Why not offer "Sound of Silver" here instead of "american dream"? This comeback record feels wary, restrained, earnest, even (omg) unironic. Karaoke with your boss instead of drunk with your friends. SoS was brilliant, snarky, fun and genuine. I hope/wish that it will show up on this list instead. But then you wonder if the energy and snark of SoS would be sustainable - if LCD should even bother making any other records and just quit and get jobs as accountants (pointing at you Emma Anderson). I can appreciate the joy of creation and artistic development, but there is also the stuffiness of playing one encore too many. My rating here is relative to SoS, not that ad was so bad, just that SoS was so great.

I get that this is a monumental classic, but I just don't enjoy the vocals and the compositions are like keeping buzzing fluorescent lights on while I'm trying to sleep. Not that I don't enjoy droning harsh electronic tirades. Taken as elementary blues and jester poet rambling there's clear space to relax.

True to the mission of this project I am glad this record came up on my list. Although this may already belong to my own personal canon of soul-defining albums thankfully this might have been a backup contingency plan. This made an enormous impact on me decades ago. There was nothing else like it, the world was different after I first heard the Cocteau Twins, and still nothing else compares. This record felt like it was an opening and a big break into a wider audience. It also felt like further slipping from an ideal after Treasure that diluted down the drain awash with new age pathos and intelligible lyrics instead of a cosmic brain transplantation. I only wish I could find a giant poster again of the album cover to pin up on my wall as I improvise the lyrics to Pitch The Baby.

Great roots/blues. Fun with the instrumentals. Genuine analog. I don't enjoy John Fogerty's vocals though.

Smooth soul and baby making music. Not my bag though.

I get that this is a monumental classic, but I just don't enjoy the vocals and the compositions are like keeping buzzing fluorescent lights on while I'm trying to sleep. Not that I don't enjoy droning harsh electronic tirades. Taken as elementary blues and jester poet rambling there's clear space to relax.

This comes across as a less-inspired knock-off of Daft Punk. I get it, Daft Punk doesn't own or didn't pioneer the genre but this record sounds derivative of that style and falls flat. I see this was released in 2007, so they had 10+ years of evolution in the style to add some innovation but they had nothing to offer.

Good energy but dated, seems like a trend that was driven into the ground somewhere between Green Day, The Bravery and Interpol.

Admittedly I put off listening to the record when it came up on my list. There is a nauseating sensation of 70s-80s soft rock that wells up in my esophagus based on my memories. It turns out this (era of the) band, with its bombastic brass section, rocks kinda hard, more inclined to Jimi Hendrix than I could have imagined. The "Free Form Guitar" acid jam helped reverse my whole perception of them. I can just see them trashing then instruments and setting the stage on fire, figuratively.

Never heard or even heard of before, but I sure recognize De La Soul. Very positive, clever and fun.

Already had this on vinyl and ought to listen more often. Solid sentimental pop production. Despite a couple of awkward clunkers (kissed the teacher) it's amazing.

Extremely difficult for me to connect here. Another record I delayed a long time to try because I have a dire prejudice/aversion. To be fair, this seems somewhat comparable to Lana Del Rey in form, but I also abhor anything adjacent to Taylor Swift. TS is exponentially more impactful in this timeline than LDR. Anyway, from my limited perspective I torturously found this record to be shallow, bilious, and shallow.

I get it that this is a classic and that krautrock is an evolutionary step forward in modern music, but I wasn't in the mood for meandering jams at the time of listening. I'm grateful for what it inspired downstream.

I kept imagining Celtic hippies, like a mix of Jefferson Aeroplane and Clannad. Interesting, but not currently interested.

Yes? Not today. As ashamed as I ought to be my peak in interest was for 90125 and Trevor Horn.

I imagine bell bottoms and handle bars. I get it that this was a project for Stephen Stills, later of CSNY, to get out his solo material. That is all. He put out a great vibe with Manassas and then an amazing vibe down the road.

I get it that this is classic jazz hip hop but I didn't connect on first listen. Catch me on a different day and maybe I'll be ready.

