This is electronic music with a heart of gold. Happy instead of freaky, if you know what I mean. I had never listened to this album before but it's just my cup of tea. Clearly experimental but not past my ability to easily grok what they are trying to do and appreciate it. I also admire the commitment to the theme. Four stars for how much I like it and an extra star for being almost as old as I am. Talk about groundbreaking. Respect.

Of course I'm familiar with the hits from this album but I've never listened to it all the way through before. Very broadway musical, teen rock opera, tongue in cheek. The cover art captures the spirit perfectly. These songs are also very catchy, in addition to fun, so no wonder it spawned so many hits. I had no idea I would like this album as much as I did.

Opens with Cult of Personality which took me right back to the late 80's. I don't know when I last heard this song but all the grooves are still worn into my brain. The opening riff is worth a star all on its own. I'm not sure how much more I've heard before; I'm perfectly happy to explore further. The lyrics are somewhat hit or miss, though I definitely like the singer. The music has tons of hooks and I find enjoyable to listen to. The song Open Letter is familiar, though honestly a little hokey, but the music carries it. Funny Vibe and Which Way to America are somewhat better. Very fun Clash cover. I like Faith No More and Primus and etc and feel like this is right up my alley. I've told Spotify that I wouldn't mind hearing it again from time to time.

The soundtrack to my teenage years, but somehow I never actually had the album or listened to the album straight through before. I also apparently never really took a close look at the album cover art, which is stunning and spot on, showy and fun at first glance but also deeply melancholy, nostalgic, and even a touch hopeless. Turns out the picture was taken by Annie Leibovitz in Coney Island, which tracks. I've always liked the hits - Time after Time, Girls Just Want to Have Fun, Money Changes Everything and She Bop - especially back in the day. I do feel like Time after Time still stands up today; obviously 80's but simple and pretty enough to still be timeless. I'm sorry I had not previously heard When You Were Mine. Lauper's voice is clear and strong and emotive and perfectly suited to the bouncy but by turns subversive and sentimental songs. I don't love every single track, and even the good ones sound dated now, but there's no denying that all together this is a great album and a stunning debut.

Butter.

Sounds like the 60's at its best.

Assumed I wouldn't like it, and *really* didn't like the first couple songs. After that the album settles into kind of less catch Nirvana territory. Meh but not the absolute worst.

No idea what to expect. Pleasant enough. British. Reminds me of some other bands I don't like. Nice enough as background music but I'm confident none of it will stick in my head past the end of the album, although I did heart "one day like this".

I'm looking forward to listening to this album. I've always meant to listen to more Leonard Cohen. Great poetic lyrics but not catchy tunes. Wonderful soulful voice, so compelling to listen to. Requires attention when listening since the songs are very much stories. Would be nice for still quiet time like on an airplane. The other page says the album should be \"you want it darker\" and that album is much more interesting musically, but the same evocative lyrics full of pathos and perfectly honed turns of phrase.

A genre, rap, that I don't listen to very much, so I'm happy to have this album come up for me to listen to. First impression is straight forward rap from 2002. Some of the interstitial pieces, like Thought @ work, are an interesting noises or tapestries of sounds and voices. Some of the songs have a cool groove. There isn't tons of melody, it's all about the words and rhymes (with a couple exceptions, particularly songs with guest artists).

Who doesn't love some CCR? So American, though I assumed they were southern and reading now I see they are actually from San Francisco. Bluesy guitar, gritty vocals, catchy tunes, quotable lyrics, an irresistible groove. It is no surprise their songs became standards. This is their debut album and it comes out of the gate with "Born on the Bayou" establishing the iconic sound and mood right away. Also featuring Good Golly Miss Molly and Proud Mary, this album is indeed epic. And they published two more albums in 1969! Guess they were just bubbling over with ideas.

Looks very 60's but is actually early 90's. This is the debut album of an english club music group. Lovely vocals float over synth, sampled loops, drum machines, etc. Highly produced but nice enough as cool mood music. I imagine Don Draper's second wife, Megan, low energy dancing with a drink in her hand.

A 2000 hip hop album, mostly spoken word with techno synth keyboards and what sounds like a drum machine, plus other interesting futuristic sound effects/samples. Despite the album cover Mike Ladd is American and based in the Bronx. There is some mild nods to Japanese music riffs (verging on racist tbh) and in the lyrics. The overall mood is future dystopia, but with a beat you can dance too. Interesting and well made, but doesn't really speak to me personally, although I did like certain bits quite a lot. No. 1 St. in particular reminded me a bit of Cantaloop clever and bouncy.

This album quickly establishes the B-52's iconic sound with Planet Claire, and also has Rock Lobster. There is definitely some room for growth, though, as some of the tracks are a bit aimless. I think their work gets better from here.

Interesting choice of albums from Black Sabbath. Starts out slow and steady, sounding just like Black Sabbath with sinister guitar, straight ahead drums, and plenty of bass, plus Ozzie's somewhat nasal slightly otherworldy tone which is the perfect match to the music. The piano ballad "Changes" was a pretty surprise and Supernaut has some very catchy riffs. I very much like the best of Sabbath, and am fine with the rest. I'd call this album fine.

What an album to follow Black Sabbath as the next one to listen to. Starts out with Tutti Frutti which is pretty much the opposite of heavy metal. Full of energy and wooo! it is irresistible. Besides the attention demanding vocals he band is on point throughout. Notable is that all the songs are two or two and a half minutes long. Establish an interesting rhythm or melody or lyric, repeat it a couple times, solo break, reprise, done. Nothing on the album is trying too hard. It's just rock and roll. If these songs don't make you want to dance then you are dead inside. Long live the 50's!

Of course I'm familiar with the hits from this album but I've never listened to it all the way through before. Very broadway musical, teen rock opera, tongue in cheek. The cover art captures the spirit perfectly. These songs are also very catchy, in addition to fun, so no wonder it spawned so many hits. I had no idea I would like this album as much as I did.

Funky but also outright political. The horns are crisp and the variety in vocals (gender, race, etc) give a lot of texture an interest. When the melodies are catchy the music is brilliant. \"Everyday People\" is objectively great, showcasing all the aforementioned strengths of the band. Unfortunately, and I hate to say it, some of the other tracks are repetitive and boring. I can see all of the songs being great live or on a dance floor; this album isn't really meant for just sitting and listening to.

