slick sounding production that doesn't appeal to me at all. Back when this was released, I heard a couple of songs and didn't feel I had to hear more. Fast forward, 37 years later listening to the whole album with fresh ears, I can tolerate it. It's decent 80's R & B pop, but reminds me the 80's had so much better music than this that interested me then and now.

Better than I was expecting, I had no idea how this would sound and I was pleasantly surprised I liked it. Kind of a retro crooner style with a modern Brit-pop take and for the most part is successful, the songs are interesting and they create a mood and atmosphere that suits the music. Worth the listen.

Not a bad listen despite the fact I don't like rap. The usual rap/hip hop subject matter and tough talk I really don't care for, but UK rap with his English accent at least is different and sort of interesting and intriguing. Still, either way you look at it it's still the rap genre, I don't have to love it, but at least it was listenable and kind of entertaining.

Sonic Youth has released many albums since the early 80's. They started out as an art-noise band that featured a lot of improvisational sounds that sometimes lacked song structure and melody. Progressively, the band's sound expanded and became an "alternative" rock band that gained some commercial attention riding the wave of like-sounding alt-rock "indie" bands in the early 90's. Thing is, Sonic Youth was making that music a decade earlier and their sound was influential to many bands in the 90's. All of their albums are interesting for different reasons, but I found their sweet spot was the double LP, Daydream Nation, an epic record that still had the edge, intensity and abrasiveness of their earlier albums and weaved in a melodic and structured sound that stands as their best work. I kick myself for not buying the double LP back in the day, but I did tape my brother's copy and played it obsessively and have since bought the deluxe CD version with a live version of the album as the second disc. An amazing band who's live shows were incredible and though they never recorded anything as fine as Daydream Nation, they didn't sell out their sound too much and stayed on the path of making some decent underrated records.

I have to be in a certain mood to listen to a lot of folk/country music and the closer to an authentic sound, the better. I've been familiar with Gillian Welch since this album came out, as I've listened to similar sounding artists, but what sets Welch apart is the sincerity and passion she displays in her music. This is easy to listen to, not in the "easy-listening" sense, but it's hard not to like her playing, her voice and her always interesting songs. I can listen to this on repeat all day, it's that good!

I've been seeking more Jazz artists to listen to and Hugh Masekela is a refreshing and interesting choice. This album was relaxing and an excellent background soundtrack to my day. Smooth, without being too slick. Will definitely listen to more from Masekela and a repeated spin of, Home Is Where... will happen soon!

Can't say I'm a fan, but sometimes you can't deny the funk. It's upbeat, fun and infectious, so why not?

Hadn't listened to this before so I didn't know what to expect. The album opens up strong with Dirge, which i liked a lot. From there the record gets more electronic, dark and moody, which is fine, because it was interesting and the songs stood on there own, but I was starting to lose interest towards the end. This album hits the 600 mark of my 1001 album quest and the average rating is 3.42 (so far). This album is good, but for me not essential so it'll score slightly below the average.

Had a challenging time trying to listen to the complete album, but I got the gist of it. Beautiful music and if you enjoy Indian music this is a must hear. I'm not a big fan of sitars and Indian music in general, but I appreciate the musicianship and the influential musical styling of Sharma. It was challenging to listen to it all and I doubt I will again, but I'm happy I did.

By the time Green was released in 1988, I was already starting to lose interest in R.E.M. The previous record, Document wasn't up to the standard of the earlier records and with Green, the band signed to a major label (Warner Bros.) and their sound was evolving into a mid-tempo, commercial sounding, MTV pandering machine. I didn't like the album, nor it's following two, which I found close to "sell-out" territory. Listening now, I acknowledge the album has it's moments, it's a solid collection of songs that are recognizable and not bad, but still doesn't have the originality and impact (to me) of the early "indie" albums. The record is good, but definitely not one of my favourite's from the band, who I consider myself a big fan..

I hadn't never heard of Django Django, so it came as a surprise, I liked it. Had a bit of a 70's psych, prog, funky vibe to some of it, with an overall modern, progressive sound. Good enough arrangements, thoughtful lyrics and musical variation to keep it interesting throughout with head-bopping rhythms and beats. It engaged me enough to have a second listen the next day. Why hadn't I heard of this before??

A well intended project with Billy Bragg and Wilco taking unheard Woody Guthrie lyrics and composing new contemporary music and performing the songs for this " collaboration" album. The songs were fine, Bragg's songs were in his usual spirit and element and California Stars is one of Wilco's better songs. With that being said, I thought is was a bit underwhelming and not the best performances for both artists. I much prefer their own records, but that's what happens when you record essentially a "cover" album of Woody Guthrie songs. Needless to say, these artists were a good choice to take on this project and for the most part succeeded.

I've written a lot of positive reviews already for the CCR albums on the list and Green River is no exception. The band released so much memorable and classic songs during such a short period of time in the late 60's, it would be easy to just buy a greatest hits record, but you'd be missing out on the many incredible "deep tracks" that weren't chart-toppers on their great run. Every song is recognizable and there isn't any filler, but my only complaint (if you can call it that) is it's so short, it clocks in under 30 minutes (29:25). This is what happens when you release three albums (Bayou Country, Green River, Willy and the Poor Boys) in one year! I have to admit, I'm not a big fan of their longer, drawn out jams anyways, so the 9 songs, all under 5 minutes is a quality listen. Short and sweet and one of their best.

As good as the first two Byrds albums were, Fifth Dimension veered the Byrds music towards a more Psych-Folk Rock sound and Roger McGuinn's 12-string Rickenbacker gave the band an unique signature sound. There's no doubt my favourite Byrds song is Eight Miles High, mainly because of that jangly 12-string guitar, it's a classic! Overall, the album is uneven with more covers (yet, not Dylan) and experimental songs, but I like this album a lot. I bought a ragged vinyl copy of the record many years ago and it's still gets a lot of play on the turntable. A good musical representation of the time period and era.

A solid hard hitting metal/rock/punk album from a band I always felt was a little overlooked at the time. Hard to define, but for the most part it was enjoyable, intense and it ended all too soon. Not for all tastes, but it was better than I expected.

When I imagine what jazz-fusion rock sounds like, it's pretty much this album. It has a 70's/80's TV soundtrack vibe to it and though it's enthusiastic and high energy I can't get past this in my mind. At times, it has that schmaltzy saxophone sound (A Remark You Made) that nobody loves and reminded me of a mellow Dire Straits track I can't remember the title to. The bass playing is top notch and the musicianship in general is quite good, but this seems to be more of a fun, background music listen for me, that I did enjoy.

I've always considered Elton John as a singles artist, as in his albums are uneven, inconsistent, and contain a lot of filler sprinkled with a couple of hits to sell the record. I'm talking about Elton from the early-mid 70's, his peak period. The first "real" album I bought was the Elton John's Greatest Hits album which was probably one of the top selling records of the 70's. This was really all you needed to hear John's hits without spending money on the albums. Goodbye Yellow Brick Road is the only album I would consider essential, it's an excessive double album with a lead off-double track (Funeral for a Friend/Love Lies Bleeding) that takes up more than half of side one and it might be my favourite song on the album. My biggest issue with the album is that it's too long. There are a lot of second tier John songs as filler, but a bunch of his best songs. If they made this a single album, take all of side one, most of side two (get rid of the insufferable, Jamaica Jerk-Off and replace it with, Saturday Night's Alright for Fighting and maybe, Harmony (both from side 4), this would have been a solid 5 star classic. Instead we are left with a top heavy record with enough good filler tracks to still deem this Elton John's best, non-greatest hits record.

Before this listen, my only exposure to War was, Why Don't We Be Friends, Low Rider and their association with Eric Burden. Glad I listened to an actual album, because those songs, though a good gateway to War, doesn't reveal the full sound of the band, as they were a legit good fusion funk, soul, jazz, blues band, that didn't need radio hits to showcase how good they sounded. Their sound and musicianship is solid and though things blurred together too much for me towards the end, it was a satisfying listen. Who needs Eric Burden anyways?

Along with the Replacements, Husker Du is one of the most influential and important bands from the Twin Cities during the 80's. Sure, Prince painted the town Purple with his memorable shows at the First Avenue, but I preferred the punked-up songs from the Mats and Husker who were also hometown heroes with memorable shows at the First Ave. Warehouse was Husker Du's last album during their great run of albums starting with the epic double classic, Zen Arcade and ended with another double album. It's too bad this is the only Husker Du album (so far...?) on this list, as there were other more worthy albums from their catalogue, New Day Rising and Flip Your Wig were great and the aforementioned, Zen Arcade and even Candy Apple Grey, their major label debut are much more preferred. There's nothing wrong with Warehouse, it's their most accessible record, a bright poppier melodic sound than their earlier punk albums and despite so many songs, their aren't any duds or unnecessary filler. By the time this album was made, Grant Hart and Bob Mould notoriously were at odds recording this album and the subsequent tour, as they dueled it out matching each other song by song, that led to the expanded running length. There are some really fine songs on here, but the sonic, intense sound Husker Du made a name for, gets lost here with a collection of songs that were more of an alternative, pop-rock sound, I prefer New Day Rising any day of the week.

I hadn't listened to any Sepultura until now, I assumed they would be heavy, loud and metal melting and I wasn't far off. Their abrasive, aggressive sound isn't something I would seek out, nor would I remotely consider this essential, but clearly, they have fans that are engaged with their sound. I'm too old to tolerate being shouted and growled at, it's angry and fast which normally doesn't bother me, but really it's time to grow up and move on...

Not too much to complain about, their songs are fine, though underwhelming at times, but it's nice to hear there are bands that still play rock, when it's becoming increasingly rare for bands to gain traction during an era with "stars" from YouTube, TikTok. Some good stuff here, but nothing stands out for me as it's a fairly genetic and unmemorable. I would listen to more of their music, not because I love it, more to hear if they have more variety and range than on Only By the Night. Comme ci comme ça

When the Minutemen disbanded after the death of D. Boon, the remaining members, George Hurley and Mike Watt joined up with a fan of the Minutemen, Ed (from Ohio) Crawford to form Firehose. This union turned out quite good, as Crawford's enthusiasm and passion for the music pushed their sound forward for a more melodic rock sound, yet maintaining the rhythm section sound of the Minutemen. By the third album, Fromohio, the band had evolved their jazzy, fusion, funky sound to a more accessible and acoustic, folky sound, but had still had the energy of a straightforward rock band. A somewhat underrated record that I still listen to a lot and wished that music could still be this good all the time.

Full disclosure, I never liked Courtney Love. I always felt to fell into the spotlight and extreme wealth in a shitty way with her marriage to Kurt Cobain and after his death she became an attention magnet. Her acting career was a joke and her "celebrity" was sketchy at best. During Cobain's lifetime, I refused to listen to Hole and it was a few years after his death I bought a used tape of "Pretty on the Inside", Hole's debut from 1991. It was better than I expected. The third album, Celebrity Skin had a more commercial power-pop rock sound to it, not as punky or abrasive as the previous two albums. Some fans screamed sell-out, but it was definitely their most accessible sounding album and in some ways more enjoyable. I'm not defending the record, I like the crisp sound, but it's maybe too mainstream sounding that wouldn't have been out of place on radio, alongside Fleetwood Mac or any other corporate rock bands. That's not necessarily a bad thing, but the band didn't win over or keep as many fans as they thought they would, including the questionable decision to tour with Marilyn Manson. It went downhill from there. If you judge the album on it's own, it's generic and "nice-sounding", but really music should be more important than that.

A solid, complete effort from the pop duo with what might be their most consistent and memorable work. Less "flashy" and quieter than some of their other key releases, it contains three of their best songs (America, Mrs. Robinson and the cool, Hazy Shade of Winter) and some other above average tunes that showcase their singing talent and Paul Simon's brilliant songwriting. Prefer this over, Bridge Over Troubled Waters.

I remember when I bought the pre-recorded cassettes for Low and Heroes back in the day I wasn't impressed. The sound was gloomy, dark and songs moved as far away from mainstream music as possible. This was the first of Bowie's "Berlin trilogy" with Eno and explored a experimental and ambient electronic sounds, something I didn't appreciate at the time and thought he lost his mind. Listening now, decades later, it's still a somewhat difficult listen and it borders between, strange and brilliant. If you listen to the trio of albums (Low, Heroes, Lodger) now, it's no longer surprising or shocking, but a slow burn of avant-garde pop, not worrying about commercial appeal, while exploring the musical styling and influence of Germany surrounding Bowie around this period. Fascinating and worth rediscovering, though not for all and you have to be in the right state of mind and mood to appreciate it.

I'm not normally a fan of country, but sometimes I make exceptions for some older "Outlaw" country, like Willie Nelson, Waylon Jennings and Johnny Cash. This is a pretty good rollicking set of Honky Tonk roadhouse blues/country that is fun and a generally good time. I can tolerate this and the fact it was short and fast, is an extra bonus.

Apparently, I overlooked David Bowie's mid-late 70's albums since 2 of the last 3 posts were Bowie's, Low (1977) and today's album, Station To Station (1976). For me, Station To Station has more appeal with a fabulous title track that opens the album and with only 6 songs on the record, this confirms that quality over quantity is preferred. The rest of the album is consistently good and it was reported that Bowie was heavily addicted to cocaine during this period. This was the bridge album between the commercial success of his thin white duke, Young Americans and his upcoming Berlin Trilogy and here you get a taste of both, which I prefer STS to the other projects. There might be some positive creative results of cocaine, but if you can't remember making the album, did it really happen?...

As far as British folk-rock, Fairport Convention is one of the most influential and important bands of the genre. Sandy Denny's lovely vocals are essential for their sound and a band that also includes Richard Thompson must be good. For the most part, I enjoyed it and this is something I've overlooked and glad it showed up on this list. Definitely worth the time, if you're in the mood for traditional folk served up late 60's style.

There's no doubt, early Elvis Presley is essential listening, mid-Elvis with his acting and soundtrack records through the 60's were hit and miss, mainly misses and late period 70's Elvis is best forgotten, especially his time performing in Vegas. There was a brief period in the late 60's where Elvis attempted a last ditch effort to revive his career, the 68' Comeback comes to mind, which reminded fans Elvis was still King, kind of...Building on that momentum, From Elvis In Memphis was what I feel was his last significant album. It was a return to a non-soundtrack studio album, the "country soul feeling" gave the record a more authentic sound and some of it was legit good. For me though, the songs have no real meaning, nor do I feel any kind of emotional connection, but overall the songs are decent and the band is solid. There are so many better options if you want to hear Elvis in his prime.

I'm not a fan of rap, so it's easy to dismiss this and move on, but it was an alright, okay listen and it played well as background for me. It was a promising start with the opening track, Be (intro), but once Common started rapping, it eased back into a generic and unmemorable rap record, though it was one level higher than most.

This isn't something I would normally seek out, but I'm glad this is included on this list. An enjoyable listen of funky-jazz fusion instrumentals that is really worth hearing to. This has turned me on to more of his music, as long as it's upbeat, grooving and fun, which this definitely is!

Beach House is described as, Dream indie-Pop and this accurately describes their music. Their music has a beautiful, dreamy quality to it, while at the same time many of the songs go one step further and lulls you to sleep. Which isn't necessarily a bad thing, the music is comfortable, non-offensive and easy to listen to with layered depth of synths and cool, breezy vocals. This isn't music to impress your friends or annoy your neighbors you hate, but it might be best listened to on headphones or while your chilling with friends while drifting off to sleep drinking wine. This music will speed up the process, hopefully with a smile on your face while you Teen Dream and enjoy Victoria's soothing voice...

If it wasn't for this list, I would never have been exposed to so much British rap. I've listened and concluded it's interesting and there is some good music and beats, but I still don't like it, similarly to most American rap. Not my jam, but I will taste it (listen) and move on...