Mix of fun and cool. The joy of tubas.

Yes, it's Deeply Purple.

I neglected to try out this record before. Shameful. I got the impression before her style was insufferably quirky. However, her duo with Peter Gabriel was achingly reassuring, "Don't Give Up." That carries over directly to the tone of this album, especially with "This Woman's Work" and the quality of production and Mick Karn on fretless bass. Just like I was late to the party (by decades) for Annie Lennox - Diva, I've got to take some sweet time to brew on this one.

Certainly not as dour and earnest as usual for The Smiths; I can imagine how weary Marr must have felt with Morrissey's toxic incel kvetching, yet his guitars are classy - maybe out of place with the ludicrous literary themes. Regardless, still fun to listen to, and a little sad to mourn the implosion of the band.

Why not offer "Sound of Silver" here instead of "american dream"? This comeback record feels wary, restrained, earnest, even (omg) unironic. Karaoke with your boss instead of drunk with your friends. SoS was brilliant, snarky, fun and genuine. I hope/wish that it will show up on this list instead. But then you wonder if the energy and snark of SoS would be sustainable - if LCD should even bother making any other records and just quit and get jobs as accountants (pointing at you Emma Anderson). I can appreciate the joy of creation and artistic development, but there is also the stuffiness of playing one encore too many. My rating here is relative to SoS, not that ad was so bad, just that SoS was so great.

My imagination wandered right into the recursive parody of the absurdly manly metal band Spinal Tap and the flashback to their 60’s sissy origins. I don’t know the background of Belle & Sebastian so I can’t tell if they’re taking the piss on milquetoast Irish folk or anything. Cheerful and bright, but subversive somehow. I would not be surprised if there’s a follow-up where they take a hard left turn with a miniature Stonehenge.

Naturally, of my era, I was aware of Mr. Springsteen, The Boss, on MTV. From the songs of the time it seemed like he was performing and contorting having his fingernails pulled out with pliers. I never went back and actually listened to this record. Thanks to this project I resolved to try it out, despite defiance. How could I have known his velvety crooning would melt my wretched heart?

Already a fan, especially of the heavier XTRMNTR. This is an easygoing hop on the House wagon. Try as hard as I might I find it difficult to link Primal Scream to JAMC, but I love them both. This album is a breakthrough and lots of fun. I love that the album cover art was inspired by a water stain on the ceiling during an LSD trip.

I get it, it's classic post-punk or pre-snark retro-rock. Just not highly enthused about it. I've started a lot of my reviews with, "I get it...," then offering that it's just not my bag. I think this makes me a poor music critic since my commentary tends to be related to my mood at the time rather than the broader space-time continuum of these records. This one just pales in comparison to the harder punk-rockabilly of The Raveonettes "Aly Walk With Me." That one never fails to get me to going.

When I was a kid I remember this band being among the full-on satanic abominations, especially this album cover looking like a horrific glance into perdition. Devil’s children and such. Later I was able to chill out and appreciate the catchy writing and solid rock and roll. I don’t know much of the history of the AC/DC discography, but my impression is this record is not their most remarkable. A stand out track for me though is ‘If You Want Blood’ which also has a phenomenal cover by GWAR. We salute you!

I get it, this is, uh, great rock and roll, music. Nevermind grunge. Edward Severson is an amazing performer and coincidentally was part of grunge mania. This record is great grunge and is unfortunately dated to the era. Mr. Severson is still great in spite of the era. Thanks so much for your gravitas in Twin Peaks!

Immediately recognizable as some prominent covers - of Otis Redding. 'Satisfaction' by Devo and 'Respect' by Aretha Franklin, both weird hearing the originals. Also I couldn't help but hear Stevie Ray Vaughan with the searing southern blues guitar. Just imagine if they had not both met an untimely aerial end OR and RSV would have made a GA and TX fusion that was off the charts.