Yet another album from 1969. Although this was a transition album from Jones to Taylor, it just sounds like the Stones to me. Which is fine, of course Gimme Shelter, Country Honk, and You Can't Always Get What You Want, and to a lesser extent the eponymous Let It Bleed, are solid rock tunes and part of rock cannon. But none of the songs are a revelation. Honestly the whole album seems a little restrained, from the bpm point of view. Solid, certainly listenable, very bluesy, much more honky tonk then pop.

Seeing the name of the band hit me with a jolt of nostalgia. I never actually got familiar with the music so here we go. OK. It is fine. Perfect for background music. One song sounded familiar but when I looked it was on a different album, spotify had helpfully found for me.

The album cover is very 80's, the colors, typography, and layout. Of course I know (and love) the Walk This Way track, but not really anything else on the album, at least that I know of. I'm surprised there is only one song marked explicit. Let's listen... Starts out with Peter Piper which strikes me as to black men yelling cheerfulness. I've definitely heard the second song, It's tricky, which is also pretty fun. The album is certainly not without social commentary, but overall it is more upbeat than I was expecting. Each song is individually interesting, lots of the lyrics are clever, and the way the voices interweave creates a distinct rhythmic cadence that keeps the whole album driving forward. This is good. I wish I had listened more in the day. OK I just went and looked up the It's Tricky video and I'm glad I did.

I immediately like that the Yeah Yeah Yeahs have a song called no no no. I listened to this right after Waylon Jennings -- I don't know if that helped or hurt. I believe I've heard mostly good things about this group but am struggling to name a single song I've heard by them. Starting out with the first song on this album, "Rich", I don't love it. The music is basic in a good way, especially minus the distortion, but the singer and vibe reminds me of places people and things I don't enjoy or want to think about. I like punk mostly, I like garage rock like the White Stripes quite a bit. But I really don't like this, mostly for personal reasons not musical reasons, just how it hit my brain and emotions, and would be just fine never hearing it again. It just stresses me out. If I hadn't heard the rest maybe Maps would be tolerable. But in context, thanks, no.

Perfectly pleasant, but, well, Christmas music. The talking part by Phil Spector 1) surprised me that he sounds like such a dweeb and 2) is painfully awkward.

Well here's an artist I've been meaning to check out more thoroughly for ages. Based on the first couple songs I can say that since I like Johnny Cash so much there's no excuse for not liking Waylon Jennings. Amazing voice. But the music is a tad slow and the twang slightly too much, I like him best when he sounds more like Elvis. This album at least is missing some of the edge and attitude of Johnny Cash.

Opens with Cult of Personality which took me right back to the late 80's. I don't know when I last heard this song but all the grooves are still worn into my brain. The opening riff is worth a star all on its own. I'm not sure how much more I've heard before; I'm perfectly happy to explore further. The lyrics are somewhat hit or miss, though I definitely like the singer. The music has tons of hooks and I find enjoyable to listen to. The song Open Letter is familiar, though honestly a little hokey, but the music carries it. Funny Vibe and Which Way to America are somewhat better. Very fun Clash cover. I like Faith No More and Primus and etc and feel like this is right up my alley. I've told Spotify that I wouldn't mind hearing it again from time to time.

I'm 30 albums into this project and this is the first to come up that I actually own. And love. I had Jim Morrison on my dorm room wall -- you know that poster. The last album served me by the generator was by Living Color, which rocks but is let down by the lyrics, which remain relevant and are presumably heartfelt, but they aren't poetry. Morrison Hotel, on the other hand, is the whole package. Roadhouse Blues is a strong opener, very bluesy Doors-y with the music supporting/echoing/riffing on the sung melody, with some classic Morrison flourishes and lyrics like "The future's uncertain and the end is always near". Waiting for the Sun paints a darker picture, I think, and gives us the uber Doors line "This is the strangest life I've ever known." You Make Me Real is back to a rockin' good time love song, but then Peace Frog gives us the unsettling imagery of "Indians scattered on dawn's highway bleeding / Ghosts crowd the young child's eggshell mind." Even the (slightly) weaker tracks towards the end Queen of the Highway and Maggie M'Gill are like snuggling up in a thick velvet blanket, although admittedly one made of scotch and sex. TL;DR: This album is a journey. I was born in the wrong time and place and introduced to The Doors at the wrong age to have any genuine perspective on this music. This album mother's milk to me.

I've never heard of this band but the album cover is slightly intriguing in its trying-too-hard ladies man look (and name). The opening track, Something for the Weekend, opens strong with a certain nearly but not quite entirely camp attitude. The next song, Becoming More Like Alfie sounds even more like the singer is singing with a wink. Dark and funny. Very British. I dig it. \"I suggested, she protested, I persisted 'til she said 'well okay' and I said 'wahey!'\" Songs of Love is a standout, pretty song. This album has some of the same energy as a recent album I was served up, Meatloaf's \"Bat Out of Hell\". Over dramatic, with good music and clever lyrics.

The soundtrack to my teenage years, but somehow I never actually had the album or listened to the album straight through before. I also apparently never really took a close look at the album cover art, which is stunning and spot on, showy and fun at first glance but also deeply melancholy, nostalgic, and even a touch hopeless. Turns out the picture was taken by Annie Leibovitz in Coney Island, which tracks. I've always liked the hits - Time after Time, Girls Just Want to Have Fun, Money Changes Everything and She Bop - especially back in the day. I do feel like Time after Time still stands up today; obviously 80's but simple and pretty enough to still be timeless. I'm sorry I had not previously heard When You Were Mine. Lauper's voice is clear and strong and emotive and perfectly suited to the bouncy but by turns subversive and sentimental songs. I don't love every single track, and even the good ones sound dated now, but there's no denying that all together this is a great album and a stunning debut.

