Nothing new to see here. Others are describing this as an homage to post-punk, but it just comes across as crass plagiarism. The influences are dragged out with too heavy a hand, so it sounds like your local band fired up the drum machine and deciding to "do" Suicide, Eno-Talking Heads, The Cure, Bowie, Sparks, etc. The lyrics attempt pithy with and clever observations but fall apart with bland aa-bb rhyming and obviousness. As with the LCD debut with the Talking Heads/ Being Boiled mashup of "Losing My Edge" a dozen years earlier, it just seems that Murphy must rely on borrowing another's voice instead of finding his own. 2 stars for the fleeting entertainment of playing "who am I this time"

Lifeless and soulless, no clever turns of phrase or creative arrangements. Any band or local songwriter would have left this collection unrecorded. No business being on the list. And obligatory slap from beyond the grave from Sylvia Plath for taking her name in vain on such a dull song.

Simply incredible in all its drug-fueled excess. Sure, it drags around the middle of side 1 with Changes and FX, but kicks back with Supernaut and never lets go.

Effectively bouncing between styles and moods, this is a great album that stands among U2's best.

Great album - caught me by surprise. Has a timeless quality, many of the tracks harken back to roots in the 50s or 60s. Definitely a keeper!

Great stand-out moments. Not as consistently enjoyable as Tumbleweed Connection, but the singles stand strong. A solid part of the collection during Elton John's brilliant string of early 70's albums.

Heavy-rotation on college radio show, and with good reason. Was essential listening for me that year, but it has been ages since I've had it on start-to-finish. Holds up with amazing energy! Excellent production by Steve Albini, restraining the madness at times and then letting it all loose.

Quietly intense and beautiful.

Two pixies albums in 3 days, hmmm. Heavy surf-rock vibe. More of a pop sensibility, but still with some of raucous energy of Surfer Rosa. Doesn't hit the high points as strongly as Doolittle.

A classic!

Bringing the shades of Ramones and Velvets into the 21st century.

Deep and intimate. By turns breathy and dreamy then suddenly out-front and powerful, you hang on every note for an irresistable listen.

Absolute classic!

How have I never heard this album? Unique sonic collages within the language of hip-hip. Stands alongside Massive Attack!

One of the staples of my early-80's listening. The hits punctuated every party and dance, enjoyed by all as we shared Martin's sense of drama.

My favorite Davis work - challenging and diverse, moody with amazing breakdown moments.

Title track and Nasty are great. Rest of the album feels like filler.

Simply incredible in all its drug-fueled excess. Sure, it drags around the middle of side 1 with Changes and FX, but kicks back with Supernaut and never lets go.

A great album for chill, delightful to hear them channeling their inner Serge Gainsbourg.

Incredible theme song, there's no denying. Most of the rest of the score instrumentals lack the theme's punch and pizzazz. We finally wake up the pulse again with "No Name Bar" and "Do Your Thing" (supremely smooth but honestly long and repetitive at over 19 minutes). Curtis Mayfield did it better with "Superfly".

Effectively bouncing between styles and moods, this is a great album that stands among U2's best.

Other than the brilliant title track, I found that the 3rd of the Berlin trilogy doesn't have the same punch as Low and Lodger. Similar mix of pop singles and ambient pieces.

I feel like I must be missing something. The production seems as over-the-top and campy as on his earlier records, and not nearly as arresting as his other contemporary singers were doing.

Sheer brilliance from start to finish. It remains amazing to me how fresh the album sounds after 50 years (ask me again in another 50 years and I expect to say the same thing). Biting, humorous, and satirical, with a wondrous sense of experimentation in sound and composition. If this 1001 list were put in order, I'd easily put this record in the top 10.

This is by no means a bad album, and Season of the Witch is solid, but it doesn't grab and hold your atttention like so many of the other greats of 1966 did. Donovan always strikes me as a chameleon, not an innovator: the guy in the 60's who was doing what everyone else was doing, but less well. The 'Airplane cover just makes you want to put on Surrealistic Pillow or Baxter's, and even Season of the Witch puts you in the mood for Them or Van Morrison.