If you take away the comparisons and references to Lynyrd Skynyrd, you're left with an above average alt-country band that reminds me of Whiskeytown, a bit of Tom Petty, early Wilco, Molly Hatchet and maybe even the Beat Farmers. Epic in length and ambition, there is lots to love, but maybe there's too much to listen to. So many songs and two acts (and discs), if was pared down it could have had more impact. Sprawling and over an hour and a half, it's a pretty big time commitment and while most of it pays off, it is a really good album, but you really have to be in the mood for the complete southern rock opera. 3 1/2 ***

Many people don't like live albums because, the performances might be loose and may vary from the studio versions and oh, that crowd noise can be so distracting. For me, what makes a great live record is that the songs don't sound exactly like the album and the band can elevate the songs through the energy and enthusiasm of a live concert. The screechy, screaming Japanese girls in the crowd only add to the sheer excitement of the show. After this album was released it took a good, solid power-pop rock band from Illinois from near obscurity to worldwide superstardom. There's a reason this is Cheap Trick's best selling album and even today when the band plays live, at least half of these songs continue to be mainstays on their setlists. The live version of the song, I Want To To Want Me, became one of their biggest hits, even though it was previously released on their second album, In Color, to little notice, as a bland, flat sounding studio version. Really, if you need to hear one Cheap Trick album, this is it. As a teenager, I was blown away and saw the band live during era and it remains one of my most memorable live concert experiences.

Never liked the band when this was released and dislike them even more now. Nothing of interest here and the more I actually listened, the more I hated it. That was over an hour of time I'll never get back, as it burned so brain cells I'll need to listen to hours and hours of babies crying to recover. In who's hell world goes this album make the list??

I recognized more songs than I expected since I've never listened to Garbage on purpose, so I have inadvertently heard their music. Nothing spectacular, though there are a couple of really good songs on here, but it isn't something I would seek out. The nice thing about this list is to make you aware of either music you have never heard before or force you to listen to music you avoided for whatever reason in the past. Garbage is a band I avoided and listening now I admit the album is worth a listen. They were an important band to come out of the 90's, but their sound isn't unique enough to pick them out of a crowd of other mid-90's female-led bands.

The three album run from 1971-1972, with, The Yes Album, Fragile and Close To the Edge is the peak period for Yes, before things got off the rails and drifted into exercises of self-indulgence and tried the patience of fans with their next releases. Fragile opens with Yes's finest achievement, the over-eight minute masterpiece, Roundabout and was the main reason I bought the album. There's no doubt the song is a classic, but the rest of the record is decent enough to sustain it's status as one of their best. I don't love Yes's music, but at least on Fragile there was enough song structure, melody and superior musicianship to grade it above the average Prog album.

Electronica isn't usually on my list of music to seek out, but listening is fine most of the time when it's not too repetitious or annoying. Exit Planet Dust from the Chemical Brothers was a relaxing and easy listen and I actually enjoyed it. At least, I didn't feel like I was stuck inside a video game.

Considering this album was released in 2021, this is hardly a "classic" or even worth my while. I've never of this, but I guess I'm listening in the wrong places. I'm getting tired of albums, especially by rap/hip hop artists who literally need to tell us about their problems and their empowerment issues. I don't care, but apparently someone does to deem this album "essential". Interesting with some good beats, but a hard pass.

Oh boy, more Electronica! Lots of Electronica lately and it's getting harder and harder to distinguish them apart. Lots of repetition and mid-numbing rhythms that have me yearning for some vocals, two guitars, bass and drums. The positives is that it's a relaxing, chill listen, you can turn your brain off, close your eyes and enjoy. I couldn't tell you what the songs were about, the song titles or even can tell the songs apart, but at least I didn't have the urge to shut it off. I learned that Boards of Canada aren't even from Canada, but are Scottish. They even have another album called, Trans Canada Highway, which is a real highway that goes through the city where I live. Go figure.

I've never heard of Q-Tip or heard this album (obviously). I was pleasantly surprised, very nice beats, smooth rhythms and the music was soothing and accessible. Starts off strong, but begins to blur together and lags towards the end, but otherwise a solid album and satisfying listen.

Joy Division is one of those bands I didn't listen to at the time and though I'm a fan of new wave, punk and rock from the late 70's, I didn't think I would enjoy their music. More recently, I've tried to listen to like-minded bands like New Order, the Cure and Bauhaus, but I never was enthused by their post-punk, goth sounds. I do enjoy a lot of Unknown Pleasures, especially the upbeat songs and some songs remind me of the Cramps. The guitar sound is nice and the bass work on Disorder (and throughout) is incredible. A solid debut album and though they're not essential to me, I can understand why they made the list.

It kind of started out okay, but when the repetition kicked in with that incredibly annoying song, The Rockafeller Skank that was it. To be honest, the beats and music was alright, but come on, you don't have to drill it into our brains with the repeated lyrics with military precision to get your point across. It goes on and on and on and on and on and on and on about now, about now, now, now, now, about now, now, nownownownownownownow....!!! (Fat Boy Slim can go fucking in heaven in heaven in heaven forever.)

There are so many rap albums on this list and surprised I've reviewed a Common album already, so is he essential? I'm probably not one to ask because I've never been a fan of rap, most of it is adolescent, hateful or just boring. The way I hear it, Common is a step above the typical rapper, there's some intelligence and the beats and music are listenable. The songs don't age well, if you know what I mean and really is 2000 that long ago? I guess it is for the target audience, so they might excuse the homophobia, misogyny and excessive use of the N-word, which I don't have too much of a problem with, but it's soooooo f-ing long! Does the album need to be over 77 minutes? I felt the urge to skip tracks, but I stuck it out, not sure if that was a good decision or not? Essential?...uh, no.

A funky flashy soulful listen that was furiously fun and enjoyable. Early hip hop, that is an extension of influences from Stevie Wonder, disco and the funk beats of the 70's. Not something I would normally listen to, but it was a fine way to groove on a sunny spring afternoon.

I never understood the appeal of Jay-Z and after listening to the whole album, it has even less than zero appeal for me. The sound and production is slick and the music and beats are nothing out of the ordinary or special. I can't relate to his music, lyrics, ego or anything really. So overrated! I don't have to like it, I'm glad I listened, but NEXT!

I remember the Triffids back in the day and though the music is okay, I am underwhelmed and surprised this band and this album is deemed essential on the list. There are so many more bands from the 80's that played a similar style of music that did it much better. Fellow Australians, Hoodoo Gurus come to mind, whose music is much more appealing and interesting than the Triffids. This isn't a bad album by any stretch, I like some of it, but I didn't realize before just how Christian-rock-like they sound, which loses points with me and some songs are just plain boring and MOR.

I realize Snoop's debut album is considered by some as one of most important hip-hop/rap records for it's lyrical "realism" and for it's social-eco lifestyles. The problem is about Snoop's obsession with his dick and his bitches that "service" him who get treated like shit, is not my concern (or interest) and it gets tired very very quickly. I get it, rap is suppose to be about the power of men over women, black over white, chilling with their homies and shooting up shit cause their gangstas, but as far as my musical preferences, music heroes and social conscience go, Snoop is humping the f*cking wrong tree with me.

I hadn't listened to much Echo and the Bunnymen before a few years ago and thought this is a band I should check out because I'm generally a fan of 80's alternative music. Overall, their sound is fine and there's some good songs on this debut, but I don't love it or care if I heard them again. Kind of a Smith-ish sound, though a bit more upbeat (and less boring) and their guitar sound is not unlike a lot of New Wave/Post-Punk bands from the era. I just feel their music isn't that compelling or interesting, maybe even generic, but at the time there are a lot worse bands that got more attention and accolades. The Bunnymen's music is very listenable, though not essential.

I've never been a fan of Rufus, I recognize he's clearly a talented songwriter and the songs are unique and different, but I never endeared myself with his sleepy whiny vocal style and many of his songs to me come across as overly dramatic cabaret/musical theatre production numbers. I should like him, at least for his genes and nationality, as I'm a fan of both of the McGarrigle sisters (his mom and aunt), his dad, Loudon and sister, Martha and he's Canadian. So much of it is so "over-the-top", which is fine and that's part of what sets him apart from most pop stars and the musical style does suit his voice, instrumentation and personal fashion.

Another album and artist I classify in the "I don't see what the big deal is?" category. Another female rapper, which is great and Missy is very influential of more females joining the exciting world of rap, but why is it boring, uninteresting and way toooo long? The beats and production are fine, but I was expecting more, since there's been so much rap and hip-hop lately on this list, I'm expecting something that is special and will stand out, but it seems to be more of the same. Ho hum...

As far as Rap goes (for me), I could do a lot worse than LL Cool J. His smoothness and the decent beats makes this listenable, but far from something I'll spin on a whim. Both likeable and cringy, this is what I would consider mainstream stereotypical rap and though I'm not fond of the genre, I must admit I enjoyed it.

The followup to the Police's brilliant debut album, Regatta De Blanc may have been a commercial success, with a trio of hits, but it never resonated with me as much as Outlandos d'Amour. The debut was a refreshing, upbeat and exciting record that combined punk, new wave and British reggae, which was promising with great songs and passionate playing. Though, Regatta opens with possibly the Police's best songs, Message In The Bottle, the quality and energy gets lost with boring and uninteresting "hits", Walking On The Moon and Bed's Too Big Without You. It's not a bad album, as there are some highlights, Bring On The Night, (the underrated) On Any Other Day and No Time This Time kept it interesting. Something was lost between the first two albums, but still it might still be my second favourite Police record, since I lost interest in the band by the third album.

A solid album that proves there are still some really great blues rock guitar records and the White Stripes do justice to the genre. Meg's drumming is consistently good and it allows Jack to wail away and rock out. I'm not a big fan of the band, but they did release some pretty fine albums during their run and Elephant is their most satisfying. This album is better than I remember it when it was released and I admit I miss seeing them perform. An excellent live band!

My first response when I saw this album, Tanto Tempo on the list was, this is Joao Gilberto's daughter, I must hear this! I wasn't disappointed, the Bossa Nova sound I was hoping to hear is present and though I was initially worried it might sound too modern, it's electronics and contemporary production only adds to enjoyment. To me, her voice recalls, Joao's first wife, Astrud Gilberto (not Bebel's mother) and on a few songs, I thought it was breaking out into, The Girl From Ipanema, which is a good thing. It's a beautiful record, easy to listen to and it's the type of music you want to, grab your headphones, close your eyes, put on your beach hat and enjoy the sunshine. I'm sold, time to explore the rest of her album catalogue!

The album opens with promise, upbeat, poppy and infectious melodies and the record continues with a light, breezy electronic dance, club, house vibe. The music is fine, but after a while I was hoping it would end, not because it was bad or unappealing, it just got to be too much and too long. This might be a good album to spin at a party, get people up dancing and schmoozing, but at the same time, if you play it long enough it might be a fast way to clear the room when you want everyone to leave.

A pleasant listen of unpretentious, laid back folk with 60's folk musician, Fred Neil. I previously had only heard one song, the original version of Everybody's Walkin' and it stands above the rest of the material. The rest of the record is good, but unspectacular and you can understand why he didn't become a household name or more popular. His voice isn't for all tastes and the songs might just be too laid back to leave a more admirable impression.

The problem when the music is created by machines and the rhythms and driving melodies are repetitious loops, it loses it's human warmth, connection and interest. The music is easy to listen to and inoffensive and provides a decent background soundtrack, but as far as sitting down and listening intently (critically), not as appealing and moves towards boring..

Though I'm definitely NOT an Eagles fan, on Hotel California they moved away from their flat, bland country-rock sound and made a rock record that is the only Eagle's album I can listen to. It opens with three staple songs on classic rock radio rotation including the always insufferable, title track, Hotle California, New Kid In Town, recalls their earlier country-ish sound and Life In The Fast Lane, the satisfying rocker. The remainder of the album edges towards schmaltzy and MOR mediocrity, that was the blueprint for the rest of the Eagles discography, but it remains (in my opinion) their finest moment, if there ever was one. I never bought into the whole Eagles thing and I would certainly not waste my money seeing these over-the-hill "rockers" live.

I stated earlier that Bob Dylan released a lot of hit and miss records and later in his career it was more miss. He still has the chops to continue performing live, though many would suggest his shows as well are more miss. Time Out Of Mind, seemed to come out of nowhere, as the 90's weren't exactly Dylan's most productive periods (I should note, I've seen him live twice, both times in the 90's), but the album proved he still has passion for making music and it was one of his most listenable albums in years. It's a consistently solid record, blues-influenced with some good performances. It even won a Grammy and caught the attention of a younger generation that still can't understand why he's so acclaimed. It's definitely not one of his best or essential albums, but it does reinstate he is still important in today's popular music.

Drums and bass, drums and bass, drums and bass over searing spacey soundscapes sounds over and over...Reminds me of a laser light show I saw back in the 80's, except it was probably Pink Floyd music and I seem to remember falling asleep to it even though there were lasers! Is this what future me has to look forward to? I sure damn hope not!

Not music usually in my "wheelhouse", but it's upbeat rhythms and impressive musicianship was enjoyable and a good listen. Had it on as background music and it wasn't something I struggled with or tempted to switch tracks, so it was a win. If it's fun, funky and festive, why not?

Tuesday Night Music Club is actually Sheryl Crow's, "second album" as her debut was rejected by the music label. I have a bootleg copy of that recording and it's terrible, it has a horrible over-produced glossy sound and the songs ring hollow and uninspired. It's amazing what better production, better songs and a make-over image can do, as TNMC presents Crow is a fun loving, casual fashioned, blues-rock artist. The songs are an improvement and with the "hit", All I Wanna Do sets the blueprint for the course of Crow's career. Listening now, it's still OK, but the rest of the album isn't as good as I remember. Most of the record is quite middle-of-the-road sounding and doesn't feel as authentic as we are led to feel. There is still a lot of filler (as most of her albums are) and I must admit I've been lukewarm to her music since, with the odd interesting song, but it's just too mainstream and commercial sounding to care.

During Parson's all too short life, he accomplished a lot musically. Along with the Burrito Bros, The Byrds and hanging out with the Stones, Parsons crafted a pair of mighty fine solo albums, including Grievous Angel, which was released shortly after his death. This was the "swan song" for a career that was important and influential for country and rock and for the many musicians that followed. I prefer Grievous Angel to his earlier works, maybe because it's less-country sounding, with finely written songs, a solid song selection and the outstanding contribution from a young, Emmylou Harris, that doesn't hurt either. Many of these songs I've heard covered by other artists, which tell you something.

A challenging listen. Buckley's voice is interesting (and unique?), but it annoyed me more than kept my interest and the lyrics and songs seemed weird and over the top, not in a good way. I had to really push myself to sit through the whole thing which surprised me because I thought I had heard him before. I thought I would like this, but I must have been thinking about his son, Jeff.

If you enjoy music with a lot of repeated repetition and the feeling you're stuck inside a video game loop, Dig Your Own Hole is your thing. It starts off strong, with a lot of energy and hyped up beats, then the repetition begins and doesn't let up until it feels like you're in a trance. I wanted to hate this, but there was something so infectious and oddly intriguing, it was hard to dislike.

For me, Brit-pop bands are hit and miss and for many they start to sound alike and blend together in my mind. I have to admit, New Wave by the Auteurs was better than I was expecting and though there is nothing really "new wave" about the music it was refreshing and a easy listen. Many of the tracks recalled other bands and songs (the Beatles perhaps?), but what Brit-pop doesn't use the Beatles as a starting point. There is a feeling of familiarity and though they aren't breaking any new ground or pushing the limits of new music, it was enjoyable enough to listen all the way through, which isn't always automatic.