I am a moderate fan, know the hits, even saw them in concert, though admittedly not in their prime. Embarrassingly I had not ever sat down and listened through the debut album. I'm happy that this is the first Who I've been served up. The album is a bit uneven. I don't love the covers. Though they are fun from a historical perspective, I don't think they'd be all that enjoyable out of context. Of course the song My Generation is a standout, never gets old for me, and like no song before or since. The Kids Are Alright is a classic which I think holds up pretty well, and looking at the album cover, man, they were just kids. I don't think I've heard It's Not True before, it reminds me of I'm a Boy, in a good way. La-La-La-Lies is another nice discovery, I've asked Spotify to go ahead and play it for me again sometime. In fact I'm sure the whole album will grow on me with additional listens. All of that said, does this album make it obvious these guys will mature into one of the all time great rock bands? I think that's a tough sell. With the exception of My Generation, the (original) songs are pretty good but not actually great. There's certainly enough here that I would have gone out to see them if they were at my local venue and would have checked out the next album. I want to give it 3.5 stars.

I suspect the album will not be quite as badass as the album art. Oh yay a 20 minute suite of songs. I mean, I'm ok with prog rock. I like Lucky Man. I saw Yes in concert as a teenager. But there's a line and this is over it. Not offensive just a bit too much. Maybe I would have liked it back in the day, but that day was before my day.

The album art is certainly striking and very of its time. I think the only song I'm already familiar with is the title track, so let's check it out. I like the generally chill ladies' man vibe, though the straightforward minimalist backing tracks/drum machine make it feel pretty dated. Mamma Said Knock You Out is still quite listenable (and is coincidentally? the edgiest of the album) but the rest of the songs feel a little too silly and definitely dusty.

Following up on LL Cool J I get Q-Tip, which looking at the track list is a bit more explicit. The album cover is quite classy, though so let's see. I'm embarrassed at my lack of depth of knowledge in this genre of music. 5 tracks in and I am entranced. Smart, jazzy, smooooth hip-hop with occasional gorgeous guest vocals over the top. More than halfway through and each song is more interesting than the last. This is a great album. I liked it a whole lot more than I expected. I might even call it a revelation. I should probably check out A Tribe Called Quest. I guess surprises like this album are what this project is about. I generally assume that the best of any genre (in music, movies, books, food, whatever) is probably pretty good. The Renaissance is a good example.

I don't think I've ever heard of this group before. The album art makes me think of an abandoned house in a dusty cowboy town. I'm guessing the name \"rattlesnakes\" subliminally made me think western. Getting started with Perfect Skin I immediately like the music, and the voice, and the lyrics are clever. Lloyd's voice sounds familiar but not specifically, I think it is just \"standard 80's british pop\". As more songs go by I think the opening track is the standout. The rest is just fine, workmanlike pop. The music reminds me of bands I love; The Cure, Aztec Camera, Icicle Works, etc. Yet by the end of the album all I'm feeling is \"this is fine.\" I'm not quite sure how this album made this list, tbh.

First, I don't actually know Brian Eno's early solo music, though I do like Roxy Music. His name for me evokes \"ambient\" -- I have the app Bloom which I thought was great. So starting with just that shaky foundation, looking at this album, I don't know what to make of the title or the art. Starts out with Needles In The Camels Eye which I immediately link to the camel cigs in the album art maybe it's a big find it in the photo game? Otherwise the song strikes me as pretty forgettable. The next song, The Paw Paw Negro Blowtorch, I like quite a bit but then gets weird in a way that doesn't make me want to put it in heavy rotation. Next up Baby's on Fire (better throw her in the water) sounds quite cool and is clearly clever. Solid guitar solo. But my first listen left me cold I had to go back and play it again to start to see what's good about it. I want to be the kind of person that appreciates experimental music and can immediately soak in the new ideas and revel in the weirdness. But I found it took several listens to start to get enjoyment from these songs. In other words, this album was a little bit of a chore. The creativity and confidence are evident. Clearly an important album. I love me some Bowie, Talking Heads, etc and Eno pushing the envelope is clearly how we get there. The album is brimming with ideas. But am I going to want to listen to this over and over for pleasure? No, I don't think so. I do, however, respect it.

So many great guitar licks, iconic baselines, Tyler's patented wail, double entendres... 70's rock at its finest. A welcome break from the last few very intellectual albums I was served up. You don't have to think about Aerosmith, it just grabs you and drags you out to have a good time.

I'm guessing this is British... Of course I'm familiar with the hits but I've never taken a deeper dive into The Kinks, especially not this far back. I'm certainly game. The first song, Victoria, has already completely won me over. Old-timey British Invasion style rock'n'roll. I've never heard any of these songs before but I love this whole album immediately. Cohesive but also varied. Fun, catchy, super clever, occasionally silly, definitely with a point of view. Brings to mind the Beatles at their best. I'm planning to listen a few more times to more fully absorb the concept/story. I can already tell the more I listen to it the more I will like it. Two thumbs up!

Again my deep lack of knowledge will likely handicap my understanding and enjoyment of this album. The album cover, title, and indeed the very name of the band immediately locates this music in a universe well outside my personal experience. Looking through the track listing I don't think I've ever heard any of these songs before. No, I take it back, I was a bit of an Anthrax fan back in the day, so I do know Bring Tha Noize and remember it fondly. The opening track, Lost At Birth, has a synth (presumably) repeating a descending riff, essentially acting as the baseline, but pitched to sound like a siren. Makes the song stressful to listen to, which I think is the point. Sets the atmosphere for the whole album. Building from there we get a variety of sounds, beats, styles, with I Don't Wanna Be Called Yo Niga very much reminding me of some of the funky albums I listened to earlier in this project. Setting aside the content of the songs for a moment, the music is interesting and layered and (to my uneducated ear) drawing on the best of past soul music and rap traditions to generate something fresh that remains quite listenable. The production is top notch. But you can't set aside the content, the quality of the music is just an aside; this is a band with something to say. I regret that I didn't listen to more hip-hop in my teenage and college years. Songs like By The time I Get To Arizona would have helped me get a more realistic grip on the world. Sadly the issues being discussed so poetically are still salient issues today. Clearly an important album, still relevant, and completely engaging. I thoroughly enjoyed it.