Pleasant Street was a stand-out track, along with Morning Glory (which I knew from 1980's This Mortal Coil cover). Of the several Tim Buckley records on the list, this one seems most cohesive.

Great album - caught me by surprise. Has a timeless quality, many of the tracks harken back to roots in the 50s or 60s. Definitely a keeper!

Decent album, but I found its interest fading after each listen.

Can we give more than 5 stars? It's been quite some time since I listened to this album start-to-finish, and it transported me back to the excitement of the first time. Amazing record!!

The top singles were huge, but even so they don't convey how huge this album was on release. The first 6 tracks got regular radio airplay and Ms. Lauper was all over MTV. A number of the tracks are inescapably stuck in the 80's (like the cover of "When You Were Mine") but the record seriously stands the test of time (after time . . .)

I'm really surprised to see this one made the list. Tom Waits has long been one of my favorites, and I do appreciate his early material even though I don't love it as much as his albums from the 1980's and early 1990's. But Nighthawks at the Diner falls in a bit of a no-man's-land among his catalog. Clearly exploring new directions, but the material is emotionally detached in tone - none of the warmth of "Martha" or "Rosie". He hasn't become the chameleon that emerged on Small Change. The intro sections are amusing but feel they come from a different artist, and on the whole the songs feel kind of one-note (almost like someone heard "Step Right Up" and wanted it to be the basis for a whole album). It lacks the depth of heart and the variety of tone that make subsequent albums (event those as uneven as Heartattack and Vine) so compelling and worthy of repeated listens.

I recall this album sounding revolutionary on its release, a very different take on the sound of a singer-songwriter. It got heavy airplay on my radio show, with standout tracks like Small Blue Thing, Undertow, Knight Moves, and the single Marlene on the Wall. This debut still stands atop her catalog, in my opinion. That said, I think the emotional distance of the storytelling dims some of its appeal over the years. Solid tracks, but no longer one which stands up to full listens.

I find something new in every listen. A brilliant and truly timeless album. Easily top-10 of the entire list.

Fantastic record start to finish. Solid tracks like Cinnamon Girl, Cowgirl, and River with lots of airplay, and don't sleep on the groovy title track. Obligatory diss to JR for his bs that has Neil pulling his music from Spotify . . .

Great guitar but it feels he’s still trying to find wings as a songwriter. Blues motifs are strong but album feels uneven compared to contemporaries.

This didn't make a huge splash in the US, but it was a vital piece of 1980's college radio. It's among the best Side A to be found, with solid tracks back-to-back. This re-listen gave me a reason to revisit why I never "flip over the record", and was reminded that the second side is considerably less consistent. However, the rush of Faron, Bonny, Appetite, When Love Breaks Down, and Goodbye Lucille #1 more than justifies a solid rating. I'd give it 9 our of ten, but will round up for sheer nostalgia value and Thomas Dolby's production.

Absolutely classic!

Quietly beautiful. The more I learn about the experimentation behind its creation, the more amazing it becomes.

A great sign of things to come for Dolly Parton. Most of the songs felt more like sketches, presenting a lyrical idea of situation but leaving me waiting for more on the theme. And perhaps it's the sound of country twang: it feels from an older age than 1971 (unlike many other albums of the same year like Tapestry or Blue).

A very pleasant listen, fades easily into the background but also impresses with nice riffs. Surprised to see the roots of this kind of "world new age" on a record from the late '60s.

Amazing energy as a guitarist and performer. The demonstration he needed to show the strength of the songs in longer and less inhibited format.

This album most successfully showcased Tracy Thorn's rich vocals in moody yet engaging tracks. One of the defining albums of 90's British electronica.