Weird, creepy and not the least bit appealing. It is interesting, in a strange way, if you enjoy an angry french guy and noise backgrounds. At worst, forgettable and avoidable, at best, Tom Waits lost in France and trying to get out.

Kind of an odd mishmash of styles and sounds that at times resembles a British Pogues and other times a sloppy, drunk cowpunk band. Love it (or hate it). with the Mekons you never know what you'll get song to song, album to album. Some songs are really good and the record feels on the verge of greatness, but the expectations are never quite met and it feels more like a disappointment. Definitely, hit or miss, there are better Mekons albums worth listening to and this one, well...have a shot of whiskey, followed by many more, then listen again. It gets better...trust me.

Though the instrumentation is fine in parts, the real weak link in the band is the singer, Johnny Rotten...oh I mean, John Lydon. He is not a gifted singer, nor even a passable vocalist, but he seemingly gets a free pass from his work with the Pistols, where shouty, snotty punk vocals suited the sound and image of the band. Unfortunately, in this "serious" work post-Pistols, it's unlistenable for the most part and progressively gets worse and it disintegrates into a sloppy mess. So, without Lydon there would be no PiL and we weren't have to suffer through this record. On the positive, there was some pretty nifty bass work throughout and it would be cool to own the original pressing metal box packaging.

Never used to be a jazz fan, but in the past bunch of years have been acquiring a taste and exploring the classic jazz artists. The thing I enjoy most about the era is there are incredible instrumentals with some of the top jazz artists at the time. You can tune in and let the music relax you without the distraction of vocalists. Monk is a legend and glad I had the pleasure...more!

Sounds like an assortment of Who, Beach Boys, the Beatles, and Pink Floyd psychedelic period songs rolled into S.F. Sorrow's rock opera, which is both rewarding and self-indulgent. A lot to wade through, but there are a lot of standout tracks, some really good rockers that keep it interesting despite the "concept" and thin story-line. A bit overlong and probably underrated and worth a listen, even if it's just once, but it's a good idea to explore this more to get the most out of this interesting record.

Similarly, to other prolific artists, Elvis Costello recorded several classic essential albums, lots of middle-range, non-essential albums and even some forgettable records, that were a miss-step in his otherwise consistent career. I would place Imperial Ballroom in the middle category. A few good songs on it, though nothing that stands out spectacularly, but overall solid and a decent record. Definitely not a "must-hear", but worth the listen.

Hadn't given much thought (or listen) to Dusty Springfield before taking the album challenge and I've come to realize I have heard her plenty of times without connecting the dots it's been Dusty. Her outstanding voice and the material she sings, plays to her strong points and makes for a very solid listen. I've been to believe a lot of the late 60's orchestrated, female pop singers were kind of cheesy and throw-away, but I've become quite of fan of the era and appreciated their soulful and brilliantly produced styling.

So, this is what proto-heavy metal sounds like. A heavy blues-rock sound that was not so different than what bands like Black Sabbath and Led Zeppelin sounded like a bit later on. Not the most interesting or ground breaking sound, but it was impressive this was 1968 and not 1970. Sure a lot of bands were more popular and commercially appealing, but Blue Cheer predated those bands and I would consider them a little underrated. A good solid record where it's the music that matters and not the satanist imagery that Sabbath would associate with the music.

So much going on musically on this album. Hard to believe this was Roxy Music's debut album, as their avant guard, experimental art rock sound is in full effect and the band sounds confident and ahead of their time. The band's first five albums are essential, influential and important from the early to mid 70's and the debut draws up the blueprint. Virginia Plain gives the album a brilliant single amongst a fine mix of eclectic songs that keep the record interesting. A near classic, but this isn't even their "best" album...?

I've been turned on to jazz the last few years, but I've overlooked big band music. The Duke is one of the best, so this recording is a fine example of the amazing musicianship and talent in his band and the performances are epic. This is the type of music you can sit back and enjoy for what it is, not for what is isn't.

Eclectic, fun, clever and a very interesting album. I'm on the fence about the Beastie's, but you can't deny they made some great records, this is one of them. I can listen to this all day and I can't say that about most of their albums. It all came together with a crazy mix of all their influences and unique styling and it was this album that blew me away and made me realize they actually were seriously talented.

Fast and furious from the start, Scream, Dracula, Scream roars and screams it's way throughout the album. With that aside, the album doesn't elevate to another level, nor does it differentiate itself from other mid-90's bands that do the same thing better. I prefer Superchunk or even Jawbreaker who have a lot more character and write better songs than Rocket From The Crypt on a good day. Not sure what makes this essential? It's good, I like it, but not something that me or anyone else must hear.

When I think about Frank Zappa, I think of his early records, silly, experimental satires of pop culture, politics, hippies and general weirdness. Clearly, a concept album of a mixed bag of bad jokes of ideas and skits that are hit and miss, but you have to commend Zappa for taking this to the extreme and displaying his overwhelming "creativity". This is definitely not for everyone, personally I didn't mind it, it was irritating and dumb most of the time and juvenile stupidly funny other times. It's humor is very dated, but I'm as old as this album, so I get it, well sort of...

Though Adams seems like a crappy person, I've listened to a lot of his albums through the years, starting when he was in Whiskeytown. Gold is probably his most commercial record, if he has one and his early solo works stay within the comfort zone of the alt country/Americana sound he is known for. I give him credit for exploring other musical styles, including full records dedicated to rock, punk and Taylor Swift (song by song cover of 1989) and he has to be the most prolific present day singer-songwriter, with at least 29 solo studio albums, as well as his Whiskeytown stuff. Gold is good, it's just not my favorite Adams album, but it was an important record for his career that brought him more exposure and a fan base. I thought of his earlier material, as a "poor-man's", Wilco or Jeff Tweedy, he has the talent, but there's something lacking in his character, passion and craftsmanship. You can make dozens and dozens of recordings, but is anyone listening to it all or even give a shit?

Cee-Lo Green...Is the Soul Machine by Cee-Lo Green. More like NO Machine! Is Cee-Lo a soul machine? NO Is this even Soul music? NO Is this worth listening to? NO Is this "The One"? NO Is this a "must hear album before you die? Definitely NO NO ...But, you can "Die Trying"

I actually enjoyed most of this album, it was more accessible than other's I've heard and listened to it all the way through, which is saying something because I normally find it hard to make through most of her albums. The breezy light jazzy sound is fine and I don't mind her voice on this one. I realize she's a Canadian treasure, super influential, important female folk artist, who has all the credentials to be a Hall of Famer, but I still stop short of calling myself a fan.

The first Throwing Muses album I bought was Hunkpapa, (their third album) and though it was okay, I was underwhelmed and felt the production dulled it too much. My next purchase was the 2-CD compilation, In A Doghouse, (bought well over 20 years ago) that included the debut, an EP and The Doghouse cassette (on disc 2) that originally preceded the debut, which was basically the demo versions (then re-recorded for the debut). I was disappointed by the debut, but I much preferred the demo versions, as the sound was rawer, more energy. Listening again now with fresh and older ears, I enjoy the record more, maybe because I listened to more TM's music and have come to the conclusion their early albums are their best. I'm upping what I would have graded it back in the day by a star. Worth a listen and if you can find the compilation discs, buy it.

Most works from Marvin Gaye are worth a listen including, Here, My Dear, but unlike his best known works, it doesn't hold up as well or as enjoyable. I'm not saying this is bad by any means, he still has the pipes and the music is groovin', it's just not his best and I wouldn't consider it essential or the place to start. Now spin, What's Going On and Let's Get It On immediately?

Smooth, funky and sexy, is the best way to describe Mayfield's album. Nothing spectacular or something I have to hear, but the more I heard, the more I want to listen. Good solid record!

Even before listening to the album I wanted to hate it, I don't genuinely dislike many people, but I can't stand Fred Durst! I didn't want to unfairly have any preconceived opinions, so I grudgingly listening and it justified everything I hate about Durst, Limp Bizkit and more! This is utter bullshit, the biggest piece of streaming crap I've heard (so far!) on this, "must hear before you die" list. How the f*ck is this listed and why isn't "0" rating an option? Rightfully, this album was removed in revised editions of the book, sadly, it's still included in the edition I own...ugh!

This the sound of punk! No frills, three chord rock' n' roll, simple straightforward lyrics, driving rhythms, the punk attitude and the look! So influential and essential, the Ramones gave hope to all those marginally talented kids that wanted to play in a band and thought they weren't good enough. The debut is a classic, short, sweet and oh, so good! One, two, three, four!!!!

Hadn't listened to much Stevie Wonder before this list and though I appreciate his talent, his great voice and enjoyable songs, I can't say I'm a fan. His offerings on this list so far have been classics, but I don't think, Fulfillingness' First Finale, is as strong as, Innervisions or Songs In The Key Of Life. A solid record, but it lost my interest towards the end.

I previously wrote that Neil Young recorded a shit ton of albums throughout his long and very prolific career and though he recorded many great albums, two of them stand out as his best. I gave five stars to Everybody Knows This Is Nowhere and rightfully so, definitely the great album credited to Neil and his band Crazy Horse that highlighted Neil's rocking side. A close second would be, After The Gold Rush, a well rounded and solid record that showcases Young's brilliant songwriting and craftsmanship, with a collection of strong tracks. Both albums are essential to anyone's cool record collection and a must-hear for aspiring Neil Young fans. Skip Trans, Everybody's Rockin' and Old Ways and go straight to the classics.

I had previously reviewed another Goldfrapp album with the message, I liked it and wanted to hear more from the electronic music duo. Well, Seventh Tree was a pleasant surprise. I listened to it, but was interrupted and distracted by other things and to be fairly judge the album, I listened again. Guess what? I listened a third time and the music began to feel familiar (yes, that tends to happen with multiple listens, but not always!) and the songs seemed elevated (in mind anyways) and really enjoyed it. I'm not usually a fan of anything that's too electronic, but it's poppy, ambient, moody and interesting enough to just enjoy it for what it is. As I said last time, I should listen to more Goldfrapp.

Right from the cover art to the songs, I really dislike this record. Pump was some kind of comeback for the band, that stagnated through most of the 80's, then hit the charts high with some truly awful songs, Love In An Elevator and Janie's Got A Gun. Talk about mainstream mush, this album helped revive their career to treat us with another three decades of sappy, over the top trash. I would consider them one of the most overrated American bands and during the 70's were known as a "poor-man's Stones, which I would consider a compliment. Sorry, I actually own Toys In the Attic and their Greatest Hits album from the 1980. I wish they did us all a favor by breaking up permanently when Joe Perry left the band the first time in 1979.

It starts off promising. Interesting Jazz-fusion sound that is sometimes beautiful and generally chill and quite charming. The first half was easy to listen to. The album slowly degrades into a journey of progressive experimentation strangeness, with endless noodling and just plain weird stuff going on. Difficult listen towards the end and was relieved when it was over.

I always thought Jeff Beck was a little overrated, he's good, but I question whether he's one of the greatest guitar players. This first carnation of the Jeff Beck group is a dynamic blues-rock band, with future Faces, Ron Wood and Rod Stewart, who round out the lineup with inspired performances. This style of music showcases Stewart's vocal style the best and this early work, along with his Faces is what he should be remembered for, not his "Do you Think I'm Sexy" and pop/crooner eras. Apart from his work with the Yardbirds, this is Jeff Beck's peak rock moment. His playing is amazing! Sure, his jazz-fusion stuff is technically good, but Truth is a near classic.

Never really been a fan of ska, but if you have to listen to the genre, it doesn't get much better than the Specials. Their debut brought to the larger masses a great album full of punk energy and infectious sounds that will lift you from your seat. You can't deny this record was enjoyable, dance-able and worth the listen, if not only because it's fun, but also it's influence and importance to the scene.

Not the worst thing I've heard by far, but I do question it's inclusion on the list. It sounds like a ravishing groovy time was had by all, both the band and their fans. Some harmless good fun, with plenty of energy and enthusiasm. I just feel "bummed" I don't get it most of the time, but probably worth a listen at least once.

The story behind the making of the album and Richey Edward's personal issues seem to over shadow the actual record. The album starts off fast and hard and is quite listenable. It does lose energy and my interest towards the end and it's not something I would care to listen to often. The sound is fairly generic and I probably couldn't pick it out in a line, overall it's okay. It is sad this was the last album before Edward's disappearance.

When I was growing up there was this popular song by Canadian, Jerry Doucette called, Mama Let Him Play. "Mama let that boy play some rock and roll, jazz is much too crazy, he can play when he's old, he's too young for the blues, he's still inside his first pair of shoes He's just a baby" or something like that...Anyways, that line about jazz being too crazy he can play it when he's old, has always resonated with me. Well, I'm old now and I've become acquainted with jazz music more in recent years and I still think about that line. I like traditional, old school jazz, which is built around a lot of improvisation and experimentation, but not too crazy. I think Doucette was thinking about Miles Davis's, Bitches Brew because this jazz is much too crazy! This is fusion-jazz-rock based with lots of keyboards, dynamic rhythms, experimentation and plenty of wild trumpeting by Miles. It felt like the album was one long jam session and in reality it is several jams. I can't decide if I like it or no. I don't think it matters how old you have to be to appreciate this music, but if you want to chill out and impress your guests during your next soiree, toss Bitches Brew on your turntable and turn it up LOUD! Then the real party will begin!

I've rated a couple Beck albums already and as far as I remember I highly recommended them. He is an unique artist with interesting ideas and concepts and isn't afraid to experiment and take his music to a different level. Sea Change (to me), is a much more traditional album in the sense that it isn't bizarre or strange, but instead it's mellower, almost a country, Americana pop sound in parts and is very easy to listen to. Because of that, I don't feel it stands out as unique or essential, don't get me wrong, it's an enjoyable listen and I like a lot of the songs, but this is Beck. Maybe I expected more, but it's solid nonetheless and still much preferred than most of the music released during the same era.

Coming into this record I didn't have high hopes, Incredible Bongo Band? Really? I must say I was much more impressed than I expected. Not only are there bongos (yes, lots of bongos!), but there's some killer guitar, sax solos and overall some impressive musicianship throughout the record. To me, a lot of instrumental albums sound like soundtracks or video game music and this is no exception. It has a 70's TV soundtrack vibe to it with a funky progressive jazz fusion thing happening, which isn't a bad thing, I think the best part of a lot of 70's shows was the music or theme songs and this felt familiar in a weird way. I saw an original pressing of this album at a record store and was intrigued by the shiny silver cover. Now that I heard it, I regret not buying it.

I actually sat through a whole Justin Timberlake album! Maybe I don't deserve a medal for enduring this torture, but I feel justified in saying this really is a piece of crap. We've probably all heard Timberlake, I have "accidently" been forced to listen his songs through award shows, comedy shows (SNL), Super Bowls, in department stores, music videos and good ol' shitty radio. What's the appeal? Clearly, I am not his audience or demographic, much like Taylor Swift in a different way, but I can appreciate a sincere attempt at songwriting and performing and Justin doesn't cut it. Justin's music is so shallow and pandering, this is purely sell-out, homogenized, privileged white boy-pop that he wants us to believe he's more mature and talented than his boy-band days. The only reason I stuck it out until the end is I didn't hate it, it didn't bleed my ears or burst my brain, he's smoooooth and silky and not screaming at the listener, so I can tune it out easier. Other than that, I can't justify why this is on the list, makes it feel maybe this list isn't as "authentic" as I had hoped.

I've been a huge Pixies fan since the beginning and have seen them twice since they reunited in 2000's, but I've yet to listen to any of Frank Black's solo albums. I was expected a watered down version of the Pixies, but actually this is as good or better than (especially the more recent Pixies releases) the Pixies stuff. He's expanded his range and musical variety and it's definitely a more accessible sound and the songs are catchy and listenable. It's more rock than alternative noise-rock, so it's a totally different listening experience. Teenager Of the Year was released only a couple of years after the first Pixies breakup and he has stronger material than the last band album, so it sounds fresh. I'm not sure what his later solo albums sound like, but I'm guessing TOTY must be one of his better ones.