My bias again, but this sounds like love songs suited for Sunday school. No edge, and honestly, no heart really. It's like powerfully proclaiming your eternal love for the most generic and vanilla concepts in the cosmos. This strikes just as much of a passionate connection as with a rejection form letter - "...but at this time we won’t be able to invite you to the next stage of the hiring process. We wish you the best in your future endeavors." That could easily be the lyrics from this record.

I get it, this is a classic from the front-on punk era, so it was nouveau to be loud, dumb and drunk... and angry about international politics. These guy were talented and prolific in a short span of years before dunking on the rock history and moving on to other things. I just found my sweet spot in their style with Combat Rock - much more genuinely clever and engaging, like they really found their voice.

I have always been confused by this musical project - band - paramilitary unit - ancient Greek chorus - dot dot dot. I only knew them from the staid and somber "Life Is Life" mantra. But I'm interested to see so much of this record is in German, and the title of said mantra was "Leben heisst Leben," which harkens to the extradimensional qualities of "Du.. Du hast.. Du hasst mich..." from Rammstein. You could interpret that as "living means to live." I'm not generally in the frame of mind to listen to this on a regular basis (that would be Beach House Depression Cherry on eternal continuous loop). For me 3 stars means I'm not angry at it. It's fine.

Solid rock and obviously 80's, one of the records that fundamentally defines the 80's. Not that it's "dated" and cringey to listen to at ~40 years old, it's a perfect encapsulation of the time along with the time of life - being a scruffy, rowdy teenager. I can't judge whether Van Halen was better with Sammy Hagar, but DLR nailed being a flashy front man for this band.

Nice. Same charming Bruce. However, it sounds like a trendy 00's producer was deployed to give the Boss a little modern kick. Every track is smooth and contemporary, yet bland and gentrified. Fine to play at Starbucks.

So glad to see John Grant on this list. It has been a few years since I was manic about this, but it's a joy to rediscover something I loved before. I remember I got the impression he was cool/silky/velvety, yet deeply ironic and sinister. I think of the deep toxic warmth of a radiating mass of plutonium. "Outer Space" is so infectious, both in the good way and the terrible way. On the surface it's reminiscent of getting caught in the gaze of a pleasant crush smile, but from the barely subtle subtext it's a searing acid bath of sarcasm. Still this record and Pale Green Ghosts are ample comfort in a sulfuric acid hot tub.

So I realize I have a lot of bias/prejudice. You're welcome to flog me mercilessly, but if you hear one reggae jam, you've heard them all. The genre is extremely stylistically/thematically monotonous. Heavy plodding bass, terse clacking drum/guitar, and relaxed vocals extolling the virtues of cannabis. However, that one mode of style and theme is great and works phenomenally just about every time. This record is a prime example of how well the form works and Peter Tosh makes an ardent, heart-felt crooning plea to legalize weed to relieve us from our worries. The tone is entirely positive and even comforting, listening to the record gives the vibe of sitting in a cozy bean bag chilling out with gentle and loving ganja brothers.

I went straight to thinking about early Prince where he was much more of a classic soul crooner. It turns out he was extending the spirit of Curtis Mayfield. This record is remarkably well written/arranged/produced/performed. Just like Prince, or Prince just like Curtis, I can feel the desperate yet suppressed yearning of some intense hormones like red hot steel. This also sounds like exactly what gets copied/sampled perpetually in a lot of follow on musical styles. It sounds like a fundamentally solid original.

I admit, there is a great deal of bias diverting me from having much fun with this record. If this was recorded live in West Germany in 1964 I imagine the embarrassment of the possibly stereotypical stoic and humorless Germans being confronted with a back-woods piano mashing maniac. It may be amusing to hear his antics on a studio record, but it must have been awkward seeing it in person and that audience would need to break a lot of ice. This also illustrates to me that this is on the other side of some boundary where modern rock begins and stuffy 'square' pop acts roamed the radio. To be honest, this is from my parents' teenage era, so it's inherently icky and I'm being generationally oppositional. Also to be fair, the Beatles played in the same club around that time and I would consider that era to be on the other side of 'modern.'