An enjoyable listen, but rather one-note in its tone, sound, themes, and production. Reminds me of the result if an artist listened to Tori Amos and decided to make an entire album based on the slow songs from "Boys for Pele".

For all the reviewers' lofty talk of the album's themes and strengths, this album is underwhelming for any group, especially for a return of the E Street Band. The opener Lonesome Day would have been a strong opener for a band with lesser expectations; other than the intriguing Worlds Apart few other tracks really stood out or made an impression. With weak lyrics and repetitive and predictable song structures, the album struck me as a collection of filler from Seeger or Mellencamp sessions. Springsteen deservedly has at least a half-dozen entries on this 1001 list - The Rising should not be among them.

Unworthy of the list. The single "babylon" belongs in the Hall of OK songs. The rest of the album sounds like something from down the road's open-mike night: overly long songs, bland lyrics, uninspired melodies, average voice. I can forgive an inoffensive and unremarkable album, just don't put it on the list and have us listen to its entirety. Special place in hell for its producer. About half of the tracks included forward-mixed additions well out of place. Most notable in opening track and Babylon, with terrible clicky drum track.

Indistinct and forgettable, a step down from Moon Safari. The final track using the film dialogue was distracting, dimming the album's appeal as even ambient listening. Unclear why this would be on the list.

Huge when it came out, the staple of everyone's college party deep listening in 1988. It sounds a lot less unique today, in the wake of the singer-songwriter revival that was to come. Several of the songs (especially "Baby Can I Hold You?") I'd forgotten were Tracy Chapman and not Joan Armatrading. "Fast Car" hit hard on release but has strained under a million repeats. Most incisive track to me remains "Behind the Wall".

Many songs dragged too long. Solid singles, but it felt that 2/3 of the album was filler.

Solid album start to finish. I'd forgotten how strong side A was - just about all of it it got decent airplay when this was released. Side B slows down some but finishes with the gem of a title track.

I used to have this album and gave it away in a pile of seldom-listened to CD's. Now I remember why. Utterly uninteresting and undistinguished, with nothing to separate it from hordes of other mid-90's offerings. If there are indeed only 1001 albums on this list, HMS Fable does not belong on it.

Dull and predictable. Too many songs start off slow and moody but go right back to the same radio-ready anthem beat. Production was childish - everyone's drums in 1989 sounded less fake. Despite the supposed influence of synth-pop, the album just goes through the motions, lacking the heart of that genre. Gonna go put on some Soft Cell, Yazoo, and Erasure to get this noise out of my ears.

Gotta give it 5 stars for the sellar long tracks. But I’d forgotten just how much unfinished filler was on this record.

Blondie - it's 11:59 and I'm running out of time. Among the greatest capture of the CBGB energy, grabbing early 60's rock'n'roll energy and giving it the punk treatment. Phenomenal!

I don't get it. Strong bass lines and decent hooks - good. But punctuated by inexplicable breaks for stoned muttering bad drunken brother-in-law musings posing as deep thoughts - bad.

The daring work of expert musicians. I admire just how difficult this record must have been to write and record. So I admire Trout Mask Replica and it was fun in a quirky mayhem sort of way for a few songs. But once again I have had difficult making it all the way through the album - started to feel like a chore. It does bring a new appreciation for how Tom Waits and others inspired by the record have been able to capture its wit and spirit and tone down the sense of assault. File this one away with Throbbing Gristle "Second Annual Report": very glad it was made, respect the hell out of the musicians, but for the sake of my sanity it will not often see my (figurative) turntable.