I was introduced to Supertramp by a friend of mine's older brother, when I was a pre-teen, who had more sophisticated tastes such as Chicago, Traffic, Lighthouse and Supertramp amongst others that was an alternative to my Elton John and Wings albums and AM radio. The music seemed light years ahead, prog, rock and keyboards which I hadn't been exposed to before. One of the first summer of concerts I attended was Cheap Trick, Van Halen and Supertramp, all in their primes at the time. Though their stage shows paled in comparison, Tramp made such an impression on me with a great concert that I still relive it in my mind. Crime of the Century is one of those albums from my past I still will listen to without feeling weird about what was going through my young impressionable mind. Though Breakfast in America was a more popular record, Crime of the Century was truly peak Supertramp. With songs such as, School, Bloody Well Right, Hide In Your Shell, Dreamer and Rudy, this is a solid collection that rivals any album from this era. Once punk and new wave arrived, my interest dwindled, but in recent years I've spun this album again and it still holds up.

Not a fan of the genre and though I'm far from qualified to be critical, it sounds just like I expected. Old time ,classic Country & Western with good vocals and music that is well played that are easy to listen to. Not something I'll listen to often or at all again, but I understand it's importance and influence to whole scope of Country music history. Enjoyable enough, I'm glad I had a listen, but that's about it.

Nick Cave is one of those artists I thought I would enjoy more or at least like, but I find his music a difficult listen, often depressing and annoyingly strange. With several Nick Cave-affiliated records previously on the list, The Boatman's Call is a more piano-based, mellow album with Cave's vocals reminding me of a non-French Canadian, Leonard Cohen or at least his delivery and talky-sing style. I must admit, I don't mind this record, I had no problem getting through the songs and kind of enjoyed the overall sound. I still don't know if I like him enough to listen to more than what's on the list, if this is considered his most essential works.

To me, it was pedestrian, uninteresting and nothing special. The redeeming factor was vocalist, Martina Topley-Bird who I thought elevated the listening experience and made it...a bit better. The music, beats and lyrics were okay, so I definitely didn't dislike the album, but I didn't particularly like it either...so it's kind of a tricky dilemma.

In my younger self I listened to some metal, now, not so much. If I had to endure a Heavy Metal band and album, Judas Priest's, British Steel is a solid bet. They continue to be the gold standard of what metal should sound like and British Steel delivers the goods, if this is what you're into. I tolerated it, guilty pleasured it briefly, but I'm fine to move on. It's good to bang your head once in a while! Right?

There was a lot more rock than funk than I was expecting, at least early in the album. Which is a good thing because I'm not usually totally sold on funk and I enjoyed most of it. Solid album and lots of good stuff going on throughout and plenty to like.

Wasn't expecting to like this, I must have had a bad memory of a song or something from the band in the 90's, but on this album their funky, jazz sound was easy to digest and held it's own throughout. Though I'm no expert in the genre, it reminds me a bit of Stevie Wonder, circa 1970's. It's interesting and I think in the future, I can enjoy this in small doses and I will check out their other music and see if my tastes have "matured" since.

Typical sounding indie-rock that elevates and separates itself from other similar sounding bands, with lots of energy, enthusiasm, decent beats with many stand-out tracks. I haven't heard of Klaxons, I wonder why because I listened to a lot of indie-rock-pop during the 2000's, but they bring to the table a fusion of different sounds which was interesting and eclectic. Well worth the listen.

I recall there was another Fatboy Slim album on this list, which makes 2 too many. I don't hate this album or the other one, but they hover outside my preferred genre or music in general, so for me they aren't essential. I will say, I enjoyed the beats and the heavily instrumental tracks, kind of a charged up soundtrack to play in the background. Overall, I didn't mind it, but I'll probably be happy if there isn't any more Fatboy Slim.

Of the bands from the "classic" rock era that I've felt indifferent towards, Jethro Tull is near the top of the list. I've always felt they were a tad overrated and never got into their music beyond the songs that were on the radio. Aqualung (both the album and the song) is Jethro Tull's masterpiece. I don't know anyone of a certain age that hasn't heard the song, with it's weird lyrics (how many songs mention snot?), but apart from the title track, it's fairly generic English folk-rock with flutes and flutes and flutes. I don't mind flutes, the music is beautiful at times and it works well with the mood and atmosphere of the songs, but...yeah.

Laura Nyro is another artist I know of, but have never taken the time to listen to. I had some preconceived ideas what she would sound like, maybe a Greenwich Village folky somewhere between Joan Baez and Canadian, Joni Mitchell, but much to my surprise she sounded nothing like that. It is an album full of energy and vigor and moves towards a " show tune-y" sound. There's lots of brass and strings and Nyro on piano, so no folk guitars necessary. It was somewhat better than I expected and she's no doubt a talented songwriter and performer. Not for all tastes, me included, but it was definitely worth a listen.

I've never been a big Stevie Wonder fan, but his peak period in the 70's deserves a listen. There are several songs on Talking Book that are amongst his most popular works and accessible to the mainstream with appearances on the charts. There's no doubt, Superstition is one of his classic hits and You Are The Sunshine Of My Life has a place on my guilty pleasures list. The album closes with, I Believe (When I Fall In Love It Will Be Forever) that gets extra marks for it's appearance on the soundtrack for High Fidelity, that surely got my attention. Personally,, not 5 stars, but one of his better records

As a general rule, I don't like country music. There are some off-shoots to the genre I don't mind, country-rock, country-folk and alt-country. I first heard about Steve Earle when Guitar Town was first released after reading an article, maybe in Rolling Stone, about the new wave of alternative country artists, Dwight Yoakam, Lyle Lovett and Earle. I bought Guitar Town and I immediately enjoyed it. It was more of a quasi- country, alt-rock sound that wasn't too cheesy or too C & W, but what would be best described now as Americana. It was edgier than regular country that was listenable even to a rocker's ears. Earle has gone on to a varied and interesting career with many fine albums, but it all comes down to good solid songwriting and a great live performer. His first album is an essential debut.

Fugazi is another band for whatever reason has been on my radar, I like everything I've read about them, but haven't listen to. This sounds like life-changing music and I wonder what if my life and music tastes would have been affected if I listened to Fugazi in 1990? Probably not much, but it would have opened up even more music I should have listened to and might have spurned a desire to see them live. Fast, energetic music, with crunchy guitars and screamy, passionately sung vocals by Ian MacKaye, that contains more hooks and melodies than I was expecting. I instantly like it and can't believe I haven't heard this sooner. This album will be on "repeater" on my streaming thing for days, guaranteed.

So far on this list I have graded Bob Dylan albums very highly. Some I would consider essential (Blonde on Blonde, for example) not only for Bob fans, but also for any fan of music, while others were just great records (Desire/ Blood on the Tracks). The historical significance and importance of a song such as, Blowing In The Wind is obvious, where the 60's folk movement became interesting and several other songs on, The Freewheelin' Bob Dylan are masterworks of brilliant songwriting. For entertainment value, the album falls short. There's only so much voice, guitar and harmonica a person can stand and this goes on the whole record and remember the voice is Dylan's nasally sing/speak style. Admittedly , these vocals are much more tolerable than his later "live concert" mumbling, but it still has me wishing he would go electric sooner.

Very folksy sounding, spare arrangements and definitely an unique voice that sounds like something from the late sixties/ early 70's. Enjoyable enough, didn't really interest me too much, but it was both beautiful and boring at the same time. His voice did begin to irritate me the longer I listened. I liked the guitar work though.

Definitely a highly influential and important album, not only for lovers of rap and hip-hop, but through all the genres. I'm not usually a fan of this genre, but there is something appealing and pleasurable listening to Straight Outta Compton. I can't say I loved it, but I did enjoy it, especially when listening with mixed company. I recommend you turn it up loud and blare it and if you see a cop near by, crank it louder! Then run!

Both Paul McCartney and John Lennon's post Beatles albums ranged from god awful to very good, but both ex-Beatles never released anything as good as the Beatles post-Rubber Soul records. McCartney's, Band on the Run was the best of the solo albums and maybe the best John Lennon could muster was his debut solo album, John Lennon/Plastic Ono Band. Technically, the band was half Beatles (Lennon and Ringo on drums) and Jon performs a heartfelt, emotional record with some of his best post-Beatles songs. I don't like most of Lennon's albums (that goes for you too Paul!), so I would consider it his most cohesive piece of work.

I hadn't listened to any Gene Clark albums previously, but I am familiar with his work with the Byrds. The music has a similar sound and in many ways it's on par or better than most of the Byrds music. Great songwriting, solid songs and his voice is easy to listen to, I wasn't surprised to read he guested with the 80's band, the Long Ryders, as their sound is heavily influenced by the Byrds. A good, under the radar classic.

Yet another Beck album on the list, which is deserving, but I've lost count of how many I've reviewed already. Similar to the others, this record is very good with many strong tracks and overall worth the listen. To me though, there aren't any standout tracks that make me feel it's better than some of the others on the list. This might be my least favourite Beck album so far, but it's still better than most of the records here.

The Zombies may have been best known for their hit singles, while releasing only two studio albums during their run in the 60's. So it's ironic that when their second album was finally released, the band had already broken up. I had only listened to the album in it's entirety more recently, it has gained critical acclaim over the years going from being woefully underrated to being recognized as a 60's classic rock masterpiece. Oh, what a swansong! Along with including one of their best songs, Time Of The Season, the rest of the songs on the album shine as a cohesive collection. For the most rewarding listening experience, this is an album meant to be listened as an album, in one uninterrupted sitting. It's worth it!

As far as, Psych-Folk singer/songwriters goes, this album is above average. Overall the record is fine and the performances are okay, but I'm not crazy in love with the songs or Buckley's singing. There are some fine moments, but not enough to keep me interested to listen to more.

Sparse, intimate sound with just Bert and his guitar and that's pretty much all you need. Obviously, comparisons to Dylan or Paul Simon are expected, but Jansch has his own voice and his talent as a songwriter and guitar player are evident. I've only heard bits and pieces from Bert and everything I've heard is brilliant.

This was better than I expected, which should come as no surprise since I enjoy indie garage rock. The Vines are energetic, with appealing melodies and driving beats. They remind me of another band from this era, the Subways, who play a similar style on their debut a couple years later. Actually, the Vines sound isn't unique or original, there are bands that do it better, but it was better than par for 2002.

Lots to enjoy on Hypnotised, the Undertones second album. The bop and the pop of their power-pop sound continues, with a lot of upbeat and interesting songs. Though I loved the music, I'm not so hot on Feargal Sharkey's vocals, but I can take it in small doses. I heard Sharkeys's solo albums before actually listening to the Undertones and I must admit I was a bit hesitant before listening to the Undertones. Overall, a solid follow-up to their classic debut, but falls short on my high expectations, which was hard to live up to.

I didn't know what to expect, but it really threw me for a loop with Cornershop's mix of rock, electronica and Indian music. It ranges from an eclectic fusion of Indian influences to straight-ahead rock. At times, I had to check the track list to see if this was the same band. Interesting, yet boring at times. Bizarre and strangely weird, but in a good way for the most part. I'll need repeated listening to decide if I like it or not, but it's way toooo long...so I might not.

An epic, double LP from Todd Rundgren, that is as much a self-indulgent vanity project, as it is a pop-rock masterpiece from the early 70's. Everyone that has ever listened to classic rock is familiar with, I Saw The Light and Hello It's Me, joyful pop gems that alone give this album classic status. These two songs have been stuck in my head for over 50 years! I've never actually listened to the whole record and to call it sprawling would be an understatement. Spread out through four sides, Rundgren explores all kinds of sounds and noises, as if he threw all his song ideas against the wall to see what would stick. Fortunately, more stuck than fell, but the length of the record began to dilute the quality and it would have been more of a banger (for me, at least) if he stopped at one disc. Still, an essential listen.

This is not your run of the mill covers album. On Otis Blue, Otis Redding covers contemporary R & B hits and interprets these songs as his own with a dynamic performance that showcases his powerful voice, with an incredible band backing him up. A classic Soul album, with so many great songs and in many cases this is the superior version.

Historically speaking, this debut from the Germs is an important and influential document of the LA punk/Hardcore scene in the late 70's. It's unfortunate, this is the only studio album from the band, as it shows promise with a typical punk sound, lots of energy, raw fast songs and lots of attitude. To many this is a classic punk album, maybe so, the music is fine, but to me this doesn't have the lasting impression and impact that other bands from the era (X) had. A good starting point for hardcore fans, but there are lot of excellent bands out there worth seeking.

Another underwhelming effort from an award-winning, so-called, gangsta rapper. This does absolutely nothing to convince me that 50 Cent is even worth paying 25 cents to see him perform live. Yes, he is getting rich and richer with every overrated release. Nothing to see or hear here.

The 80's produced a lot of great music and it was also a time when exposure to bands and their music increased with the rise of MTV and music videos. This was good and bad, of course the extra medium allowed artists to give face to their fans that otherwise couldn't see them live, with music videos as another creative outlet. A band that truly benefited from this "new" art form was, Duran Duran. Their music videos, not doubt, gained an audience and throw in some controversy with racy content (girls on film...with bikinis? goodness gracious!) and pretty boy teen idol looks and you have a band selling millions of records, sell out shows and teenage girls hysteria to line the pockets of the band and their management. Was the music good? I've never liked the band, their music or their videos and beyond the "hits", I hadn't heard the complete album, Rio, until now. Beyond the hits, the music was boring, average early 80's pop, with no real substance or soul. Can a band be relevant by performing shitty music as a soundtrack to their videos?

A Night At The Opera was an album I bought when I was a young teen. It captivated me and opened my eyes to the variety and range of musical styles you can highlight on one album. Fast forward almost 50 years later and it still resonates with me as one of the few records I was proud to discover when I was younger and it has become an all-time classic. The opening track, Death On Two Legs is one of the best album openers ever and You're My Best Friend, a near perfect pop song that still brings back great memories from the 70's. Throw in the epic, Bohemian Rhapsody and a mixed bag of songs sung and written by other members of the band (besides Mercury), this truly is a group effort. I began to lose interest in Queen after this album (when they became even more popular), but I consider this as Queen's best and most artistically creative album..

Surprisingly chill, alt-rock record from Giant Sand, Chore of Enchantment has an easy-going sound with Howe Galb, whose talky-vocal styling remind me of a cross between Jeffrey Lewis and the Silver Jews, David Berman. The other artists associated with this album and other recordings by the band are definitely within my radar of musical taste. I like this, nothing overly essential, but a worthwhile listen.

Wasn't expecting this. I've become a fan of Brazilian Jazz styling in the past while and I'm always seeking out artists I haven't heard before. Nice soothing sounds, she has a top notch voice and the modern take on Samba is a refreshing change. Enjoyed this, will definitely seek out more past works from Regina.

I had the weekend to absorb and ponder a rating for this record, but if I could only remember what I listened to a few days earlier. This album is not memorable and there's a reason why the "best" works involving David Crosby are works involving other people. When I think of the Byrds or CSN or CSNY, I hardly recall the meaningful contributions from David Crosby and that's the problem with his solo album(s). The special guests on this album gloss over the fact there's little here to see or hear. Apart from, Cowboy Movie, the album suffers from uninteresting material and bland performances from Crosby.

I seem to recall other Echo albums on this list and as far as I remember they didn't stand out as anything remotely essential. This album has that 80's alternative sound that wasn't punk, new wave or electronica, kind of mainstream with bit of an edge. This isn't saying there's anything wrong with this album, it's much better than a lot of early 80's pop records, it's just that it's not something I would listen to again. I'm glad I did, but apart from their cool name, I couldn't pick their music out from the crowd.