Only 3 songs, how tedious could it be to sit through 35 minutes of classic 70's meandering prog rock? Hitting fast forward quite a long while then realizing, "Mercy, I'm still in the middle of the first song." I get it, Yes exemplified breaking out of rigid rock conventions and setting free with dream-logic compositions. Still, this free expression is lost on me, is more aloof than adroit at lyrically/rhythmically/melodically connecting with anyone. Like I divulged in an earlier Yes review, "90125" is more my style, which probably shouldn't count as being the same band. That was the first record I ever heard from them. Imagine a fan of this "Close to the Edge" style of Yes hearing "90125" and thinking it was horribly self-antithetical.

The image of Sir Elton was distorted into parody long ago and I've had an aversion to his flamboyant whimsy and overblown fame since I was a kid, not to mention the ubiquitous radio/MTV presence that killed his context. I put off listening to this record extensively, expecting it would be unbearably trite, dated and worn out. Who's the asshole now? I had never given this record a fair chance and yet right away I was bewildered and intrigued; from the opening ELO-esque spacey opera and then sweeping into waves of undeniably hooky, uplifting and endearing ballads I understood where all the adoration came from.

Here I thought I knew reasonably everything about 80’s British white new wave ska. There’s already UB40 and Fine Young Cannibals, etc. covering that blursed niche. Taken on its own merit this record is inoffensive and wholesome, but if I focus and think about it at all it’s nauseating.

I get it Nirvana deeply impacted rock music and briefly lead the horde of flannel and boot wearing, distortion/overdrive guitar playing grunge bands. This sparsely produced live acoustic album sought to be an astounding awakening for the "I'm 14 and this is deep" audience by dialing down the heavy noise and highlighting Kurt Cobain's lyrical/melodic/vocal intimacy. Of course, it's deeply impacting, but this format always came across as a gimmicky shill. The genius of Nirvana is finding that intimacy as sweaty flannel boot guys are stage diving onto your face.

Who knew there were any exports from South Africa beyond Charlize Theron, Die Antwoord, and Paul Simon’s collaborations from ‘Graceland.’ Well coincidentally, Miriam Makeba was on that record (I need to go back and check it out). This was her debut from 1960 and sounds like she was already a dear matronly soul. Lots of fun, wholesome, amusing. Who can resist the charm of the ‘click’ song, fleas climbing up your knees, and the paradoxically slap-happy duet about her dying ‘old man’ - “Is he worse? Well I am no nurse.”

Coming into this one with no context I couldn't guess where or when this came from. Not sure if it's 5 or 50 years old, though it is a little clever and subversive, so it's definitely "post-something," just not sure what. It doesn't seem like they didn't take themselves seriously at all. Certainly not meandering prog-rock, but not rock anthemy either. Not so much random, but certainly spontaneous and whimsical. Still before looking up on wikipedia I could imagine this was a side project for otherwise successful professionals to mischievously mess around. Still, a positive tone, good fun.

I get it, this project is based on a progression of books highlighting how clever the neck-beard and basement-dwelling rock critics are with going deep-catalog and obtuse. From my perspective I'd hope to find stand-out records from intriguing artists as a way to lure me in to further crate diving. In this case "Channel Orange" comes across as lazy, dull and amateur compared to "Blonde" - I would probably be dissuaded from looking any further into Frank Ocean. I don't know if Blonde is on this list (I'd give it a 4 for being haunting - lyrically/thematically intriguing) but this one gets a flat 2. I resent it being included in the 1001.

Here I go, judging a band before ever actually listening to a record. Maybe just by the way Lemmy dressed/groomed and with his haggard swagger I assumed his style was funky (the stinky kind of funky) boomer rock, or whatever. Somewhere between Black Sabbath and Deep Purple. Guess how wrong I was. His image really threw me off. This record immediately struck me as road-rash, blistering buttocks punk. It reminds me more of The Cult, or maybe now I should say, The Cult reminds me of Motörhead. Great live show, and I can imagine the paradox or skin-heads wearing cowboy hats in the mosh pit.