Frankie, this should be fun. I only know the hits, but those are fun, and the album cover is silly and colorful and cheerful so I'm optimistic. ...And that goodwill is entirely squandered by the end of the title track. Good lord. Relax is fine but hard to judge objectively because it was such a song of the moment, so mostly when I hear it I relive the moment. Two Tribes is also fine, I think because they keep it short. The rest of the album is pretty much an uneven mess. The instrumental is pleasant enough I guess. I like The Power of Love. Many of the rest are just annoying. The music is serviceable enough dance music, if a bit repetitive, but the lyrics, well -- probably the fact that I was just fed Public Enemy isn't helping here. Shooting stars never stop? What? Isn't the whole point of a shooting star that it is fleeting? Honestly listening to the whole album made the song Relax worse. I thought Frankie was just campy and fun. But in context the music come off as a bit more pretentious and overwrought than fun. I'm also reinterpreting the album cover as a bit much.

I know zero about this band, but I sure love the cover. I'm loving the first song, pretty much 60's sounding rock and roll. Then we get a noiser synthier track which is also quite appealing as it moves right along into the third, a straight up house dance track. Higher Than the Sun reminds me of mid-career Duran Duran. And so on. Loaded is a lot of fun. The whole album is a lot of fun.

I have only passing familiarity with Alice, I know the hits, thought he was great in Wayne's World, etc. I did see him in concert opening for Mötley Crüe in 2015 or so. He was still 100% rock star and much more fun then poor old Vince Neil. Oof, that was a sad spectacle. Anyway, I'm perfectly happy to listen to this album. The album cover is the same ridiculous mashup of images and ideas as his music evokes. It makes me chuckle. I'm such a sucker for loud strutting rock stars that can really belt out a rock anthem but don't take themselves too seriously. So here we go. Although I'm not familiar with most of these songs, except Billion Dollar Babies and No More Mr Nice Guy, it sure starts out sounding like classic Alice Cooper, which is a good thing. I normally would object to a song called Raped and Freezin' but it is a pretty good rocker. Elected is also solid. The title track is so good, and I just read that Donovan does the falsetto which is hilarious. Oh and I'm enjoying Unfinished Sweet (great title). Obviously No More Mr Nice Guy is a high water mark. Generation Landslide strikes me as an objectively good song and valid social commentary. Sick Things is the weakest track in my opinion and for whatever reason I Love the Dead leaves me cold. (ha!) Overall my rating is: turn it up!

This artist and album is completely new to me, though I'm somewhat comfortable with the genre. The baritone sax on track one put me off for the first 30 seconds but pretty soon I was grooving along to the darkness. I see what Track B was going for but to me it didn't quite get there. Track C starts so melancholy and downright pretty. I did not see the flamenco coming. I'm more or less hypnotized by the time the opening bass notes of the medley grab me and shake me back to my senses. The medley is a lot to take in, but for sure the feeling is delicious the times the melody resolves in the direction you want it to. I see the genius of these tracks. I am in awe of the musician's knowledge, confidence, and ability to play together to actually pull it off with such grace and power. This is next level stuff. That said, these tracks and emotions are best revisited sparingly and I don't really want to give them a home in my daily life. This album is no warm bubble bath, if you know what I mean.

I don't think I know this band, though I feel like I've seen that fish skeleton before. The album cover looks very late 80's/early 90's. So here we go. The album roars out of the gate with Freddie's Dead. The opening riff makes me want to hear more. I love the heavy duty bass and funky vibe, reminds me of Faith No More. The next song has a more island / reggae feel. By the third song we are full ska. I am so sorry this is the first time I'm hearing Fishbone. Some of the little flourishes a little too 80's, and a few of the songs are a little less successful for me (Pouring Rain, Bonin' In the Boneyard). But in the main, this is great stuff. PS after the album was done Spotify helpfully played Two Timin' Woman a collaboration between Little Richard and Fishbone. Bullseye on that one, Spotify, thank you. :)

I'm familiar with the Chili Peppers, and always liked them, more or less. Not enough to buy any of the albums, though, so I've never listened to this all the way through. About halfway through I'm willing to say this hasn't really aged that well. The actual music, especially the bass, is consistently fantastic. But the vocals, including the lyrics themselves, not so much. I was rather enjoying the groove on Mellowship Slinky in B Major, until the singing started. I can't help but enjoy Give It Away, silly as it is, and Under the Bridge will always be a great song. Otherwise this album is a mixed bag from great stuff (Breaking the Girl) to cringeworthy (the title track/Apache Rose Peacock/Sir Psycho Sexy). Also it goes on. for. ever. I guess I have grown out of RHP?

I've never heard of this group. The album art looks like 60's trying to evoke 30's, but I see it is from 1997. The cover strikes me as a band that is very sure of itself. Not sure yet if they are goofy/fun or cocky. Seeing it is a double album I'm worried maybe the latter. The title track starts out sounding 90's British pop and fine but a tad boring. The next song, Richard III, has more energy and clear grunge vibes, with some interesting musical moments, which I'm liking. My hopes are dashed by the next couple of meh songs. As the album wears on I'm impressed by the variety, and the quirkiness is winning in places. All of the music is good (except maybe the ballad It's Not Me and Sometimes I Make You Sad which really don't work) and many the songs are very good, like Richard III. The band sounds great together and the production quality is faultless. But the album as a whole doesn't grab me. I expect if they had put half has many songs on this album I would have been blown away. Curious about the popularity of this band I checked out some other music. I like Alright tons and also St. Petersburg but HATE Moving. /Shrug

No idea what to expect with this, and the album cover doesn't give too much clue as to what's inside. Now I'm listening and I'm sure not sure what to make it. The first song is like Bob Marley meets inspector gadget? It's Great When We're Together is appealing, gets a heart. Sunday Shining is good. But by Even After All the forced accent and thin reedy voice is starting to grate. The groove through these songs is simple but quality, the music does its part. But the vocals don't float like they need to if this reggae / jazz mashup is going to work. A star for the music, a star for the originality, a star for the generally positive vibe. On the plus side I learned the word trip-hop so that's something.

I've always been partial to Norwegian Wood.

It's ok with me if you like it. I don't especially. But I can see why you do.