I used to consider the Go-Go's and their "hits", We Got the Beat and Vacation as guilty pleasure territory, I didn't really care for the band's radio friendly fluff, but these songs and beats were so infectious it was hard to resist. The Go-Go's started as "punks", they didn't know how to play instruments, which didn't stop them and played in clubs like the Whiskey. Their cred and transformation to power-pop, girly pop was polished up for their debut, Beauty And The Beat. Time has passed and I have conceded, I like this album. It's definitely not a master class in songwriting, but it is a lot of fun. The songs are solid and energetic and what's not to love. Sure, it's still fluffy and light and there are a few duds, but I've always had a soft spot of all-girl bands and they helped pave the way for more like-minded bands, for better and for worse..

I've always been on the fence with Prince. I recognize he is one of the great musical geniuses of the late 20th century and I truly enjoy many of his albums and songs, but I find some of his material difficult listens, sometimes edging on self-indulgent, boring and bland. It's not to say, Sign 'O' The Times isn't a good album, it's got some nice stuff on here, but maybe there's too much material to fully highlight the quality. I didn't find anything earth-shatteringly brilliant or essential on Sign, in my opinion he's released better records. I like it, but I don't love it...next.

If I was into clubbing, drugs and dance house music, this would be a fine soundtrack to dance along to pressed up against sweaty bodies in an abandoned warehouse in the sketchy part of town. Since this isn't my scene, it's listenable, electronic background music that I can turn my brain off and just enjoy the interesting techno beats and bop my head and tap my toes to. It's there, I enjoyed it enough not to turn it off and I'm glad I have other options to listen to.

There are only a couple of Van Morrison albums I really enjoy and Moondance is one of them. Never been a fan of the man, but the music on Moondance is beautiful, mellow and laid-back and highlights Van Morrison's strength as a songwriter and his talent to write a great song, when he wants to. The title track is marvelous! A classic, if you're into this sort of thing.

When Fleetwood Mac released the follow-up to Rumours, I was underwhelmed by the double-album, Tusk. At the time, I felt the record was stretched out too far and was more quantity than quality. I admit, I wasn't exactly a fan of Mac to begin with, as I identified the group as another example of corporate-radio-friendly-rock, music to fill the pockets of the execs from Warner-Bros. Tusk re-enforced all my doubts, with production costs running 1.4 million (5.88 mil in 2023 money), it was the most expensive rock album ever made and the result was an overindulgent, way too-long mess, that honestly turned me off the band forever. A lot of reviews claim, it was a difficult listen, but if you re-listen to it multiple times, you will be rewarded with one of their best records, though Rumours was a tough act to follow. I finally listened to the whole thing and it was a bit better than I remember, peoples tasted change and aging gives you a different perspective, but it's still not the classic many make it out to be. There are a couple of great songs (thanks Stevie Nicks), but overall it could have been dwindled down to a single album, though Lindsey would surely disagree.

Don't care for the Beach Boys, especially their early albums about cars, girls, surfing and the beach. It makes sense, they were called the Beach Boys for a reason and their white bread, generic, all-American image and music was everything I didn't like about them. The Beach Boys Today! shifted the band towards album oriented music rather than just peppy hit singles and this I can tolerate. There are shades of what was to become, with a more richer mature sound, slower tempos and lush, denser arrangements, that carried on to an expanded range on Pet Sounds. Most of the songs are fine, but there's still a lot of filler and lesser material. Overall, worth the listen, this is a period when the Beach Boys grow up and begin to make decent music, finally.

If you were a fan of the Beatles, it wasn't uncommon to side yourself as either, a Paul or John guy. Both wrote great songs (yeah, even sometimes together), yet you had a preference of who's songs you liked better (I was a Paul guy). After the band broke up and solo albums followed, Paul definitely defined himself (arguably) as the superior artist, yet he produced more duds than good albums through the 70's. The high point (for either artist) was Band On The Run which gives even the best Beatles albums a run for it's money. This is McCartney's masterpiece and the "finest record yet" by a former Beatle. He doesn't come close to replicating the quality and performance of that record and he's put out a LOT of albums since. It's amazing what a three piece (McCartney, his wife and Denny Laine) can accomplish! FYI: the Band On The Run 45 was one of the first records I ever bought.

The Pixies are one of those bands that broke up and reunited and stayed together much longer the second time. I saw one of their first reunited Pixies 2.0 shows (second) and later a show where they played the album, Doolittle in it's entirety. Seeing and hearing the album live really makes you appreciate what a fine album this was. I preferred Surfer Rosa, but Doolittle expands their sound and elevates the quality with a more confident band and more diverse material. This was the Pixies at their peak and though they continue to tour and release albums, it's hard to top their late 80's output.

I've never been a fan of country music, so I haven't heard a lot of Emmylou Harris probably because of my stubborn bias against the music, in principle. What I've heard on this list from Emmylou has me reconsidering my stance and have become a fan based on her albums, songs and that amazing voice of hers. Her early records, along with her work with Gram Parsons is worth a listen and the eclectic nature of the songs aren't just pigeon-holed into the "country" category. I feel I've missed out, so I'll be indulging her catalogue and enjoying music that is essential for a reason.

The lo-fi sounds of Psychocandy is not for all tastes. If you like the early feedback noise of the Velvet Underground and don't think bass is an essential instrument in rock, then you might enjoy the Jesus And Mary Chain. There's nothing wrong with the album and it's very limited range of sound, and there is something interesting going on that is worth the listen. This isn't ground-breaking music by any means, but deserves credit for opening the door for the possibility that this kind of music could be popular. As I said, not for everyone, but it's doesn't sound as scary as it looks.

My immediate reaction was this must be a parody of a medieval-based musical stage production. It's so over the top, it can't be a serious band, but incredibly I was wrong. The vocals are out-front and huge sounding, somewhere between Cookie Monster and an angry German dictator and the music is all over the place with a definite "empire" stately sound to it. I've never heard anything like this, so it's difficult to be critical, but as far as enjoying it, I'm not so sure. I appreciate the range and variety on this list, that's why it's so appealing and fun, but what the heck?

I own a pair of Paul Revere & the Raiders albums, that are both disappointing and fun to listen to, but I haven't listened to Midnight Ride. Clearly, this is the album I should have purchased as it contains their best known song, Kicks and another hit, Steppin' Stone. The twelve-string guitar twang sound makes this record appealing, but beyond a few songs, the rest is fairly typical, mid-60's British Invasion inspired rock. Overall, a solid album from an often overlooked American band.

This was Paul Simon's first solo album after Simon & Garfunkel broke up and it further proved that Simon drove the group with his fantastic songwriting. A good collection, too bad Kodachrome was on the next album because that is my favourite Paul Simon song. Overall, I consider, There Goes Rhymin' Simon his best record, but this album stands well on it's own. There are at least three songs that are as good as any S & G songs, but there is some filler, in my opinion, that keep it from being a classic.

There was a time, 10-15 years before, "Music" when Madonna was a relevant artist. Sometimes controversial, kinda edgy and her songs, videos and persona kept her in the headlines and the charts, because she was an artist that walked the thin line of celebrity, performer and what we would call today, an influencer. I didn't care for her music, actually I couldn't stand her, but I recognize and respect her talent and show(woman)ship. Fast forward to 2000, with the release of "Music", it questions her relevancy. First of all, the music is horrible, the songs are forgettable, on the cover she wears a cowboy hat and glitzy western shirt, the techno-pop beats are repetitious and boring and covering an iconic song, American Pie is unnecessary and embarrassing. Trying to keep up with the times musically has been what I think of Madonna for over the past 20 years and the ride has been amazing bland from someone that constantly seeks our attention. "Music" was almost unlistenable and when the auto-tune kicked in I wanted to turn it off, but clearly I'm a masochist. Essential?...uh NO, garbage...YES!

Hadn't listened to Stereolab before and judging from their name, which sounds like an upscale, hi-fidelity stereo review magazine, I was expecting a sterile electronica, drone noise sound. Instead, the music is full of life, with hoppy beats, mixed with vocals from French singer, Lætitia Sadier. I'm a big fan of 60's French pop music, so this retro-ish music is updated with modern electronica, that reminds me of similar sounding bands, Ivy and the Postmarks. It took me a couple of listens to fully appreciate their beautiful sound and I'm glad this list "forced" me to listen to something I would have otherwise ignored.

I think I overlooked the Undertones when this was released and I've heard Teenage Kicks (A great power-punk song!) more in the last few years than ever before. The rest of the album is solid and the fact the songs are short and sweet and the total running time for the album is 29:29, is what you want for a punk record. Who wants 3:00+ minute songs to drag it down, this is in and out, back to back, catchy, appealing bangers that you want to crank up, then listen to again.

Was sad to learn, Figure 8 was the last studio album Elliot Smith released when he was alive. All his solo albums are worth a listen, as he's a fabulous songwriter and performer and with each release he got better. So it figures that, Figure 8 is Smith's most celebrated album and easily his most accessible. Though, this didn't top any Billboard charts or sell millions of copies, but it was his highest charting record, so at least it had an audience he rightfully deserved. Highly recommended!

I never really understood the fascination and appeal of Moby and though I hadn't actually listened to the music I had some hesitation to bother. The music isn't anything special, electronica and borrowed beats from a bald white guy who goes an admirable job filling a CD's worth of music. I didn't mind the songs, there's definitely something there and it was enjoyable enough to let it run with the extra tracks (on the version I heard). I still don't get why he's popular, but there is a lot more music that is more popular that I don't like. So, I guess play on Moby.

I'm a big fan of Garage rock band from the 60's with their raw sound, primitive beats and unbridled enthusiasm. With the revival of punk-garage bands in the late 90's, I couldn't help being curious and moderately excited. The Hives are one of those bands that gained a bit of commercial attention and brought those sounds to the attention of the mainstream. Though their music isn't overly authentic, nor anything new, they did capture the energy and excitement of bands such as, the Sonics and the Standells. They do the genre justice and the album is worth a listen. The Hives might not be, Your New Favourite Band, but you can do a whole lot worse in an era and society that embraces and praises, Teen "American Idol" pop stars like their going out of style...unfortunately, apparently not.

A good solid alt-country rock album from Lucinda Williams that shows that you don't have to love country to enjoy her music. I can see the similarities in vocal styles to someone like Canadian, Kathleen Edwards, who clearly is influenced by her music. The songs are all fine and though Williams isn't the most consistent artist, I would consider, Car Wheels On A Gravel Road, one of the highlights of her career.

Never heard this album or wasn't even aware Stills assembled this band, Manassas. As I mentioned earlier for a David Crosby's solo album, the results are a lot more satisfying when he is a member of a group and the same can be said about Stephen Stills. Stills is at his best (or at least better) when he has other mates to collaborate with (CSNY, Buffalo Springfield), where as his solo album are soul-sucking listening experiences. Manassas is actually better than I was expecting, though a double album of jams and noodling is definitely not without it's flaws and filler. The soul and groove of the record is listenable, as the musicianship and it's diverse sound keep it driving. There's not a whole lot of substance or depth to the album, but it's not all a sprawling mess.

I was really expecting to hate this and though I don't like most of it, I came away somewhat unscathed. Once you get past, the annoying, screamy, barking vocals, the music is your standard death-thrash metal, alongside contrasting songs, with tamer vocals backed with music more reminiscent to a mid-90's, pop-metal grunge style. If you don't have to visualize the band in their goofy get-ups, it's tolerable, so it's their image and look I hate a lot. Credit goes to the musicianship, the drumming is amazing and the bass and guitar playing are dazzling at times. Definitely, in the category of their bark is worse than their bite. All hope is gone, I'm giving this a grade higher than a 1.

Truly a beautiful and haunting record, recorded with the band circled around a single microphone. The sound and atmospheric effect is near perfect for the quiet, slow-burn music of the Junkies. I saw the band live on tour for this record and though it was one of the most boring visual concerts (stage presence?) I've ever been to, the music is interesting and you definitely have to be in the right mood for a mellow evening. Their cover version of Sweet Jane gained them wide spread attention (even from Lou Reed...positively!), but there are other tracks that also deserve a serious listen. My only wish was that is was even a slight bit more upbeat, I know it's they're style and this isn't a "rock" record, but it did make me very drowsy listening to this again.

Over-long, overly dramatic, over-indulgent and over the top, are just some of the words with the word "over" in it to describe this epic live album from ELP. A rock adaptation of a piano suite by Modest Mussorgsky is anything, but modest in their progressive rock presentation . I really don't care about the subject or the lyrical content for that matter, but I'll admit the musicianship and performance is incredible. To perform this complete piece live in front of an audience is a feat in itself and if you're into this type of thing, it's near flawless and enormously overwhelming. There are some nice sequences and interesting musical choices, but overall it's too much to handle all at once (I listened twice to make sure) and you have to be a hardcore Prog fan to fully appreciate this journey.

I am a fan of indie-rock, so this album intrigued me. An Irish indie band singing about America sung in a sorta faux American accent is interesting, and if you set aside the criticism about this, it's actually an enjoyable album. It has an Americana feel to it and it's more chill than in your face rock. As far as the tune, Say It Isn't So, included on G. W. Bush's iPod, the title is my exact response to the song and I deduct 1 full point for the association with that evil bastard (Not their fault, but hey, this coulda been 4 stars). It's too bad, it's a decent song, but there are other gems on this record that should keep you listening to the end. This album isn't anything special, nor is it even close to being essential, but at least I can listen to a complete record that isn't a woman beating rapper or anti-Christ devil worshipper screaming in my face.

I guess, if you had to choose an Iron Maiden album, The Number of the Beast is the place to start. From the comical album cover (well, all of them look similar) to their laughable "metal"-rock music, I never took Iron Maiden's music seriously. This was released in my final year of high school and this and the previous records from the band were always in my face, with kids blaring Maiden on their car stereos in their Trans-Ams and the headbangers hand-drawing "Eddie" on the back of their jean jackets and notebooks. I can listen to their music without any triggering or needing to go to therapy, but if I had a choice I wouldn't. This is training wheels, ground floor heavy metal. If you wanted to go as a headbanger, stoner for Halloween to scare the shit out of your neighbors kids and your wife/husband, an Eddie mask and an Iron Maiden t-shirt is all you need...simple.

I don't get Nine Inch Nails. Their music is abrasive, noisy, angry, industrial rock, built on layers of noise and textured sounds that feels both violent and dark, yet Trent Reznor played in a couple synth-pop bands before forming NIN.. Because of this list, I've been exposed to NIN more than I would have have, as the band is both fascinating and highly overrated. Some of the slower songs are accessible and shows that the band has some range and variety and maybe they mask over any sensitivity with the loud sounds to be more angsty. To me, The Downward Spiral is crass, boring "music" and challenging to wade through, it's not edgy is irritating.

It's hard not to like Fats. His music was quintessential in the early days of rock 'n 'roll and the influential of his music was evident in some of the big names of rock that followed. With that being said, I've have only listened to the obvious hits and songs that he's famous for, so it's nice to hear other less-known album tracks on This Is Fat Domino, his third album. Not the most complete or his most essential tracks (buy a greatest hits album if that's the case), but a good representation of what 1956 can offer. I found my thrill...!

Never heard of this band before this list and my first impression is, why haven't I listened to White Denim before? Instantly, this music feels familiar with all sorts of things going on with music styles all over the map. Generally, this falls into genres I enjoy, a bit of psych, jazzy grooves, prog, blues, garagy, alternative-indie and definitely a jam-band inspired band. I do like albums with lots of fancy guitar work and this doesn't disappoint, with some stellar musical performances all around. I noticed they opened for Wilco on a 2012 tour and I can hear the similarities on some songs. I am shocked to read they have a rather lengthy discography already, so hopefully the other albums are at least half as good as D.