I came in completely cold on this one, no context or memory of hearing of this record before. Imagine my perplexitude as I waded into the first few minutes wondering if the sparse, detached yet rambling narrative was just setting up a cacophonous contrast, like the dissonance of an orchestra tuning and getting the jitters out, before settling into a congruous framework. In advance I envisioned this would be kind of an edgy indie act, somewhere between Cake and Nirvana, and prepared my ears for a downtempo, awkward setup, then some solid verse-chorus-verses. Instead the awkwardness stretched on with no end, a loquacious stream-of-consciousness, and meandering moody jamming, more like the no man's land between Underworld and Tool. I was intrigued as to whether there would ever be a coherent lyrical or melodic structure, but to the end I was kept in suspense. After listening again a couple of times it makes for great meditation and letting my own imagination wander. Now I realize this record is from over 30 years ago and there was not much of a follow up. Even perplexinger.

No context except for triggering traumatic kid memories from hearing "Hello, It's Me" on the radio too much, the rest of the record came across as soothing yet cloying, like Pepto Bismol. I fast forwarded on many of the tracks to keep the aggravating nausea down. Vacuous yet soggy in a Margaritaville flow. This is what Ned Flanders would deem as heavy hardcore. I just didn't connect, except for getting pissed off. However, a little nudge upwards for the "Sounds of the Studio" game and the skits/banter, and "Slut" which would fit right in with the Rocky Horror soundtrack. Once I looked up the wiki I realized TR's list of lifetime highlights is a mile long; he's an influential musician, a progressive, tech-savvy innovator, and has lived a colorful life. Admire the artist, loathe the art.

I get it, Amy Winehouse was immensely admired as a hero for bad girls who stand up strong. The image her legacy projects now is a tragically damaged woman who was just on the verge of really breaking out to stardom but who, consistent with her character, joined The 27 Club. Listening to this record I don’t hear an empowering message or even any remarkable talent to warrant such acclaim. I just hear brash swagger and the embodiment of Marilyn Monroe’s “if you can't handle me at my worst” quote. No one should feel obligated to put up with bad behavior or meager artistry, much less hold it in such high esteem. Clearly I’m the wrong demographic for this record and I’m not in a situation in this world where I would look up to her. Somehow I’m a big fan of Esthero, a fundamentally “similar” artist, but there is some inflection point between the two. In any case, a chronic gripe I have with this list, “Frank” is not the best from Amy Winehouse to promote as essential in place of “Back to Black.” Deeper in the crate does not equate with more essential.

My timing may have been off since this queued up for me weeks after Christmas Day, so I was not in a festive frame of mind. But trying this out off-season I get it there's the corny Christmas songs, Phil Spector style, and a record that might be a big hit at a party next December.

I was around at the time in the 70s, though not yet very well aware of music beyond ABBA. I'm sure I heard about Willie Nelson not long later, but just as a scruffy outlaw country crooner and eventually as an enduring pothead legend. This record has caused me to question and adjust my concept of the cosmos a little. Released in 1978, his 22nd studio album, covers of his 10 most beloved pop standards, and rendered unexpectedly tender and sublime. It went hard against him image and made waves at the time; even now decades later I'm added to the list of those bewildered.

Not normally my bag. For certain I know this record from the inescapable radio and MTV rotation, and probably Beavis & Butthead. One is welcome to adore acid distressed vocals and bleach-blond jeans without apology.

What an impact this made on me as an innocent teenager! REM came to me from another planet where I started to think about Jingoism and Realpolitik. Plus the prevalent dark southern funky groove. I was also mesmerized by the winding, braiding lyrical loops... "They've gathered up the cages, the cages and courageous, The followers of chaos out of control." "Throw the walls into the fireplace." "...point to point. Point observation, children carry reservations" .. and so on. Not sure what the scientific designation might be. But I'm sure Scott & Scott on “R U Talkin’ R.E.M. RE: ME?" ripped into that topic at some point in-between recursive episode bits.