Nothing new to see here. Others are describing this as an homage to post-punk, but it just comes across as crass plagiarism. The influences are dragged out with too heavy a hand, so it sounds like your local band fired up the drum machine and deciding to "do" Suicide, Eno-Talking Heads, The Cure, Bowie, Sparks, etc. The lyrics attempt pithy with and clever observations but fall apart with bland aa-bb rhyming and obviousness. As with the LCD debut with the Talking Heads/ Being Boiled mashup of "Losing My Edge" a dozen years earlier, it just seems that Murphy must rely on borrowing another's voice instead of finding his own. 2 stars for the fleeting entertainment of playing "who am I this time"

Beautiful arrangements by Nelson Riddle, and Ella's vice is superb. However, an abridged version is recommended for listeners of this 1001 exercise - after the second hour I was seriously thinking of what else I could be listening to.

Love love love Judas Priest but remember this as never being my favorite. Several strong rocking tracks but punctuated by United, RWB, and some others that just got feeling same-y. Really hoping to see Sad Wings of Destiny / Screaming for Vengeance make the list . . . 7/10, will round up just for the strength of Halford's voice.

Everyone should know Cocteau Twins! So thrilled to see them on the list, however this album was a disappointment by comparison. Their 1980's releases were otherworldly, carrying us away to dreamy heights on Elizabeth Fraser's angelic voice. The needle comes down on the first track of Vegas to a "Twins lite" - still unmistakably her unique voice but tethering the sound to earth. Vocal and guitar arrangements are less complex and interesting here than on previous albums and EPs, I suppose in the interest of broadening their appeal - this received greater attention on American radio. To me, only Iceblink Luck retains lasting appeal, as it follows in the bright vein of (then) recent tracks like Caroline's Fingers or Orange Appled. Other tracks have a tendency to fade into the background, struggling to capture our imagination. 4 stars for being a decent album, but treat yourself to their earlier catalogue for a truer sense of this band's influence on dreampop.

Yes I said yes I will yes! Some solid tracks, especially the brilliant closer "This Woman's Work", but uneven compared to her stunning previous album Hounds of Love.

This is a tough one. The album includes three of the best songs of the 1970's in Roundabout, Long Distance, and Heart of the Sunrise. However, the album's other tracks don't do a good job of propelling the momentum. 4.5 stars, rounding up on the strength of the main tracks, but still falls a narrow second to Close to the Edge.

With an obligatory shout-out to the Yokohama Rubber Company, I will admit that Steely Dan is a band that I admire more than I enjoy. For me, a little goes a long way, perhaps driven by the overplay of so many of their tracks on a lot of the playlists where I've been delving recently. So a number of the less-familiar songs tended to fade into the background while I was trying to listen, and made it harder to judge each on their own merit. So I made myself give it a second, more active re-listen. Each song is crafted expertly, wonderful production and brilliant musicianship. Maybe that's why it's so exhausting - they stand tall among any of their peers in yacht rock, but the peaks are harder to see against the other peaks of this album (I expect to find the same thing on Aja when I come to it). This is another album which makes me with this exercise ranked on a scale of 1-10 rather than 1-5, since I'd love to give it 9 stars. It's a great album, but it rarely excited me - its sense of cool leaves me a little cold.

I think the self-aggrandizement sabotaged folks' perception of what was a solid debut. Decent album, got a lot of airplay on college radio stations on release. Never noticed how much the refrain to Dance Little Sister sounds just like (Heaven 17) Penthouse and Pavement.

Somewhere among this sprawling double-album was a more coherent and concise collection. Not bad, just too much of the same.

Naw, screw that. A 3-star album on release, and later taken off the 1001 list?!? Not even gonna dignify that with a listen - give me something else from The Fall, it might surprise me. I got enough of Fred Durst's bulllshit in the 90's.

Opens with one of the greatest tracks of all time - not greatest Stones tracks, but songs by anyone. And finishes solid with the drawn-out Cant Always Get. However, it surprised me that I didn't recall the tracks in between as being so uneven. Probably just used to skipping Live With Me and You Got the Silver. 9-star album, but this time I gotta round down to stand Sticky Fingers at 5 stars.

Lifeless and soulless, no clever turns of phrase or creative arrangements. Any band or local songwriter would have left this collection unrecorded. No business being on the list. And obligatory slap from beyond the grave from Sylvia Plath for taking her name in vain on such a dull song.