Without knowing that much about Damon Albarn, besides Blur, or the band, The Good, The Bad...I was pleasantly surprised I enjoyed it. It wasn't an earth-shattering experience or something I'll heavily-rotate on my streaming playlists, but it was something I took notice and listened to it a couple of times, so that means something, right?

Generally, I'm not a big fan of Brit-pop, but there are some exceptions and a couple of albums by Supergrass are two of them. Their debut was on the list earlier and it opened up my eyes (or more accurately ears) to Supergrass and the follow-up is just as good. The record starts out strong with some solid hard hitting songs that are both catchy and energetic. It continues on with some ups and downs, but overall it was well worth the listen. Almost makes me think twice about other Brit-pop. We'll see.

I have some friends that think very highly about Fleet Foxes, so I came in with high hopes. I wasn't disappointed, but the band sounds exactly what indie-rock in the mid-late 2000's sounds like. To me they have a sound somewhere between Arcade Fire and the Decemberists, kind of a folk-rock, eclectic sound that isn't too wild and commercial enough sounding to appeal to a wider audience. This isn't unique in any way, there are similar sounding bands, so it's hard to dislike this, but also difficult to love. The music feels good and it's a soothing listen, so it's interesting enough to perhaps hear more from the discography.

After the first two songs, I wondered, how much more I can take? It was a struggle, but then starting with East Easy Rider, it became an easier listen. The album seems (and is!) too long, but I rewarded with some decent songs that at least kept it interesting enough to get through it. It's never a good sign when I kept peeking ahead to see how many more songs were left. Overall, some nice tracks, but unfortunately sometimes quantity over quality isn't a good thing.

If you're interested in the history of American folk music begin with Woody Guthrie and proceed ahead Bob Dylan in the early 1960's, but to help connect the dots between there was Ramblin' Jack Elliott. Released in 1958, Jack Takes The Floor, he yodels and rambles on and on, yup, just Jack and his guitar. This is bare bones, raw music that would be considered demos nowadays, with a campfire singalong quality that is both charming and authentic with songs of everyday life from the time. Sure, this could be considered essential historically, but after the first side or so, it becomes a bit hard to take and begins to sound like "anyone" hacking around on the guitar. A good listen, but once or twice is really all you need to hear.

Never really been a soul/funk fan, so my expectations weren't high, but there's something about Stand! and the high energy and genuine funkiness of Sly & The Family Stone had me liking and for the most part, loving this album. What a way to brighten up a cold and windy day!

Paul Simon has been well represented on this list with his work in Simon & Garfunkel and his solo work, many of which are deemed classic recordings. To include, Simon's 1983 album, Heart And Bones is a stretch and a head-shaker at best.. This isn't quite scraping the bottom of the barrel for Paul Simon solo albums (there are several that are not worth a listen), but it sets the bar a little lower and questions who or why is this considered "essential"? There aren't any standout songs, most of them are okay, but the lead-off track, "Allergies" is horrible and the lyrics of, "Cars Over Cars" is embarrassing, especially considering, Simon is a Hall of Fame songwriter and inducted into the Rock 'n' Roll Hall of Fame twice!. I guess even mediocre Simon is better than most stuff out there, but it's hardly Simon's best moment...not even close.

Is it my imagination or has Dexys Midnight Runners have been here a couple of times already? There's no doubt, the band's music is infectious and energetic, there's good musicianship, with several songs that are fun and easy to listen to, but after a while it begins to sound a little too "samey" and I dragged my ass to listen to it all. Everyone knows their "hit" (spoiler alert, it's not on this album), so expectations should be high, but overall it's nothing more than a decent listen, nothing too high or too low and I didn't love it or hate it, so sort of MOR, in my opinion.

It's not often I get turned off a band strictly because I can't stand the singer's voice. I know it's a personal preference, I'm sure tons of people love Caleb Followill's voice, but I can't get past this annoyance and makes it difficult to be objective. I guess it's hard to get rid of the front-man/singer of a band that are all related (brothers/cousin) and because some grumpy amateur critic loathes the singer. It's too bad, because other than that, the music is actually enjoyable and some of the songs have jump with loads of energy and enthusiasm. This could have been a very good listen. Full disclosure, I know the band is hugely popular now, but I hadn't taken the time to actually listen to them, then or now (maybe it's because I heard the word, "christian"), so I have no real previous bias... 3 stars for the album (music), minus 1 for the vocals.

Rod Stewart was at his best when he was a member of the Faces with guitarist Ron Wood, who also contributed to Stewart's early solo albums along with the other Faces. The album contained several cover songs written by other artists such as Dylan and Country Comfort by Elton John, that appeared on his own album in the same year. I bought this album decades ago when I was seeking out Rod's early solo/Faces albums and I would consider this one his more understated and low key records. At the time, I was disappointed because it wasn't a straight-up rock album, but it has a some spark to it with a subtle, traditional folk sound to it. I'm sure it wasn't one of his best sellers and it's often overlooked in his career, but it offers up an opportunity to hear Stewart without the flash and dyed hair charismatic showman that he became. Solid record.

There was a customer at a place I used to work at that was all in with The National. He frequently went to the States to see the band play and ventured off to the UK one summer to see several of their shows. Up to that point I hadn't listened to the band, so I was curious and seeked out their music. I must say, with High Violet and their other albums, the music is fine, but wasn't overly impressed. They sounded not unlike other indie bands from the 2000's, but nothing really stood out that made me want to hear more. There isn't anything wrong or unappealing about their music and overall it's a pleasant listen. It's just that I can't hear what the hype was about or hear what could set them apart from other similar bands. Good album, just okay band.

This album definitely benefited by it's exposure on MTV and radio ate it up the hits with me wondering at the time, what's the big deal? Such a generic sounding hard rock band that almost (well, did) became a joke with the twin long beards and spinning guitars. Visually stunning (uh, not really) and the music is catchy and infectious, but if you dig deeper into the other songs on the album, it rings hollow and seems repetitive, pumping out the same formula over and over. I admit I've probably nodded my head to their music at sporting events or in the car, but this is non-creative commercial music for the masses, that is best listened to with your brain turned off.

I won't waste as much time reviewing this album as I did listening to it. I found myself drifting off to sleep while listening to Laser Guided Melodies, which could be a good or bad thing. It was relaxing, for sure, but engaging, impactful and essential, not so much. I guess, this is what you would call Dream Pop or Space-Rock, which perfectly describes the sounds and it felt like I was listening to the soundtrack of the NASA channel. "Airy" and "gentle" are some of the words used to further describe the music, it's interesting at times, but if I want ambient breezy sounds, I'll go outside....and warning, do NOT drive or operate heavy machinery while listening!

I don't know who had the more daunting task, Stephin Merritt and The Magnetic Fields for writing and recording 69 songs or me, listening to the whole thing in one sitting. This three volume concept album set is an enormous project that is hard to believe was actually released, but for the less masochistic fan was also released as three separate volumes. I think of prolific artists, such as Ryan Adams who earlier this year (Jan. 1, 2024) released five albums in one day and their need to record pretty much everything they write. I didn't have the patience to actually focus too hard on each song, but as a whole this is the classic example of "throwing it against the wall and see what sticks" approach. There are so many songs and not just short ditties under a minute (yes, there are some), as most are around the 2-3 minute length with two at 5 minutes, so it definitely wasn't a brisk listen. Though many songs sounded like lo-fi demos or felt incomplete, there are some really good developed songs on here and the range of styles and instrumentation is varied enough to not become too boring. The reality is this is a self-indulgent project that is hit and miss and there's no doubt, quality is sacrificed for quantity. If you're patient, there are some gems in here, but who can tell when it all becomes a blur after awhile. This could have been a solid album edited down to one volume, as no one should have to listen to 3 hours of a mixed bag of ideas.

"Colour By Numbers" from Culture Club, I MUST hear before I die? Seriously? I go on and on about music from the 80's, how there was a lot of great music, punk, new wave, LA, Minneapolis, Athens, Boston, college alternative rock, but most of it was outside the mainstream. Commercial radio and MTV showcased some of the worst music of the decade with Culture Club near the top of the list. If a couple of manufactured hit singles and a bunch of filler is considered an essential record, this list is whacked! I'll be honest, I disliked CC then and now and I'm still haunted by their dreadful music on commercials and TV and movie soundtracks. This is the go-to music for fun loving, free spirited, flaky 80's inspired characters who have a passion to wear face paint and dress like a sensitive clown. I have nothing against Boy George, but to me Culture Club represented everything I hated about the 80's...again there was some good music in that decade, but not here.

It was only three albums ago, I reviewed "Lazer Guided Melodies" from Spiritualized, which I didn't care that much for as I described as too ambient and "breezy". I wasn't looking forward to "Ladies And Gentlemen..." for more of the same? I gave it a fair listen and even listened to the first half again on headphones to get a fuller effect. I did enjoy it more, the album felt a little more cohesive, the songs had more direction and was more accessible. I can't say I loved it, but it did keep me interested. This is definitely headphone music and I should revisit Lazer Guided at some point, but for now I'll have another listen to Ladies and Gentleman We Are Floating In Space and zone out for another hour.

Minor Threat was the first American hardcore band I heard. My brother played in a few hardcore bands in the early 90's, so I watched bands in small clubs and I became desensitized to the harshness of music and became a fan of several bands. I'm not a big fan of the frenzy and anger at shows, but beyond that the music is basically an elevated state of punk played by underrated musicians that often supported social issues and activism. Out Of Step is Minor Threat at their best and in some ways is a critical part of the punk story. The songs are fine and top to bottom is a solid album. You can't overlook that the music becomes sounding samey and similar to other like-minded bands and honestly wondered if I was listening to the Circle Jerks, Black Flag or Minor Threat?

My first exposure to the Buzzcocks was their brilliant singles compilation, Singles Going Steady, that I dubbed onto a cassette tape in the early 80's (on the flip with, Circle Jerks- Group Sex/Wild In the Streets) and I played that tape more than any other, even to this day. I would consider it one of the greatest punk records of the 70's. The Buzzcocks only released three studio albums during their first run in the 70's and it's the deep tracks that make these albums worth a listen. Their debut, "Another Music..." shines with energetic and catchy melodies that drive the music towards a pop-punk sound that never fails to put a smile on my face. There are a couple songs that are on Singles Going Steady, but the whole record is solid.

I'm not a fan of Thrash Metal, but I appreciate the skills of the musicians and the intense performance on Rust In Peace. The songs were generally good, which made it listenable and didn't have me reaching for the mute button. If you're a fan of the genre, this is definitely worth checking out, but for the rest of us that don't love Megadeth, there are far worst options out there and Rust In Peace is a fine gateway to Thrash.

I had never heard this before and since rap is not my favourite genre, wasn't expecting much. It's interesting, because before I started on this list I hadn't listened to any rap/hip hop from the UK at all. I find the accent interesting and gives off a much different feeling and effect than American, so called-Gangsta rap. Much more narrative that doesn't feel as threatening and angry, and though concept albums can be a challenging listen, this was okay. I played it right to the end which feels like an accomplishment, so that's saying something. I will admit, I like the album cover art.

The consensus seems to be that Ryan Adams is a prolifically horrible person and I'm not doubting that, but you can't deny he is also one of the most prolific singer-songwriters in the past couple of decades. I don't know where he finds the time, recording, touring and being a misogynistic manipulative jerk, but he pumps out albums, much like Amazon pumps out cash. Heartbreaker was Adam's debut album, 24 years ago and it might be considered one of his best. Taking the alt-country styling of his band, Whiskeytown, he produces an album of strong tracks and songs that are even beautiful at times. This is the blueprint he builds his career around and weaves in different styles and influences into his later albums. I admit, I like several of those other records, as I never really warmed up to Heartbreaker. It's solid, but not my favourite and still prefer Whiskeytown.

Before the key members of Genesis gained commercial success as solo artists, Genesis gained an audience as a Prog band with interesting and thought-provoking songs which received moderate critical acclaim. I've never been a fan of Genesis or Peter Gabriel and Phil Collins, but albums such as "Selling England" and their earlier records opted for overly, long drawn-out epic songs with an English sounding conceptual pieces that lost my interest after the first couple of tracks. In some ways, I prefer this album to their later work, it feels more low key, there are moments to like, but for me, not a lasting relationship.

Definitely one of the stranger, bizarre albums I've heard here so far. Quite a theatrical performance with a cabaret, show-tunes, avant-garde styling that transports you back to post WW1 Germany, sounding like a cross of Marlene Dietrich and a female Tom Waits. That accent and her incredible voice adds to the drama and over-the-top songs that is hard to ignore. I can't decide if I like or hate it. It was a challenging listen, but at least it got my attention and discovered this kind of music is still being recorded, at least in 1988.

It's nice to hear some social conscious themed rap instead of the the usual self-gratifying material that's so popular. I still didn't feel connected with the music, but his voice and the songs had a certain sophistication and it was easier to listen to and better than I expected.

The Cardigans are one of those bands I was well aware of, but for whatever reason never listened to them. I've read references to this band as influential to several female-fronted bands I enjoy and after hearing "First Band On The Moon" I have to agree. Their sound is a little lightweight, but I like girly vocals, unless it's too poppy and fortunately the Cardigans music is a smooth listen with a jazz, rock, pop mix. Most of their songs were bang on, with maybe the exception of their cover of Black Sabbath's, Iron Man, which I didn't care for. A good, decent 90's sounding release, though I've never really been a fan of groups from Sweden.

A fairly basic, synth-pop sound, that sounds very dated and pretentious, but not uncommon for the mid-80's. It starts out feeling fresh sounding, with a new wave sound and smooth electronic beat, that must have pretty cool if you like this genre. It gets tiresome and begins to feel generic, bland and whatever the word is for the opposite of edgy. It reminds me what I didn't like about the 80's, with a bit of a Peter Gabriel-esque sound, but at least Gabriel had some corners to his music.

When a band releases a double album only three albums into their career, you know they have lots to say. Mellon Collie...allows the band to explore and expand their range of styles and song ideas on a big scale, that single LP's don't have the space to allow. Though I wouldn't call myself a Smashing Pumpkin's fan, I would consider this album their epic masterpiece (if you had to pick one) and best showcases Billy Corgan and the band's skills with a mix of songs, some beautiful, but also some less interesting. As with most double albums, there is filler and could have been edited down the song count for a more cohesive and impactful record. This is the first Pumpkin's album I've actually completely listened to and have to admit it was for the most part enjoyable, but after a while I almost forgot who I was listening to. Good, but too long.

I never had an interest in Sisters Of Mercy and they sounded like I imagined. Dark, moody, goth rock isn't may idea of a good time and it was both unmemorable and boring. I get there's an appeal for some people and it wasn't the worst thing I've heard, it's just that I don't need to hear more.

Talk about challenging listens. Double album, 4 sides, 4 songs, each running close to 20 minutes each of Prog rock, exhausting! Listening, it felt even longer, if you're a classical music fan, maybe you would appreciate these overlong compositions and though I pride myself of being tolerant to all kinds of music, it was difficult to take it all in at once. Good background music, with what I assume is brilliant musicianship with a fusion of all kinds of stuff and the performance is without doubt impeccable, especially considering this is live. Not for all tastes, for me it depends on what type of mood I'm in and listening I admit I was intrigued. It is interesting and kinda cool.

This was one of the most painful listens on this list (so far)! not because the music made my ears bleed or the songs were bad, it's just the endless improvisational guitar noodling and unstructured "songs" were boring, repetitious and down-right ridiculous. I should have stopped during the opening track, Dark Star which went on way too long, well over 20 minutes. Time better spent doing laundry, filing my taxes or doing my Christmas shopping. Holy smokes, if I was in the crowd during this song I would have been snoozing or taking the time for a long bathroom break. How much drugs do you have to take to enjoy the Grateful Dead? There is no punchline, just an overdose.