Wow. I already knew this record, along with the super catchy '80s'. This time listening again I could really appreciate the vocals. I have never heard such grandiose aesthetic rock histrionics before, opening sonic dimensions. Oh yeah, and the guitar and rhythms are kick ass, as well. Nevermind chicken little panic about asteroids, but Dave Grohl was on drums, so come as you are.

45 years late on this one; yet another revelation to me. I wish I knew more cool kids who could have made a mention. Listening to this for the first time, going in cold, literally, I didn't know if this was Cyndi Lauper's pre-Cyndi Lauper band, Kathleen Hanna's pre-Bikini Kill band, or even early Romeo Void. Who knew there was an early new-wave/punk, with saxophone, full throttle ironic siren that pre-dated all of that. Can anyone just give me a list of bands and records that I really should encounter before my end of days to catch me up on all I missed? You're saying there is a list of hundreds of such records right here? Very well then.

It's a good sign that the music is genuine when the singer can't sing very well. But the content comes with a wry smile and subtlely smooth studio engineering. I'm not sure if I heard these guys before, but it seemed familiar. I had fun and I'll probably circle back again.

I hadn't checked this out before but now it's clearly reminiscent of Public Enemy with a stern and somewhat cynical rebuke to the ills of society. I have to admit that the issues from the early 90's seem quaint, as in nothing has changed since then except for getting worse. The beats/samples and the figurative orator's podium pounding really draw in your attention. It differentiates from PE in that there is no jester like Flavor Flav for levity, so it does feel like an extended lecture by the school principal, or a 'scared straight' counselor.

I've always known about Elvis Costello but never listened to his records. I remember he was prominent on the scene in the 70's-80's as kind of a new wave MTV staple, but my rock music molecular receptors just didn't bond. Actually, in the wikipedia article I see one of the tags for his style is "pub rock," which does make sense to me. That reminds me of hooligan punk, like The Pogues. I did have some fun with the album and there was one track I was glad to hear - Pump It Up. The guitar whirled around in my brain but I had no idea where it came from. Pretenders, J. Guiles Band? Ignoramus, oh well.

First encounter with this record but I was already hooked on Seeds from a bit later. Already with Dear Science I get exactly the same energy and precise engineering. Reminiscent of the clinical rhythm of Radiohead In Rainbows and the open jubilation of Arcade Fire The Suburbs. I don't know what it is about TV that is so engaging - not that you can even try to sing along - but the composition and studio work are so tight you can't help but get wound up.

Indeed, it's actually a collection of grisly, horrific, profane serenades like a vindictive villain. I get it, Nick Cave has a deep catalog of starkly vile dirges to back him up. That's all.

I admit I have my own shameful, less-than-stellar background playing trumpet in high school band - jazz/wind/orchestra/cumbia. I simply set down my instrument and walked away from it one day in the middle of college and acknowledged I would never have the drive or talent to gain respectable skill, nor did the world need any more half-assed, schmalzy brass bands. Listening to this record triggered me to remember those days - to feel that same horrible embarrassment that one encounters lying awake, in the dark, in bed, late at night, recalling one’s foibles. On the other hand, hearing this helped me clearly sense, with retrospect, that it was a good move for me. Although the players are pretty good and, for the time, the arrangements must have been pretty exhilarating… I found it more nerve-grating than anything, especially with the soprano sax.

I get it, The Stones are considered one of the greatest rock bands in history. Listening to this record though I considered that if I was in the mood for blues rock I'd rather go for Led Zeppelin or White Stripes, or whatever. The one thing that puts me off is that I can't stand Mick Jagger's vocals, at least on this record.

True to the mission of this project I am glad this record came up on my list. Although this may already belong to my own personal canon of soul-defining albums thankfully this might have been a backup contingency plan. This made an enormous impact on me decades ago. There was nothing else like it, the world was different after I first heard the Cocteau Twins, and still nothing else compares. This record felt like it was an opening and a big break into a wider audience. It also felt like further slipping from an ideal after Treasure that diluted down the drain awash with new age pathos and intelligible lyrics instead of a cosmic brain transplantation. I only wish I could find a giant poster again of the album cover to pin up on my wall as I improvise the lyrics to Pitch The Baby.