Seeing the album come up on my list, I was surprised to find an offering that I'd never heard of before. The first track was god musically, but I was surprised by the casual vocals and vague story. And that was about as good as the record got. Each track seemed like Grant roughed out his lyrics as he wrote, but never got any further. Like Ryan Adams' Gold the other day, I couldn't believe this made the list. Attempts at wit fell flat or were just puerile - not everyone can be Sparks. In the end I'm glad to have heard the album - often, we musicians overthink our writing and self-edit because it's not good enough. Apparently, some artists can just wing it and have their albums recommended as "must listen". I don't know anything about the rest of Grant's catalogue, but I'll pass.

This was one of my first albums, and first Hendrix record. Haven't listened in its entirety in decades, but amazing how so much comes back. Love Hendrix, and the album has amazing tracks like Little Wing, If 6 was 9, and Castles Made of Sand - but like Electric Ladyland it does feel a bit uneven. And strange choices for order (strange to start with the very odd EXP) and inclusion (She's So Fine). But when it shines it shines. 9 stars, rounded down.

I tried, I really tried. I am a huge fan of prog rock but ELP has always left me a little cold. And while this is obviously a technically strong performance it leaves me cold. Guess you had to be there . . .

Good message, but there was a surprising sense of sameness to it. More important, that sameness was one of mood, an almost lifelessness which betrayed the supposed passion for pride in her black identity. Held my interest for a couple of tracks, but I kept waiting for more, for it to go somewhere unique, challenging, ins[piring. For me, that didn't come.

Decent groove, but ultimately immemorable - this album has no business being on this list. Yet another mid-90's entry of dance-floor stuff, lost amid artists doing it way better (Massive attack, Trans Global Underground, Moodswings, etc.) The author's bias towards the 90's is beginning to wear.

Notable for opening with one of the most pernicious earworms in music history. No business being on the list.

Mine is the last voice you will ever hear. Yes, FTFH were huge when I was in college. The singles were ubiquitous. Yet somehow the debut album was a real letdown, very much less than the sum of its parts. The cover choices defied understanding, and the material stretched too long. Would’ve made a fine single album.

Really glad I listened to this, a charming romp through Americana and bluegrass. However, it felt long for my tastes, and found myself wondering if the tracks were on repeat. Some solid songs, and ones I'll enjoy learning to play.

Love the Pet Shop Boys, but there is an unfortunate sameness to the tracks on this record. Go West was a strong finisher, but by then I'd gotten a little numb to the beat. I think the issue is my listening environment - I am not at a rave or a club, this album's natural habitat. For that I'll grade on a curve . . .

A lot of bands are an acquired taste, and can take a lot of listening before you really get them. And sometimes even needing to reacquaint yourself in between albums. With The Fall, I often find myself needing to require my taste in between songs. This Nation’s Saving Grace is an exception; it caught my attention when it came out when I was in college, and quickly became one of my favorite records of the year. Yes, it is wildly uneven in its tracks for such a long record. But the highs more than make up for it! And many decades later, I still dive in, joining Mark E Smith in the weirdness.

Nepotism on the list. Unfortunately, while Ms. Gilberto benefited from her father's connections, it does not translate to a memorable album. With a weak voice and uninteresting lyrics (for the English ones, others who speak Portuguese can judge on the others). This album is remarkable only in that she has made a lifeless samba record. Not even silky enough to be good background music.

I wanted to like this album, but at every turn it found ways to disappoint. The folky strangeness brought to mind Tom Waits or other quirky Americana, but Ackles' awkward phrasing and clunky lyrics got in the way. Think Tom Waits without the sense of humor, or Leonard Cohen without the pathos - and all sung by a Neil Diamond cover band. I am glad I had a chance to hear the album - it is ambitious, and offers a lot to consider for a songwriter's list of "don't do". But knowing that another album lost a spot to it, it's hard to say it belongs on the list.