I'm very pleased to have been presented with this album. Siouxsie was adjacent to music I listened to a lot back in the day. But I haven't listened to as much or as closely as I should have. Banshees here I come! To start with, the album cover is fantastic. I'm optimistic I'll be liking this album. The opening track, Spellbound, is very strong. Interesting, textured, yet catchy. The next track is all about the rhythms weaving into a transportive experience. I appreciate that the songs stick with one melodic or especially rhythmic idea long enough to make an impression before wheeling around to something new. The whole album feels very cohesive to me, generating a very specific gothy/punky/death chick feeling. Like going out the back door of a apothecary in New Orleans at midnight into a circle of pale women whirling around a fire chanting some dark spell. Ensorcelled. A great album. A little dark for my taste, so not a perfect 5 to me. But a jewel of an album for sure.

Iconic album cover. I've definitely never listened all the way through but I like the TLC I've heard. Happy to give it a listen. It's a bit one dimensional in that it's definitely all about the singing. The backing tracks are just that, just the vaguest support to the vocals; indeed I occasionally wished the producer put the backing even further back. That said, the songs are smoooth, gorgeous, and drip with sexy confidence garnished with a cheeky wink. The interludes are a bit jarring and break up the flow; sexy-interlude in particular completely breaks the mood. That's probably the point, otherwise the album would be one big blur with a few standout moments. Actually, thinking about it more, that would be better. Overall the album gets into its zone and stays there. A good groove, enjoyable listen. 3 stars as is, 4 without the interludes. Waterfalls is, of course, a standout tune.

I love this album and spent some happy teenage hours working out the sax part of Latest Trick and playing along. My least favorite song is Money for Nothing, mostly I think from overexposure and a terrible video; otherwise this album is perfect. In fact, I'm going to listen again right now.

I know Coldplay mostly as an object of fun. I'm sure I know lots of their songs that I don't realize, something about stars I think? Anyway, I don't really have an opinion and the album cover isn't illuminating anything. OK yeah I know some of these songs. The ones I know are fine, the other songs are mostly fine. I can't deny the quality and catchiness. But the sum of lots of fine doesn't really get to great for me. It's a straight up the middle 2.5 for me, rounding up to 3 for overall prettiness.

The power is undeniable, as noted in previous Public Enemy reviews. But it's not really going to be an everyday listen.

OK going in never having heard of this band or album, based purely on the cover, I'm expecting Scandinavian death metal. Getting started it's not that but the synths are striving for brutals. In a church organ but also big night club dance floor kind of way? I kind of dig it and am curious where it will go. Uncharacteristically (for me) I liked the darker songs the best. Genesis and Waters of Nazareth were particular standouts for me. I like DANCE and The Party the least. DVNO amused me for some reason but overall less words = more better. Overall a very good album, I'm happy to have discovered it. Also, looking through their discography, the cover art is notably awesome.

Ah 1967. The Summer of Love. Sgt Pepper, The Doors, Pink Floyd's debut. Purple Haze. I Can See for Miles. Also, Daydream Believer. Based on the cover art I'm assuming we're leaning more Monkees than Stones. Forgiving the production, at least the version I found to listen to, this is perfectly enjoyable summertime 60's music. How Can I Be Sure is hugely satisfying when it settles into its groove. Groovin' is practically the platonic ideal of late 60's mildly psychedelic pop. Even the less successful songs, like I Don't Love You Anymore, are still fine. You Better Run reminded me of The Animals and also makes me like the Benatar version even more (which I did not previously realize was a cover). After the album was done Spotify played Good Lovin' also by The Young Rascals. So I do know songs by this band. Good Lovin' *is* a notable song, and better and catchier than anything on Groovin'. Perfectly good, but not stunning, compared to all albums ever, or even to albums from 1967. I'd give it a 3.5 -- I thoroughly enjoyed listening, but of all the millions of albums in the world I can't believe this album is really in the top 1,000.

I've never listened to a Daft Punk album straight through. I certainly have enjoyed the singles I've heard, in various settings. I was just served Justice so I guess the album generator feels I still need to dance more, Frenchly. Daftendirekt is a super strong start and I'm loving everything, some familiar some not, up until track 8, Rollin' & Scratchin' which is not really suited to home listening. Sometimes noise is just noise. That and the next few tracks are less interesting, and dare I say overlong. Overall I enjoyed the album less than I expected. Beginning and end 1-7, 14-16: 4.5, middle 8-13: 2.

Super fun. But, well, a live recording from the 60's, so also somewhat frustrating. It did send spotify off on quite a tear of fantastic music.

What an odd little album, perfectly summed up by the album cover. Cool kinda dark but still somehow a little absurd. This is the third Cohen album I've been generated. I didn't like it as well as You Want It Darker, but it is hard to rate this voice and these lyrics any lower than 4 stars. The opening track First we Take Manhattan and Everybody Knows are undeniably great songs.

Camp and pomp and kitsch, which I love, but also genuine quality, thanks to May's prodigious gifts and Freddie's once in a generation voice. This album is just a breath short of greatness. But greatness is clearly coming.

This album is hard rocking good time fun.

How is Little Red Corvette the only song with an explicit flag?

This is electronic music with a heart of gold. Happy instead of freaky, if you know what I mean. I had never listened to this album before but it's just my cup of tea. Clearly experimental but not past my ability to easily grok what they are trying to do and appreciate it. I also admire the commitment to the theme. Four stars for how much I like it and an extra star for being almost as old as I am. Talk about groundbreaking. Respect.

I've been meaning to listen to some Bjork ever since my Icelandic vacation awhile back, but somehow never got up the momentum. The album title, art, track list, do give an idea what's coming. Hidden Place is a strong enjoyable start but I find Cocoon unpleasant and I am worried the whole album would be the sort of performative weird that really rubs me the wrong way. I like It's Not Up To You quite a bit but Pagan Poetry is too much. Frosti is undeniably beautiful. And so on through the album. Moments of genius and stretches of what might be genius but they didn't land with me.

Can a double album be good enough to get 5 stars? You wouldn't think so. Jimmy Page begs to differ.

The album art certainly sets one up for a fun album, and the first track practically crackles with happy feelings. It makes 1975 seem like a much better time than I remember it being. The Wikipedia article features a Rolling Stone quote: \"make-out music of the gods\". That. What makes this music so sexy? The horns? The radiant energy of nearly every track? The smooth vocals? I don't know, but by All About Love I was like it's ok you had me at Shining Star.