As a band that was primarily a noise-rock band, E.V.O.L. was the album that Sonic Youth began to add more structure to their songs making them much more listenable, but still maintaining an avant-garde edge and noisy sounds. My two favourite Sonic Youth albums are the next pair of releases, Sister and Daydream Nation and while some of their sound was evolving towards those albums, they weren't quite there yet. A solid, often over-looked album, it's still much more preferred to most of what was going on in 1986, though music from alternative/college rock bands were starting to create great music left of the dial. A cool record, play it loud!

The Velvet Underground/Lou Reed has been one of my favourite bands through the years. They've been an influential force for many aspiring bands through the years and you can't deny they were something special and different when they first appeared in the late 60's. For me, their second album, White Light/White Heat was a record I didn't "get" or enjoy, with the long, drawn-out, weirded-out songs and noisy instrumentation from John Cale. It's the only album from VU I didn't purchase (aside from the Reed-less, Squeeze) and avoided listening to it for years. Now, I've come to accept it as part of the group's sound and a part of what made them unique and though I can and do take pleasure in exploring the album, I still find it a difficult listen, but rewarding at the same time. I still prefer the shorter, proper length "rock" songs of their next two studio albums, but White Light/White Heat is an essential listen to fully understand and appreciate the Velvet Underground.

I'm generally not a fan of Joni Mitchell, I've always had mixed reaction to her records and it takes a bit of effort to warm up to her music. At times, her songs are boring and uninteresting (to me) and her voice has never appealed to me. But you know what, she's a Canadian and her music is deemed essential (rightfully so) and her impact for female artists (both musically and visual) can't be understated enough and I should suck it up and give it a chance. "Blue" is the only Mitchell album I own and only because someone gave me their record collection. More recently, I gave it a late night spin and I don't know if it was the beer talking or the sombre darkness, but this album really connected with me. There was a beautiful, calmness to the music and nothing like that "parking lot" song, which was welcoming and surprising good. I'm not saying I love this album, but there is something special about it that makes me feel everything came together and created a classic album that stands out from her other projects. I feel fortunate and happy to have "Blue" in my collection.

I like rock and soul, and Solomon Burke delivers both as good as anyone. Maybe not the household name as many of his contemporaries, his amazing voice and enough good songs on his record keep things interesting. Loses a bit of steam towards the end, but still a fine listen.

The first time I heard Black Flag was when I saw the video for, "TV Party" and what struck me the most was their sense of humor. Sure, the music is hard-hitting, aggressive and angry, but the best long-running punk bands, (Descendents, Circle Jerks, NOFX) use humor to enhance their message, be it political or "raging against the machine". I would love to have been at early Black Flags shows to experience the intensity and vigor of the band, but surely I would have been terrified to get the shit kicked out of me from skinheads or an angry Henry Rollins. "Damaged" is up there with the best punk albums, it's influential sound and amazing playing makes this a must-hear classic, even if you don't love the genre it's still essential listening. And besides without Black Flag, guitarist, Greg Ginn and their debut, there wouldn't be the SST Records label that became the driving force for the 80's hardcore American underground scene.

Verging on the edge of cheesy, Scott 4 is a strange, orchestrated over-the-top album that is at least interesting, with some decent songs from a decent singer. I don't feel a connection what so ever, I'm not a fan, but for the most part I enjoyed the songs despite the nostalgic sound, though they are not memorable in any way. Can't wait for Scott 5, not!

By coincidence last week, I reviewed the Velvet Underground's album, "White Light, White Heat" the album released before the self-titled, third album, "The Velvet Underground". These two albums couldn't sound any different as White Light was abrasive and noisy, "The Velvet Underground" was a mellow, soothing record with slower songs, ballads and some rockers. This just might be my favourite Velvet Underground album, a toss-up with Loaded, but for different reasons. There are some great songs on here, Candy Says, What Goes On, Pale Blue Eyes, Beginning To See The Light and one of the best ever closer tracks, After Hours sung by drummer, Maureen Tucker. Aside from maybe, The Murder Mystery this is a near perfect album that I've always felt was a bit under the radar and underrated. Since I gave WL/WH 4 stars, this has to be 5 stars! A classic!

I can't say I'm a big fan of the band, but there are a couple songs from Jefferson Airplane that should be included on anyone's greatest classic rock songs list from the 60's. Somebody To Love and White Rabbit are a fine introduction to Grace Slick in her debut with the band on the album, Surrealistic Pillow. This record has a certain vibe and energy that perfectly suited the time period and era and Slick's strong vocals ties it all together. Personally, this album is the essential record from the band I need to hear and I don't need to the hear the rest of the group's catalog, especially when they transformed into the Starship.

As far as Hip hop/Rap albums go, this one is worth a listen. It's fun, there's good grooving beats, it's very accessible and I love the sampling. A good sense of humour never hurts that doesn't take itself too seriously and I can even appreciate the "skits" that don't distract from the music. I'm not a big enough fan of the genre to buy this, but I would definitely listen again.

Definitely not the worst thing I've heard this month, but I find it harder and harder to listen to so much rap. It's probably an above average listen, nothing that really resonates with me, but at the same time there was nothing I hated or couldn't listen to. Solid, but isn't this list suppose to be essential, "must-hear" listens? Apparently, not all.

I'm a fan of most Jazz, but I'm not sure about Charles Mingus? The music is intense and unsettled me at times and made my brain feel crazily dizzy and confused that was on the brink of trying my patience. To listen to long tracks, I need to be in a proper state of mind and this free expressive jazz, though incredibly mesmerizing, had me feeling this music is way out of my league and I definitely don't understand it the way I should. Glad I listened and will be back after I educate myself with more jazz basics.

Imagine waiting for a flight in a terminal in a large North American city. The sights and sounds can be overwhelming, passengers rushing to their gates, kids crying, loud announcements over the P.A. system, the sheer volume of noise at the peak of travel and you just want to sit and wait for your flight. Then you slip on a set of noise-cancelling headphones, click play on your Walkman or CD player or stream on your phone to "Ambient 1/Music For Airports" and let your mind and eyes delight to the calm, pastoral sounds from Eno. You're not really listening to the "songs", but the ambient sound feels like you've transported to a totally different environment and I guess that's the point of "Music for Airports". Listening to this and observing the hustle and bustle of the airport will feel like your watching a bizarre-version of theatre. It feels like you're in a spa or lounging out in a float pool to relaxing, soothing sounds, but wait are there any other ambient music outside of airports? Yes, (give Ambient 4: On Land, a listen)...now close your eyes, relax...ZZZzzzzzzz.......

Only recently have I actually started to enjoy Radiohead. Previously, I dismissed the band as just another overrated Brit-pop band, I didn't have the time or desire to listen to. This summer, I read a book (can't remember the title) that reviewed and praised Radiohead's album input, so I took a deep-drive into their records. Their run of albums from 1995 (The Bends) to 2007 (In Rainbows) are essential listening with the band at their peak. What's great is these albums is that don't sound the same, their sound is diverse and gets more interesting with every listen. "In Rainbows" is their last great album and it shines throughout. A solid, beautiful record with layers of lush sounds that is as good or even better than most music from the late 2000's. A near-modern classic.

A good vibe and beat to the music and though I'm not that familiar with music from that part of the world, I can appreciate it for what it is. No sure, if I love the dated "modernization" to the traditional sound, but it was enjoyable enough to listen twice. I'll listen to more of his records before I pass judgement.

I have to admit when I was a teen (in the late 70's), I wasn't a big fan of Steely Dan. At the time, the music seemed so over-produced, commercial sounding and not-so-thrilling, but you know what when you grow up and listen to all kinds of different music, your tastes and priorities change, but music has always been an integral part of my life. I really started listening to Steely Dan after I absorbed a couple of record collections with music heavily from the 70's, which included Can't Buy A Thrill, Pretzel Logic and Aja. These records hit me hard, the thrill was back and listening with fresh set of older mature ears I now consider these albums essential listening, not only Steely Dan's discography, but popular music in general. There is an unexplainable comfort in listening to the opening lines of Do It Again, Dirty Work and Reelin' In The Years. To me, it's a toss up what is the best Steely Dan record and since I gave Pretzel Logic 5 stars, I follow suit with Can't Buy A Thrill.

That was better than I expected. The "Wildest!" was a wild listen from Prima and I didn't realize he did that "Just A Gigolo" song, which was sadly thrust upon my generation by a solo wildly crazed, David Lee Roth in the 80's. Also, didn't know he sung in the Jungle Book film, which featured several catchy tunes from my childhood. Overall, I good, moderately satisfying listen on a cold winter day.

This album had it's moments, as long as you don't set your expectations too high. Spacey and ambient at times, it does offer a variety of styles, some psychedelic nods to early Pink Floyd and more sonic influences of MC5 or the Stooges. My first thought was a "poor-man's" Velvet Underground, but even that doesn't fully describe what I'm hearing. Not something I have to hear again and not essential to my ears.

Dig Me Out is the only Sleater-Kinney CD I actually own, simply because it's their best album. It's the sweet spot in their (now long) discography. Their first two releases the band was still raw and unfocused, but had a punk energy and spirit that gained the band attention and post-Dig Me Out, the band lost some of that punk spirit and their sound became more homogenized. Dig Me Out has some great songs and the guitar work from Carrie Brownstein is underrated, but my only issue is Corin's shrieky vocal style, which at times makes it a difficult listen. Add to the fact the band doesn't have a bass player, so their sound is even more treble-pitched, with a lack of low end. Fortunately, the debut of a (real good) drummer, Janet Weiss really benefits the band, which results in a tighter sound, yet maximizes the punk sound more effectively. I like this album a lot, it was an important record that propelled them beyond just the riot-grrrl scene and made more people take notice. I give it 4 stars for the music and a bonus 1 star for the terrific album cover art homage to the Kinks Kontroversy cover, which I consider one of the finest.

A weird and silly album, that has a quirky appeal that doesn't sound like the Talking Heads. Glad to hear, Tina and Chris from the Heads branching off to create their own music that is fun overall, strange and fascinating. The record starts off strong (it's hard not to like that wordy rap song), but it eventually begins to feel like filler and it's unique sound becomes bland and less interesting. I can't help think about another big name group, over ten years later fronted by another egotistical male singer/guitarist, with a female bass player that assembles a spin-off band with her sister(s) and releases music almost as good (or better) than their previous band. Well, the Tom Tom Club comes close, but not quite.

I won't sugar coat this, I do NOT like Metallica! There are so many reasons to hate this band. Their music is a compromised combination of a bunch of long haired rockers trying to continue to be..."hard rocking" and making music that appeals to confused and naive people that think this is cool and actually hard rocking. I hate their singer, never did and never will and Lars Ulrich is a entitled twerp, not only for being the driving force, along with the band to take down peer to peering sharing because his "livelihood was at stake", but mainly because he sucks as a drummer. I have nothing against the other guys in the band, but overall the music is shitty (I'm guessing the 16.4 million people that bought this album will disagree, or not?) and overrated and even though it has that unfortunate ear-worm, "Enter Sandman" on this record, it is not hard to hate. The ultimate sellout band.

If you're into rock operas, Tommy should be near the top of the list as one of the best. When I first heard this in it's entirety, I was blown away. The creative genius of Pete Townsend is driven on this double album and musically it's one of my favourite Who records. Listening now, I'm not as keen on this album, it's still a classic, but not perfect. The whole story concept of Tommy, the deaf, dumb, blind boy is creepy and weird at best. I found the story so strange and it made it even worse (almost ruined for me) when I saw the film. I actually heard the soundtrack version, as a young teen, before hearing this album and besides Elton John's version of Pinball Wizard, I hated the songs and the performances. The original album is so much better and turned me around my opinion on Tommy, but I wish this wasn't a concept album. I prefer to listen to the songs as individual tracks and try to block out the story and it is what it is, a great memorable album from the Who.

Me, along with many others (of a certain age) went through a Doors phase. I was too young the first time around, but when I was in high school there was a revived interest in the band. Of what I remember, the book, "No One Here Gets Out Alive" was published in 1980 and garnished much interest from my school mates (several were reading it in class) and the music world. A "new" greatest hits album was released and soon after, Alive, She Cried, previously unreleased live recordings. I bought both albums and though I had heard the band on the radio, it caught my attention and I seeked out their other records. There's no denying their sound and songs was influential and the role Jim Morrison played as the front-man, forever changed the look and style of music. The Doors debut was way out there and has to be considered one of the great debut albums of the 60's. One of my criticisms of the band is that their albums had so much filler tracks on them, "The Doors" has the least and contains many of their best songs. I was starting to get sick of hearing, "Light My Fire" so often 40 years ago, but listening now it definitely has a nostalgic feeling. Though, I don't love the Doors, I do love the organ and guitar sound and Morrison's vocals were, I must admit, pretty good.

Talking Heads are one of those bands I like, but apart from their first album, I've been a bit indifferent with their albums. I lost interest when their music became too "world beat" for my tastes, with multiple musicians that I felt gravitated away from what I like about their early work. "More Songs About..". is showing signs of this transition, but the sound stayed similar to Talking Heads 77 with only producer, Eno the only other contributing musician. This album (according to me, anyways) is a bit underrated and overlooked compared to the next couple of albums and it contains, the cover, Take Me To The River, which might just be their best song. Is it me, or are there a lot of Talking Heads-related albums on this list? This one is good, but probably not essential.

Generally, I'm not a fan of Aerosmith, especially everything they've released in the last 40 years which I find almost unlistenable and wish they had hung it up a long time ago. I have to admit, some of their 70's stuff is alright and though I considered them a "poor-man's Stones", they had the capability to rock out pretty good at times. Toys In The Attic is my favourite Aerosmith album and the follow-up, Rocks might be my next fav, definitely their least uneven records. It does "rocks" pretty heavy at times and didn't realize it has a decent track list with some above par songs. Again, I'm not a fan, but if I was forced to listen to Steven Tyler screech and wail, Rocks is a good option. More proof that once and a while, drugs can be effective.

Take a bunch of local bar bands, throw them into a battle of the bands-type show, slip in The Cult, without the flash and professional stage gimmicks and listen. Is The Cult's music distinguishable from the others, are they any better, would they win? My point is, The Cult sound so generic and underwhelming, how did they get them on this list? Their music is okay, I don't not like it, but in a music world with hundreds and thousands of bands that sound similar, do they deserve airplay and arena tours more than any of those other no-name bands. Do "Joe Blow and the Nobodys" deserve just as much attention? And apart from the "cool" name, The Cult must have won the musical lottery. At least a good bar band can play competent cover songs, The Cult's version of, "Born To Be Wild" is an uninspired head-shaker (not in a good way) on an otherwise so-so album.

In recent years, I began to rediscovery an interest in Jazz. I have a small collection of Jazz albums, given to me from other people and thought I should be mature enough to fully "appreciate" the genre better, I decided to seek out some Jazz classics. A good place to start is Miles Davis and it's easy to hear that, Kind Of Blue, is a must-hear Jazz record and is said to be one of the great jazz albums of all time. Immediately, it sounds familiar and the music carries it from there, an incredible listening experience. The playing is fabulous and his band, including John Coltrane, "Cannonball" Adderley and Bill Evans are all legends (on their own) in the Jazz world. If I knew Jazz was so good, I would have listened a long time ago.

I am a fan of Steely Dan and the debut solo album from Donald Fagen sounds like it could have been the follow-up to the band's last studio album, Gaucho. Personally, Gaucho is my least favourite Steely album, it's the only Dan album I refused to buy, because it's too slick, too commercial sounding, boring and I just didn't like it. The Nightfly doesn't sound too different, but I enjoyed it more and some of the songs I thought were Steely Dan songs. A decent listen, but I'm more than happy to live in the past and listen to Steely Dan's first batch of albums (not Gaucho!) again instead.