The hits have definitely stood the test of time. The other tracks . . . not so much. Fairly lifeless treatment of covers like Do You Wanna Dance and Spanish Harlem. The other originals felt stuck in their era. I found myself wondering when Mama Cass was going to take a deserving spot at center stage, and was disappointed by more and more songs with John and Denny out in front.

Warning - under no circumstances should you listen to this album while driving. Normally I appreciate a good aural assault. But this album is like taking Negativland or John Zorn’s experimental music and stripping its humor and context.

I have tried over and over again to be interested in albums by this group, and never succeeded. Not terrible, just not for me. Perhaps too clever for his own good?

I eagerly bought this album when it was released, awestruck by the songwriting power on PJ Harvey's debut "Dry". Absolutely floored by the raw emotion on the title track, the intensity rarely lets up - it is a very difficult listening album. Coming at a dark period of my life, it must have been just what I was looking for, as I recall it being on heavy rotation on my CD player for a couple of weeks. I even got the companion disc of the 4-track demo versions - also good for an evening of catharsis. Music to burn a hole in your soul, for when you need it. Highly recommended!

With overwhelming evidence, it seems clear that the author of this list is a male born in the early-to-mid 70's, putting his formative musical years squarely in the 1990's. I can think of no other reason for the overrepresentation of 90's techno/ club/ dance records. I understand finding room for Dee-Lite and Ray of Light and some others but he needs to cool it. Especially when it comes to this steaming pile by Basement Jaxx. Dull beats, unimaginative and heavy-handed use of auto-tune lyrics. Nothing we haven't heard before 1000 times. No need at all to hear it, no need for it to be on the list. Zero stars, if it were possible.

This one was kind of tough to grade. I bought this album when it was released, on an adventure pick. Some great tunes, and I gave it plenty of airplay on college radio. I think that Lloyd Cole and the Commotions are one of those great “lost to time” bands: Pretty well known amongst the indie set in the 80s, but still drawing a quizzical glance from most listeners. Definitely a group people should be exposed to, and still very fun to see when he tours. But still not sure if it’s 1001-best material. Was frankly surprised when it popped up for today, it’s been decades since I’ve listened to it through. Strong opener and title track, and a catchy lyric wit behind an affected American put-on twang. Forest Fire and Hearbroken are excellent additional tracks. Too many tracks, though, feel like unfinished sketches: speedboat, 2CV, patience, 4 flights up. Call it 3.5 stars, rounded up for nostalgia. And go check out a “best of” - still plenty of other great Lloyd Cole tunes but hard to recommend further full albums.

When the list contains a Paul Simon record of which I've never heard, it gives pause to wonder - so I dived right in and from the first track got a sense of the vanishing act that was Hearts and Bones. The voice is compelling, and there's the usual glib Paul Simon effortlessness to the lyrics. But to me it doesn't click. I prefer the extended album's acoustic version of the title track, as it highlights the simple beauty of the chords and the lightness of the songwriting. It would be a highlight of many writers' catalog, but feels meandering and weak among Paul Simon songs. Many of the tracks seem like sketches, or just iffy ideas that no-one in the studio had the nerve to question (Allergies, Cars). Knowing it was a pivot from the aborted S+G reunion, it strikes me that the pressure to just release something overwhelmed the urge to release something great. Underwhelming and uncompelling - with at least 4 other more deserving Paul Simon albums on this list I fail to understand what Hearts and Bones is doing among them . . .

Laughable, belongs on the list of 1001 albums that were released for no apparent reason.

Dull, dull, dull. No idea why this album finds its way onto the list. I suspect this is another instance of the author's personal listening bias, so often seen for albums of this time period.

No, really - another milquetoast offering from the early 90’s. Not a bad record, but the songs do run together and there’s not much to differentiate Lemonheads from a dozen other albums of the same ilk.