Maximum 60's. Pleasant enough as background music. 3.5. I could round up for how influential the album was, but instead I'm rounding down for all the covers, including the title track which is kind of cheeky don't you think? Also it would be easy to mistake the cover art as a shoe ad.

People I respect love PJ Harvey and I understand why. But it's not for me. One extra star for the places in Good Fortune where she reminds me of Chrissie Hynde.

Butter.

What Scandinavian alchemy is this? I love it!

I love Adele's voice. Of course I do. I'm a human being with a heart that's been broken. Faves: Rumour Has It, Set Fire to the Rain. Lovesong is fun. Someone Like You hits a little close to home sometimes; great song. Less successful: Don't You Remember, He Won't Go, Take it All. Rolling in the Deep is one of those songs -- like I Will Always Love You, Stairway to Heaven, Let It Be, Kiss From a Rose, Unchained Melody -- that has become part of the cultural air we all breathe. A significant accomplishment.

An enjoyable collection of songs, including several monster hits, some surprises both pleasant (Grey Seal, Harmony) and quite unpleasant (Jamaica Jerk-Off). A tour-de-force of a great musical storyteller at the height of his powers.

Never heard of the band, cover communicates nothing, and the looong track list also betrays no theme or personality. The short opening song is intriguing enough and I am rather enjoying I Can't Sleep. To me the first few songs sound like if the Ramones and Tom Petty got together to start a band inspired by the Monkees. Unfancy rock and roll. Fine, good, but unexceptional. Ah, there it is. There She Goes. So I do know something by this band. Genuinely fantastic song. Possibly, maybe, a top 1000 song. But one song doesn't make a top 1000 album. The album rocks along from there quite nicely until Looking Glass, at which it grinds to a painful stop. The first 11 songs I'd give 4 stars but the whole thing only gets 3.

The cover plus the fact that it is 18 explicit songs in a row let me know what I'm in for. I don't know any Wu Tang, not that I've been avoiding them, I'm just a white girl from suburbia. But this project has exposed me to several hip hop albums I've enjoyed so I've got my mind open. ...and we're off to a rough start. Ooof I am not the intended audience. They clearly aren't serious, by which I mean the lyrics aren't autobiographical or aspirational, more like a rock opera. Which I can certainly respect. The songs are all of a piece and flow remarkably well. I respect the accomplishment. But I'm unlikely to listen again.

I've never given Tori Amos a fair chance, I'm not sure why not. Maybe because people like her so much. I shall to try to listen fresh. The album cover is great, and Little Earthquakes is a great name for an album. Diving in. I don't know. Much of it manages to sound both disinterested and like it is trying too hard at the same time as it plods along. That said I really liked the mood of Winter, Silent All These Years is a solid tune, but Happy Phantom just doesn't click together for me, even though I want it too. Mother to the end of the album left me, I don't know, bored with the trauma? I acknowledge the bravery of Me and a Gun, and even the flashes of brilliance in the lyrics, but still. It doesn't grab me like it could. I can't tell if I'm poisoned to her music or if isn't all that good. I've got to go with an ambivalent 3 stars.

I forgot how much I like this album. You Can Call Me Al still fills me with glee. How can it be that I still remember all the words?

Haven't heard of them, album cover doesn't help. Oh wait, Brimful of Asha sounds familiar. First two songs are strong, I then paused to go refresh my memory on the Fatboy Slim remix of Brimful of Asha, which really highlights how much a good ear and deep musical intuition can enhance the final product. Overall I like the ambition and I dig the trippy quirky vibe. I really enjoyed their rendition of Norwegian Wood. The album is pretty uneven, though, and as noted above, even the best song could have been substantially better. Compared to yesterday's album, Graceland, the "world" elements feel more authentic, but otherwise how is this album even on the same list? 3.5

Sigh. Can't get it on Spotify. Which fair enough, I guess, I appreciate his taking a stand. Hopefully YouTube is giving me approximately the right thing. I know the standard Neil Young stuff, but I've never considered myself a particularly big fan. I do like Crosby, Stills, Nash, and Young so there's that. Starting with the name and album art I'm slightly put off, but only slightly. It doesn't look like it rocks, if you know what I mean. And what's up with that pose? Starts out very strong with Cinnamon Girl, an undeniable hit. The title track is fine but Round & Round is yuck. I am used to thinking of his voice as wise/angry old man voice; it is interesting that he sounded exactly the same 50 years ago. Anyway, Down by the River is a great song. This much madness is too much sorrow. The Losing End is chill, I kind of liked it, Running Dry no thank you (unless I happen to be watching Firefly at the same time), Cowgirl in the Sand feels really old fashioned but I guess is fine. Overall a 2 start meh but Cinnamon Girl is definitely worth a star. This helped me find the 1001 Album Club podcast (https://open.spotify.com/episode/7AGyTZ3FeLBXs72wJQP6xM?si=ybGYS6UySVuxTmsYw2QYxg) plus some great covers of Down by the River and Cowgirl in the Sand.

Again this project pays off. I've seen the t-shirt. I know Love Will Tear Us Apart. I never checked out more but always meant to. Right off, the cover art is amazing (and poignant once I learned of the tragic circumstances around the release of the album). Atrocity Exhibition starts out strong and dark. Isolation turns a little more 80's, but still super dark. And the next song is great. And the next one. Really the whole album is an astonishing breathtaking heartbreaking haunting work of art. Heart and Soul. One will burn. As a teenager I was 0% goth but many of my friends were and I certainly see the appeal. This is a whole different planet than contemporary music like ABBA and Billy Joel. These guys aren't playing, if you know what I mean. I'm not going to want to listen to this on repeat. Especially not at this point in my life. I do think this was an album I needed to listen to before I die.

I have always liked Maggie May ok. It tells a relatable story. Overall the album is pleasant enough. I gave the second half a second listen to see if it would grow on me more. I'm Losing You and Reason to Believe are almost great. It is interesting that he still sounds like a grizzled old smoker even 50 years ago. Googling to see pics of him in the day I came across this glorious wall of 70's: https://www.pinterest.com/pin/1900024821511568/

I have always liked Devo, even though I didn't really "get" them when I was a kid. I liked the flowerpot hats and of course you couldn't get away from Whip It. Later I came to understand the commentary they are making on society, which makes Satisfaction doubly fun. That said, it is also the case that DEVO is best in small doses. Listening to a whole album at once is a bit much.