I own this album, but I didn't buy it and I'm not sure I would have listened to it if it wasn't in my collection. 10cc is best known for the radio hit, "I'm Not In Love", which isn't on Sheet Music and I have to admit I wasn't a fan. Apart from a few singles on Sheet Music, Wall Street Shuffle, Silly Love, Worst Band...", the album is a bit thin and has more filler than killer. Wall Street Shuffle might even be my favourite 10cc song and I appreciate the humor and sarcastic view of the band, but it's not enough to provide a solid enough record to justify being on this list. I good album, but far from essential.

If I had to listen to something country, the country-rock genre is always preferred and there are many really artists I listen to. During the late 80's artists such as Steve Earle and Dwight Yoakam brought their brand of country-rock to the mainstream which caught my attention and led me to follow bands like, Blue Rodeo, Beat Farmers and Beat Rodeo to name just a few. This was also when I first heard of Joe Ely whose sound was more similar to the later bands, more rock, but I hadn't heard his earlier record, "Honky Tonk Masquerade", which is more country, with some honky tonk thrown in (if that's a thing?). It feels a little dated and corny, but if you're into this type of music it's pretty good. Not for all tastes and I struggled to get through the whole thing, but it wasn't a long listen and overall it's something that I can see myself listening to again in another 20 years or so...

During the early 90's, Green Day and Nirvana were the bands that broke through to the mainstream from alternative, punk or whatever genre they'd be categorized in to produce quite the phenomenon, huge media exposure and lasting legacies, but to me one of the most important bands to come out of the 90's was Pavement. They stayed on the edge of alternative (or indie or college-rock), but stayed true to not fully "selling out" with some rather odd, but unique albums during their first run career (10 years) and have reformed to play to larger audiences and a renewed interest in their music. Clearly, front-man-singer-songwriter, Stephen Malkmus is the creative genius behind the band and his solo albums after Pavement attest to his talent. The debut, Slanted And Enchanted is their best album, it has it's flaws and it's uneven, but it gets more interesting and fascinating with every listen. It's not the greatest album of the 90's, but it sure beats anything Green Day released after Dookie.

So much can be said about the Dolls. Trashy, sloppy, messy, a Rolling Stones rip-off, but there is no doubt, they were one of the most influential bands of the 70's, as their music mixed elements of punk, glam and good old 60's rock 'n' roll. The album cover, with the band dressed in drag, though tame by today's "standards" was probably rather shocking at the time and may have raised a lot of questions. When I bought this album in the late 70's, I hadn't heard it at all and since I was a big Stones fan, the music isn't too far off, but this album sounds very dirty New York to me. Kind of like a Lou Reed song brought to life. It's too bad the band only released two studio albums, but this debut was shockingly good. The Dolls led me to an obsession with guitarist, Johnny Thunders' career (with and without the Heartbreakers), so this record is special to me in that way. I also wore a New York Dolls t-shirt with the cover image, to school which felt cool and may have raised a number of questions from my parents.

I've never been a fan of collaboration albums. The Healer features several well known musicians who side themselves and pay tribute to a true Blues legend. I don't have a problem with this concept, it does give extra exposure for the fans of the musicians to Hooker and it adds to the cred and acknowledgement of his influence in their music. With the collaborations, the music of John Lee Hooker gets watered down and it's more a Bonnie Raitt or Carlo Santana performance, with Hooker putting in an appearance than a true duet. The songs are okay, but an old 73 year old Hooker is not "prime Hooker" and fans should seek out his influential and essential works from decades past.

A rather interesting introduction to Indian music to western audiences from Ravi Shankar, that is both groundbreaking and intriguing. Unfortunately, I still don't "get" it nor do I find the music easy to listen to. I realize it was historical with Ravi's interactions with the Beatles, but I usually skip over those songs with Sitar, because in my opinion it "ruins" an otherwise decent song. Sorry, not a fan of the sitar.

It's hard to believe the Rolling Stones are still performing and releasing albums with new material 60 years into their career. I thought that by 1980, they were over the hill and that was 45 years ago! The band's albums had many peaks and valleys, but definitely the strongest period was the late 60's/early 70's records with Mick Taylor in the band. Let It Bleed, Get Yer Ya-Yas Out!, and Exile On Main Street are peak Stones and in that era their best album was Sticky Fingers from 1971. Along with the "hits", Brown Sugar and Bitch, this record is filled with outstanding tracks that are solid, with no filler, with some of my favourite Stones songs of all-time that show-off the range and diversity of their music styles, Blues, Folk, Country, Soul, Jazz and straight-up Rock. Wild Horses, Dead Flowers, Sway, Sister Morphine and especially, Can't You Hear Me Knocking, which is a joy to the ears (wear headphones) with it's smooth instrumental interplay between Keith and Mick (the other Mick). An essential 5 star listen.

Not as impactful or as essential as the debut, "Are you Experienced" which was a hard act to follow, but still a good second album from Hendrix. There are a couple of "hits", but overall a more low-key record that shows that Jimi is more than a guitar god with a wider range of material with less effect.

I don't know? There's no doubt Adele has an above average singing voice, as well she is a critically acclaimed, best-selling artist, receives an almost unbelievable amount of accolades and awards for her albums and she names her albums based on her age at the time and why do I feel she's a tad bit overrated? I'm not doubting she's a talented singer, I'm just questioning why she's held on such a high pedestal reserved for the all-time greats and how the heck she can sell so many frickin' records? I guess she's some kind of modern day, Barbara Streisand, Celine Dion or Julie Andrews, and while her stature is in the Taylor Swift category, so what gives? Judging by this album, I was bored less than halfway through and can't imagine anyone under 50 appreciating this competently "safe" music and I know it's not just the lonely housewives and seniors that love it. The songs are bland, but well suited to her voice and I can't help but think the kids today who are living in the American Idol or America's (Britain's) Got "Talent era and where standards are based on show-off singing will continue to support her music even when her record label continues to milk her talent well past her prime. I'll take a pass and when she releases her album called "80", you'll know I'm right.

An interesting fusion of Latin and hip-hop beats that at times gets your toes tapping and gives you the urge to rumba around the room. Interesting and somewhat listenable, makes this a warm welcome in the middle of a winter cold spell. I recognize, Saturday Night, but the rest will be forgettable after I finish listening to it all. An okay listen, but hardly something I'll listen to often, if ever again.

I bought this album on a school field trip at a record store in Victoria, BC probably around 1981 or so, without knowing anything about the Clash, but that album cover sure had me curious. Start to finish, this has to be the best "double" album I've ever heard (at the time) with every track solid and good, rare for an album with so many tracks. Special mention of side one which in my opinion one of my favourite side one's of all-time. The Clash are considered punk, but the band explores all kind of music styles and genres with great success and it never tires or drags throughout. You can drop the needle on any song and still feel confident it won't disappoint. Rolling Stone called it the best album of the 80's (it was actually released in December 1979 in the UK and January 1980 in the US) and it's hard to disagree and though there might have been "better" records, London Calling was one of the most important punk or any album for that matter, of the decade. Essential!

1970 really was a peak period for the members of Crosby, Still, Nash and Young with the release of the group's album, Deja Vu, Neil Young's, After the Gold Rush and Stephen Still's debut self-titled solo album. To a lesser extend, Nash and Crosby issued solo records in 1971, so it was a time of chart-topping success for the quartet. This was a high standard for Stills to live up to as Young's album is considered a classic, but it is a commendable effort. The lead track, Love The One You're With, is well known and probably Still's best solo song, but the rest of the album plays out like outtakes from a CSN album. Nothing as memorable, all well done with some famous guests appearing, but I can't help thinking this was kind of underwhelming compared to the group's releases. Nice try Steve.

The first song I heard from the Pet Shops was, "West End Girls", which is probably still the song I associate with the group. I never liked synth-pop and this reconfirmed my bias, so I never explored any of their music further. "Very" is a breezy-synth-pop record that brings energy and beats to the forefront, that are both infectious and repetitious. I can't say this album is swaying me towards this style of music, but it wasn't as painful and boring as I thought it might be. Listening now to, "West End Girls" brings a slight wave of nostalgia of music from the 80's I avoid and has a bit of a guilty pleasure vibe, but I can't say the same about Very. It's just okay, I'll listen once and continue to ignore synth-pop and the Pet Shop Boys.

If you like jamming, noodling and straight-up meandering guitar solos, this live album from the Allman Brothers is for you. I love the sound of the guitar, it can make so many unique and interesting noises when played well and can be a legit art form. Too much guitar, with little or no structure can still cool, but, "At Fillmore East" was a challenging listen, so many jams and so much wanking. Considering there was 7 songs through 4 sides of wax, I feel the need to hear some 2-3 minutes pop songs and get off the couch. If you're in the mood for...jamming, this is fine, if not, you're out of luck.

Not to be confused with the UK band in the 70's, The Monks, the German-based American, The Monks seemed to be ahead of their time when their only studio album, Black Monk Time was released in 1966. Their garage-rock sound, with the psychedelic organ sound and Troggs-like beats is definitely a forerunner to proto-punk sounds of the early 70's. I had never heard this album before, but feel I may have heard some of this before or by garage-rock imitators, so this is clearly an influential record. The closest comparison at the time is The Animals, especially with the dominating organ and dirty, rough vocals. Interesting, to say the least. Thanks for making me aware of this hidden gem.

What is being said and the social messaging in Ice's raw and truthful lyrics are still relevant today and really shows a lot hasn't changed. The beats and music go well with Cube's spirited delivery and though I'm not a fan of rap and hip-hop, this one was worth the listen.

Another post-punk band, that were probably ahead of their time with a mix of industrial, electronic, punk with lots of repetition and hypnotic beats. Definitely tolerable, there are some songs I really like, but this ain't something I'd throw on as a whim. It has a raw appeal I get and would probably play well in an industrial-type club, 40 years ago.

Another techno, electronica, house music album that is interesting at times and has some nifty beats, but is more background music than a collection of banger songs. Feels like it would be good soundtrack music for video games or a dance club. Enjoyable, but I'm not the target audience to DJ this at my parties.

For a band that I didn't listen to in the 80's, Echo seems to pop up a lot on my music feeds and on this list more than I expected. "The Killing Moon", especially I've heard more in the past year than ever before and I admit it's a fine song, but the rest of the album, though mainly solid, didn't hold my interest til the end. They have that smooth, Brit-pop sound reminiscent of the Smiths that is easy to listen to, but doesn't excite me. Good release, from a band that I'm guessing will hear more from on the list. Not essential to me, but probably deserves a place.

This is honestly one of the few albums on the list I don't have an opinion with either way. I'm disinterested and really I would categorize this as mediocre and not essential at all and though there are some redeeming qualities in some the songs, it wasn't enough for a second listen. I'm sure if I listened more carefully, I might get more out of it. I don't hate it, but it's not good.

Generally, I'm not a fan of most soundtracks or concept albums with the occasional exceptions. Often the project is too unfocused and doesn't compliment the content or the concept is so out there no one besides the creator understands the meaning or reason or why we should care about their idea. On paper, Moss Side Story sounds like a weird concept, a soundtrack album to a non-existent crime film. My thought was, what the hell? Imagine my surprise when the music is actually pretty good! In fact, it's better than most real soundtracks. Through the music, it helps to visualize the atmosphere and concept of the "film" and really a good soundtrack doesn't need the film to stand on it's own creatively. I actually enjoyed the listen and though it's gets a bit over the top sometimes, it was a good backtrack to my usually chilling, thrilling day sitting at home alone.

After listening to this album, I've come realize I don't like Indian music. Traditional Indian music never really pleased my taste buds, I just can't into it and now this modern take with sampling etc, is even worse. Beyond Skin started off pleasant enough with a Sade-ish sounding vocalist and chill mood music, but this eventually took a turn and by the end I was relived it was finally over. Bizarre and strange, it baffles me how this made this "must-hear" list. No thanks!

The first time I heard, Rock Lobster was when the B-52's played on Saturday Night Live (yes, I'm fairly sure I saw this when it was first broadcasted) and my first thought was, "what the hell?". Such a kooky, bizarre band that reminded me of some outer space band from the Flintstones or Jetsons and their sound was something I had never heard before. That organ sound is soooo new wave and those hairdos and the way they dressed wasn't in my "wheelhouse" of musical preference at the time. Fast forward and this album keeps showing up on my algorithm on my music streams and it's hard not to listen to it repeatedly. It was a "game-changer" record and actually, they're retro sound, brings back so many memories of the late 70's and early 80's when my music tastes started to evolve (change for the better). I have a place in my heart for the B-52's now, though it's still hard to handle Fred Schneider's voice and the shrieky backing vocals, but there were a lot worse imitator-bands from the era. The chicks are cool and Ricky Wilson's guitar playing is way underrated.

A bit under the radar, as far early 70's psych/rock/prog bands, but is considered by some as a near "classic" album. I was familiar with "Nature's Way" and a couple of other tracks, otherwise I hadn't heard this. A respectable album that has a handful of really good tracks, but it also unfortunately suffers from some sub-par material that makes this a bit of an uneven listen. Overall, I liked it, maybe more because I like the era, but Spirit, at least with this record can keep pace with other more well known acts in the early 70's.

My takeaway from Sex Packets is packets, sex packets and other obsessions typical of a rap, hip-hop record. I've often said here, "I don't like rap", but the more I listen to the genre on this list, the more I respect craft, more tolerant and realized there is some great rap/hip-hop albums out there...this is not one of them. Sex Packets is pretty much everything I dislike about the genre. It has the usual misogyny, stupid skits and dumb obsession with sex, but it's mainly lightweight, non-threatening, goofy and dated. Gee, maybe the Fresh Prince isn't so bad after all? It seemed to go on and on and on and it couldn't end soon enough.

I can't say I've been a fan of Genesis, though their early material is preferred and when Peter Gabriel was still in the band. I've heard bits and pieces of "The Lamb..." and I liked what I heard, but never in it's entirety. I appreciate some Prog rock, if I'm in the mood and this was enjoyable enough, especially the first two sides of the record, but with sides 3 and 4, it started to drag and get into the category of, "they should have cut it shorter". Overly long, for my tastes and a taste of Genesis is good, but too much and I'm full.

Generally, I'm not that impressed with The Smiths. They had several critically acclaimed albums, that never resonated with me despite having my sister's, The Smiths LP's around the house. On paper, I should like this more, I'm not against Brit-pop, post-punk rock and I like jangly guitar riffs, but it probably has something to do with the singer, Morrissey, who is an arrogant twit. I really love the opening track, a great start that rocks more than most of their songs, but they settle in for a bland, less interesting ride to the last track, the annoying, "Meat Is Murder" title track. I will say, Johnny Marrs guitar is underrated and worth the listen and I wish he never met Morrissey.

I'm convinced the opening track, Theme is a test. If you can handle the overbearing, annoying 9+ minute track of nonsense, you have the tolerance level to "listen" to the rest of First Issue by Public Image Ltd. The following song(s) (track 3 is the same song with music), Religion I & II, though I can't disagree with the lyrics, this again is testing the patience of the listener. I'm guessing this is the "clever" strategy of the former Johnny Rotten, who is distancing himself from his former past, even though Bollocks was only released a year earlier, with a set of music even more annoying than anything the Sex Pistols released (which isn't much). He has so much on his mind, which clearly clouds any real creativity he may possess by passing this rubbish as "art"? The interview at the end of the US reissue is telling and reveals his hatred of his former project and bandmates. Actually, besides the song, Public Image, the highlight is the awkward, strange interview and gave me the urge to spin an album from, The Professionals (ex-Pistols, Paul Cook and Steve Jones) or Rich Kids (pre-Pistols, Glen Matlock), a superior option of Sex Pistols-related spin-off bands.