This was one of my favorite albums when it came out, completely flooring teenage me. Or should I say that side one floored me. I own this record, and honestly can’t remember the last time I listened to side 2. I think after the wild gems of Claire, 52 girls, Lobster, I was usually ready to listen to something else, and literally if ever got up to flip the album. Just as well, honestly: those tracks on the flipside are nowhere near as strong. Still, an absolute classic, and one which defined indie rock and early new wave. An easy five stars even on the strength of half an album!

Digging the groove, and this was a completely new one to me. A lot of the production felt like homemade 90’s - like if Happy Rhodes made a soul record.

Never my favorite of Cohen’s, the 80’s treatment doesn’t hold up so well. Would be a pinnacle for most artists, but just another entry from someone already well-represented on this list. 4 stars for great lyrics, but I would not have missed its absence from 1001 to make room.

Just a shell of her former glory, there’s an amazing raw emotion to Holiday’s singing on this. Unfortunately, the soupy strings bring it down for me - too intrusive and out of place. I wish there had been the ability to record with this clarity for her 1940s performances.

Part Pixies, Sonic Youth, and the Fall, and somehow much less than the sum of its parts. Imagine being in the studio thinking “sure those vocals sound awful - let’s keep them”. The three aforementioned bands are among my favorite, so I’m no stranger to riotous noise. But I’ve always felt out of the loop for Pavement.

I'd heard of Joanna Newsom and had high hopes. Imagine my surprise when the lush harp music was accompanied by what sounded like a drunken Bjork impression. The voice was distracting, with cadences ill-fitting to the rhythm of the words and music. Like she'd listened to Jane Siberry at her weirdest and said "hold my beer". I gave it two tries and I admire the album for being different and what she was trying to do, but can't say I enjoyed it.

I think this was an otherwise OK album that was dragged down by its production. The tempo of most tracks feels sluggish, and the heavy reverb on all of the instruments makes it sound like the album is playing in the next round. That really creates a challenge in feeling close to the otherwise personal. The generally vague air of the lyrics also doesn’t do it any favors (make “the woman” love me, not a name). Spotify is packaging the album with Streetheart, which only serves to emphasize the production shortcomings of this record.

Would've just rather listened to Dazzle Ships. Ambient/ electronica on parade, but no a groundbreaking album by any stretch of the imagination. By 1991, we'd heard everyone using samples and dialogue bits (hell, even Durutti Column). Nothing to hate hear, a decent album on its own - but not a lot to love. I think its another instance of the list creator's bias. Some other, more unique album gave up its spot for St E.

Utterly generic whiny-guy album of the 90’s. A genre that needs zero entries to this list.

1001 Alex a Hilton albums generator. Not as good as #1 Record, so not sure that all the Big Star albums needed to be on the list. Enough good songs to make it a keeper, though

Is this a joke? The production is the star of the record, and it gets old after a couple of songs - same boot drums, same fuzzy vocals. The album feels like someone wanted to parody a 60’s blues rock record, and left out the heart and soul. Forgettable rhythms, predictable lyrics. Pass.

Fuck no

Strong start - good throwback sound with touches of Gong. Quickly settled into another ho-hum British indie sound with daft lyrics.

As if the other Scott Walker album wasn't enough - but wait, there's more! He strikes me as the kind of artist that should be on the list so people unfamiliar with him can be exposed - then search out his catalogue on their own (and then leave the 2 Divine Comedy albums off entirely - we don't need the modern retread). That said, I found this slightly more enjoyable than Scott 4, passably clever songwriting and a good singing voice. But much like Ackles' "American Gothic", there's something uncannily off about the meters and rhythms of the songs - and not in a good Tom Waits-y way. Glad for the exposure to a unique figure in pop music, but the albums just aren't for me.

This is the kind of discovery I came here for! Like a Brazilian Beefheart or Zappa, utterly different sort of experience. Gets chaotic at times, and not one I'll be going back to very often. But 3 stars for quality and an extra star just for being so damn out there. Rating: 4 trout heads.