Let's be honest. When I first heard of Human League... way, way back when, on Solid Gold with Dionne Warwick, I didn't know any better than to think it was DEVO. Reflect and consider. Am I wrong? Are we not men? We are De-Vo. I also never went back and listened to an actual Human League record since then, but they were undeniably part of 80's synth and beyond. I only really magnetized back to them thanks to George Michael kind of (really) ripping them off with Shoot The Dog. But he really gave respect (I hope that gets through) except for the political disrespect. Tony's lonely wife. Whatever errant directions they might have tried later this record is imaginative, regardless of whether 80's synth pop is now considered cringe. But this is Phil talking... I wanta tell you, what I've found to be truuue...!

Apart from Lovefool The Cardigans were just a one hit lounge wonder, right? Bubblegum 90's. Sweden!! (ABBA). Trainwreckords on YouTube suggested their image is misleading and that their extended repertoire is much more subversive. Black Letter Day? Rise and Shine? Black Sabbath - Iron Man? Calling ahead to Sing Sing - Feels Like Summer? "Hooks for days!" "Seductive codependence" (trademark Todd in the Shadows). Trying to keep this short. First half of the record meandering, cloying. Schmaltzy instrumentals. Distracting sprite vocals. I think of bands like Depeche Mode and Muse where the vocals get in the way... Juliana Hatfield chain smoking wishing she could rough up her voice. The "failed follow up" next record "My Favourite Game" sounds like garbage.. The band Garbage - "It kicks a lotta ass!" ... but onwards and darkards - the Anti-Lovefool. Did they deserve better? "Hell Yeah" - Todd(tm).

Imagine the faculty of a college music department congregating for a Summer BBQ party. After setting up the grills and cracking open a few cold ones a musician emeritus slides a fiddle case across their lap and quizzes the rest of the revelers, "Who wants to back me up with a little jam session?" This recording is quite an free thinking ensemble of instruments and styles that might rarely combine, like chamber orchestra, choral voice and classic rock rhythm section. The fusion ends up being specifically none of the above, but it works well. Harpsichord, ukulele and electric bass together? Why not. There really ought to be more than just orchestra, wind, jazz and acapella for imaginative students and faculty to play around with convention.

Really nice. Expressive and emotive with soulful feminine drive. Lots of baby-making musics. I recall some reference to Miss Armatrading from the 80's but not the context from before. This record is certainly not dated to the mid 70's and stands as a cool human connection to whenever.

Without digging into any background I just perceive that Little Simz is leaning hard on some combination of artistic/cultural appropriation and is dialing down her style and personality to a joyless and acrid persona. A female British/Jamaican Eminem. Rather than wanting to ease into the grooves I feel embarrassed like I’m listening to (a very talented) someone having a (groovy) public meltdown, or a friend whose welcome has worn out from being such a (lyrical) mood vampire. Regardless, this record can be really cool sometimes; it is produced a degree more elegantly than the nature of the vocal performer. Not just droning hip hop loops, but a soulful habitat. I wanted to like this better but the superfluously venomous ranting is distracting.

I first got to know and intrigued with David Bowie in the early 80s. "Let's Dance" and "Tonight" hooked me. It is not lost on me that this was far into his parade of paradigms and personas. In retrospect I can also appreciate that I got to know him slipping into a bit of indulgence and self-parody, especially with "Never Let Me Down." Later I became seriously committed with "Outside" and "Heathen" and of course I get it he's gone through countless reinvention ups and downs. Anyway, it wasn't until later that I started to wander backwards through his catalog and got to know and appreciate "Low." I acknowledged it was phenomenal but didn't connect so well. In essence it seems disjointed as if it were two separate EPs, one funky romp from Bowie and one cosmic ambient trip from Eno. The contrast is jarring and a bit of a bait and switch with the first half being so infectious and then being hijacked by Eno, overreaching beyond collaborative production. So I would give the first half a 4 and the rest somewhere under a 3.