75 albums in and this is the first Dylan I've been given. Interesting that it is relatively recent. I saw Dylan in concert in the late 80's, one of my favorite (at the time) bands was opening for him at the concert venue where I worked for a summer. I actually took the night off so I could just watch. I also remember Rod Stewart, though I only heard that one since I was working. Which I mention only because I was just served Every Picture Tells a Story. Anyway, let's check out 90's Bob. First impression: sounds like Bob Dylan but better. Obviously he's always been a consummate songwriter but his voice cut a little too sharp. Not on this album. That edge has been blunted by, one would presume, pain and years and love gone wrong. I don't think I've heard any of these songs before. But they all speak to me. Especially Standing in the Doorway. It's not dark yet, but it's getting there.

I have no idea if I've ever heard David Gray before. I find the album cover quite off putting for some reason. But it gives me no clue as to what I'll be hearing. OK that's a familiar voice. Opening track is fine but doesn't really blow me away. But here we are, Babylon. Also fine. These songs are all reminding me of Dave Matthews, who is fine but I never understood why people loved him quite so much. Same here, he sounds sincere enough, but this doesn't even have the quality music behind the vocals. Oof. We're Not Right and Nightblindness are not fine. By the last song I am desperate to be done, even though some of the later songs were inoffensive and 50 min isn't an outrageous run time. Just too much for me. I'm looking at the cover art some more and I think it tries to be interesting in a way that is actually pretty boring. So I guess it *does* give some idea of what's inside.

Deep Purple? Sure, great song, but aren't they a one hit wonder? And it's not even on this album. But OK, I'm game. What else you got, Deep Purple? I do appreciate the hubris of the album art. And the names of the song, taken together, are brutals. The album roars out of the gate with Speed King, I love it. All time classic heavy metal screaming, notable work on the drums, and I'm taken completely by surprise by the organ. Bloodsucker I'm feeling the base. Wait, the track is great too. *All* of the songs are strong, but my faves are Speed King, Flight of the Rat, Black Night. I hear a certain amount of Alice Cooper, a tiny bit of Doors, some Zeppelin, even Steppenwolf. Child in Time makes me think of both David Bowie and Pink Floyd. Obviously Deep Purple had more influence than I realized, and was right in the middle of everything, giving and getting and helping invent heavy metal. I find my own ignorance genuinely stunning sometimes. TL;DR Great album.

What's this? Cover looks like potentially electronica? No. I mean yes, but really, no. Also, no thank you. This album is a mess. Nothing especially landed with me, and nothing made it gel as an album either. I didn't hate ever song, but also none were outstanding. Surely there are 1001 albums in the world better than this one.

I'm only slightly familiar with Billy Bragg and Wilco, and didn't know they ever collaborated. Looking at the album cover and track list I'm expecting thoughtful possibly folksy songs. ...and yep, that's just what we've got, in a high quality form. Now reading the wikipedia article I see this album is also a collaboration with Woody Guthrie. A bold idea which seems to have born fruit. I tend to medium like this kind of music. But I'm liking these songs more than that. California Stars is beautiful. The female voice joining Way Over Yonder is a lovely surprise. I don't usually like Natalie Merchant much but I do here. Unfortunately the album doesn't maintain momentum all the way through and starts to drag on the second side. But I love the ambition and of the album and think it is, overall, quite successful.

Yes, Please!

It rocks, it rolls. It has rhythm, it has blues. Straightforward music that is still fun to listen to today. Now I wish I was on my way to a sock hop.

I hope this album sounds just like it looks. Yep, sure does. Smooth and groovy. Of course, just the one groove, but it's a pretty good groove.

Love the cover but I'm not sure the music will be for me. The title does not appeal and looking at the track list we have almost all explicit songs, except, oddly, "Toilet Tisha". A healthy sprinkling of interludes. Sigh. I have never listened to any Outkast but I'm quite sure I should so here we go. Gasoline Dreams sounds great, clear message well delivered, and very listenable. So Fresh, So Clean is, dare I say it, fun. Ms. Jackson I am sure I've heard before, which is really saying something, must have been quite a hit. Then there's a stretch of songs that sound great but the content isn't quite as compelling to me. Goodness this is a long album. I don't love every song but I do recognize that they are all quality. Lots of humor and plenty of variety while still sounding like an album. I enjoyed this album *much* more than I was expecting to. Favorites: Gasoline Dreams, So Fresh, So Clean, Slum Beautiful (the music makes me think of Lizzo).

Trippy cover, trippy album, though what they have to do with each other is unclear. Listening to any individual song is rewarding, but is isn't an easy listen, not to me at least. I was particularly entranced with One Rainy Wish. My favorite on the album is Little Wing. All in all a pretty amazing work of art.

The album cover looks like some Robin Hood themed larpers? Yesterday I had Jimi Hendrix and I'm thinking this will be similarly trippy though much less familiar and probably not as good but this list has surprised me before. Oof. These songs are simply pretentious foolishness. Three Is a Green Crown almost broke me. Maybe the album was groundbreaking in its day, I don't know, but not for me, no thank you.

I respect Joni, and don't mind that I had to hunt this album down since it isn't on spotify. There was a recent song exploder that referenced Blue and I've been meaning to check it out. So I really want to love this album. But I don't. I know people love her voice but I just don't. I can appreciate the artistry and boldness and poetry and intimacy of these songs. They aren't formulaic, that's for sure. But maybe a little formula would have helped. There are moments of sublime beauty, both lyrically and sonically, but in the end the songs are like wisps of a cloud, pretty but I can't quite get a grasp on them.

This should be a good time! Oof. Might have been great if you were there. But its a bit jammy for a home based listen. Good, great in parts, but not wonderful as an album.