A great demonstration of where Dylan was going and what greatness was to come. Fantastic highs like Rolling Stone, Tom Thumb, and Desolation. there are a lot of Dylan albums on this list. I've always been a huge fan, and am inclined to agree, since they so often showcase a wildly different style. But have to be honest that they all can't get 5 stars. Sorry, Highway 61. Rating: 4 Tombstones

Each song reminded me of another, better song. Lots of derivative moments. Shining hour sounds pulled straight from The Waterboys Opening chord of Jupiter and Teardrop unashamedly borrowed from Moonage Daydream. And so on.

Like a twee pop band with occasional demonic possession by Sonic Youth. And not in a good way. Their inspirations and shout-outs seemed completely random (Butterfly McQueen?) and the cuts and insertions distracted from otherwise competent (if not overly memorable) songwriting. Is this on the list of 1001 Things Not to do in the Studio?

Huge Dylan fan, and I admit that not all of his recordings need to be on this list. However, this would have been a good replacement for Highway 61 because it shows the "going electric" more vividly than studio recordings. I love the solo acoustic half of the album, and prefer it over the full band - mostly owing to limitations of the recording tech (mike chirps and feedback). The harmonica is not for everyone, but adds an essential melancholy melodic note to Visions of Johanna and other songs. And to close it out, this is by far my favorite recording of Desolation Row - definitely the high point of the album.

Another instance of packing the list with too many albums from the same artist. Sure, AftP sold a lot of records, but REM's best albums were in the 80's. AftP lacked the energy and spark of earlier records, with a surprising number of lifeless, draggy "filler" tracks. It's not that its a bad album - most bands would be thrilled to have it in their catalog. But it doesn't hold a candle to Life's Rich Pageant, Reckoning, or Murmur. Any of REM's first 5 albums can be considered essential listening; their 90's output like AftP and Hi-Fi are okay for further exploration.

My love of Pink Floyd has always been for their 70's output. Happy to give another run at Piper, only to be reminded why it doesn't sit on my shelves. The album is ponderous and messy, almost playing like a spoof of the psychedelic rock genre that exploded that year. The sense of experimentation on Astronome, Interstellar, etc. is incoherent and draggy. Many of the songs sound like guys messing around and hoping that something cool happens while the tape rolls (not in and of itself a bad thing). Unlike a lot of other albums of this genre, I feel that Piper hasn't aqed well. It feels more like a oddity, a museum piece rather than something you'd reach for in repeated listenings.

The Dreaming was a bold and daring move by an hugely popular artist. Without easily accessible singles, it wasn't going to win her new fans that way, and the theatricality and delving into dark depths probably had a lot of her fans scratching their heads. Of all her albums, it's the one that most needs repeated listens to grow on you, to see the intricacy of craft and revel in the diversity of styles. Essential for those who appreciate Kate Bush, though probably a little out there for those first coming upon her. (This 1001 list should come with side-notes or disclaimers for albums like this. "Not for Introduction to This Artist" - with a link to Hounds of Love. Like having Scary Monsters as your first Bowie album. ) Not as coherent as Hounds of Love, the risk-taking and resultant highs are worth it, and this remains my second-favorite Kate Bush record. A solid 9/ 10, rounded up for the sheer jaunting joy that is "Suspended in Gaffa".

Now this is why I'm glad I'm doing this list - an album I truly needed to hear! I was unfamiliar with White Denim, and really wowed by fun grooves! Happy t have found it, and looking forward to further listens. That said, While many of the songs are great, with shifting rhythms and extended jams, I don't feel it holds together strongly as an album. A few slow songs don't hold up their weight lyrically or vocally.

The production was intriguing, but brought down by drab singing and dull lyrics. Definitely a case of style over substance. To me it came across as off-brand Radiohead. And not in a good way.