Out of context, since I didn't know about this band before, "I Should Coco" is ok. It doesn't fall clearly into any categories such as punk, new wave, emo, or some kind of "post-" descriptive prefix. I couldn't even tell exactly what time frame it was from, just that it's energetic, frenetic, sneery, glamy, brash, and juvenile - dictionary definition of a rock band. It can be a good thing to evade a clear context, but in this case it's more like being inert and innocuous.

I get it, she's Swedish and was a power figure in the British urban scene. Somehow she was a major influencer in the industry and opened the doors for the Wild Bunch, which led to Massive Attack / Tricky / Goldfrapp. I remember this record from the 80's and I couldn't get into it, and decades later it hasn't aged well either. I can't discern anything innovative, compelling or talented, other than the deft DJ and studio engineering chops. However, though it may not count to the score of this record, I'm still wrecked by "Move With Me" which was featured in Wim Wenders' "Until the End of the World."

Gangsta rap rhapsody, a hip hop opera. This plays out life and death drama with compelling and earnest gravitas. Also this is in an era before mumbling lazy, inane lyrics and auto-tuned melodies. I don't know how to judge his short, harsh personal life, but this record captured some of the maelstrom of his demons.

For me it's a plus when I hear something new and I can't tell where or when it came from. Admittedly as I heard the first few minutes of this I buckled in for an hour of cold hard angry hip hop berating universal injustice. There was a rapid paradigm shift when I realized there was extensive riffing on Blade Runner and Buckaroo Banzai. Like wow, am I finally in a sector of a niche target demographic for something? I will need to circle back to listen closely for more nerd deep dives. "To the Moon's Contractor" is an extended cosmic trip that calls me back to the title screen theme for "Phantasy Star Online" on the Dreamcast. Avant-garde, liberated from all conventions, and ready to go to Planet 10.

14 songs in 32 minutes with a checklist of bad behaviors and a frantic drive to wreck the stage. I'm not sure how to gauge the context for the Dead Kennedys, but it's not scary, dour, or even serious. It's more cheeky and farcical than rebellious or preachy. 'Viva Las Vegas' impersonating Elvis sets a campy exclamation point to the list.

I'm sure I spend too much time wallowing in angsty and gloomy playlists but here's some straightforward unironically joyfully twangy country/rock. It's hard to pin down the sound since they are so meandering and guileless, happy and fun. It's like a G-rated Pavement produced by Daniel Lanois. Nine Inch Nails they are not, which would explain why this band is new to me. I resisted tapping my feet and cracking a smile, but the gleeful steel guitar and jangly banjo won me over.

I get the impression that The Specials and two-tone ska in general reflected a regretfully limited social movement to be easygoing, inclusive and optimistic about life in general and about race relations in Britain in the 80's in particular. This record portrays a possible world where you and I can get along alright and have a some fun along with a tinge of rock-reggae and horns.

I recall Happy Mondays on the radio, driving around town in a region far, far removed from the UK House scene. The trippy beats and sloppy (clearly under the influence) vocals were eminently catchy, but a nagging issue vexed me, drove me to search my soul to contemplate a conundrum: Is this band genius or garbage. Having had much more time to listen to and learn about the band (dramatized in 24 Hour Party People, for example) I think they're still catchy but rubbish. They vividly illustrate the experience or getting wasted and partying in the most unflattering ways. I'd give this record a 2 if it weren't for the one track that still intrigues me with the sing-song phrase morphing - "God's Cop" - made it easy on me / rains disease all on me / got soul 2 soul / got slowly stoned... I still can't be sure whether that's inspired or just inebriated.

Remember I mentioned here that I first got into David Bowie with the Let's Dance and Tonight records. I didn't know so much about Iggy Pop until much later. Hearing Lust For Life had me boggling as to why half the songs from Tonight were just covers from Iggy Pop. It may be they were close comrades with no clear boundaries for collaboration versus plagiarization. It's also clear Bowie was part of the production of this record and some of it draws from the funky first half of Low. I can't go back and hear this record before I heard Tonight, so it's difficult to sort out the association and to have an unbiased impression.