I've never heard of MC5 but I seem to be in some kind of rut with generator, with all my albums being from the same few years all weel. All I can tell from the cover is that the band is white and aggressively American and probably somewhat chaotic. I don't know what MC5 stands for but I do like the name of the album "Kick out the Jams". Getting started listening this music mostly comes across as energetic noise? Quite distinct from the Hendrix, Allman Brothers, Joni Mitchell, or that godforsaken Incredible String Band I've been listening to. Ah, ok, readying about who MC5 is, I get it now, and have a framework for my brain to process these sounds. Not sure I'll put it in heavy rotation but I certainly respect that these boys clearly came to play. I can hear the roots of much music I really like, making me embarrassed not to already be familiar with MC5. That's the point of this project, I guess. 2 stars for being reasonably listenable if sloppy and an extra star for sheer effort. Did I need to hear this album before I died? Yes I think I did. (Also, Motor City 5. And I'm not sure it is fair to call someone "paunchy" when compared to Iggy Pop. Because aren't we all paunchy compared to Iggy Pop?)

This makes three live albums in a row. Have I angered the album generator in some way? The audio quality is worse than the last one, which was 10 years older. Although it is actually better than the one time I accidentally saw Cheap Trick live (weirdly they were the surprise guest at a party I had stumbled into at Comdex one year, if memory serves, and it might not). Anyway, at least I am somewhat familiar with and fine with Cheap Trick. The album is fine, rocks along predictably, until they find a higher gear around halfway through, at which point it gets a lot more fun. By Surrender they are fully enjoying themselves. I can imagine leaving the show euphoric and full of energy. But I wasn't there, which is the inescapable tragedy of live albums. 2 stars first half, 4 stars second half, 3 stars overall. Which is perhaps a tad generous but what the heck.

Sure is funky. I ain't no junky.

This album seems like pretty straight ahead pop, reasonably fresh and catchy but not (to me) particularly special. That said, Chris seems like a fascinating character and the videos I looked up did seem special. I think her personal, music, and dancing come together in a whole that is more than the sum of its parts. Any individual bit (like this album) might be a 3, but the whole package is closer to five. I hope she has a long, successful, groundbreaking career with many interesting phases.

The initial oooo must be the boldest album opening in album history.

Everything about the album cover lets you know what you are going to be in for. Man this music takes me back. I don't want to be a teenager again but having that energy would be nice sometimes. Stars for: fast, energetic, loud. (A little less fun is how well Paid Vacation still works 40 years later)

Not sure what's going on in the cover photo but perfectly pleasant music. I'd like to give it 3.5 stars but my last album was circle jerks who got twice as many songs into half the time so that makes me want to round down on this one. No, that's not fair. I like several of the songs quite a bit.

Iconic album cover. The title track is, as the kids say, an all time banger. The whole thing is wall to wall sex-drenched rock and roll. A stunningly strong album, not even considering the circumstances. Not all the songs have aged that well -- I'm looking at you, Let Me Put My Love Into You and Money Honey and ... well, most of them, really -- but that's easy to overlook given how hard the entire album rocks. The pinnacle of its genre.

I guess it is a good thing that I'm not often in the mood for NIN. That said you cannot deny the power and creativity and raw genius on display. This album is a genuine achievement. It is utterly unsurprising that Reznor continues to make significant and inspired contributions to our culture right up to present day. The Downward Spiral is not the work of a man lacking in ideas or emotion. Hurt in particular is a masterpiece. All the more so once it became the deeply moving Cash video. If you don't agree then I'm sorry you have a stone for a heart.

A good time cover for an album that I assume contains some good time fun. Live is not my preference, especially from a long time ago, but I suppose for some people you make an exception. And after listening, yep, that was fun.

I've heard of, but never really sat down and listened to, The Replacements. The album cover looks like we'll be getting unpretentious working class rock and roll. Looking at the track list, 17 songs, goodness. Oh wait, no, I got an expanded version. There's only 11 songs really. Whew. Giving it a listen I hear reasonably simple listenable arrangements, high energy level in places quite punky, emotional some silliness plenty of angst, somewhat rough overall. I think I would have liked them a lot when I was younger, too bad I didn't discover them then. Favorites: We're Comin' Out, Androgynous.

I'm expecting solid 60's rock and roll. Kind of a silly cover, though. First song is familiar. Channeling future Nancy Reagan I guess. As the rest of the album spools by many of the tunes are familiar. Straight middle of the road undifferentiated 60's rock with (let's be honest) dorky lyrics. The album is fine, the group is fine, there is a reason they had so many hits. They can write a catchy tune. But to me it sounds like the are inspired by everyone else, not pushing the envelope so much themselves. Which is a nice comfortable space and can produce enjoyable music, which this is. But did I need to hear it before I die? Not especially. Paul Revere and the Raiders are the SS 396 of 60's pop.

Ah, my ex-husband's favorite. And one of the more painful concert memories I have. But let's try to listen with an open mind, shall we? Yeah, still don't love it. But more listenable than I was expecting. By the time I got to Bubblegum I felt like I had the hang of the album. I get why he liked it, he always was deeper than me. And more troubled and depressed. I prefer a little more order and optimism. I'm glad I listened to a whole Sonic Youth album carefully start to finish. I don't imagine I will visit it again.

The album cover is clearly trying to be art. But what is that hanging on the wall? Boxing gloves? Is he torn between being a lover (of strangers) or a fighter? Is it the cultural proximity to Rocky? /shrug Of course we all know Billy Joel. But I can't say I've ever sat down and listened to a whole album end to end. The opening song is strong. Who can help singing along with Cadillac-ac-ac-ac-ac? Just the Way You Are was popular just as I started learning to play saxophone as a little girl, so it is impossible for me to listen to without intense consuming nostalgia. Goodness me, the hits keep coming on this one. In my head I lump Billy Joel in with Elton John and Tom Petty as a fellows who can reliably turn out a straight forward but catchy tune, often telling a sharply drawn story, with a singing style that invites one to sing along. To me this kind of music forms the common backdrop we can all pin our own personal stories to. This music is popular for good reason.

I've always thought of Megadeath as less than. Not sure why. I've never owned any, this will be the first I listen to all the way through. I appreciate the over the top silly cover, that bodes well. Holy Wars is a super strong start. Yeah, the whole album is strong. The riffs are there, it's fast and hard, the lyrics are silly. Gets the blood pumping. But still, put it all together and it doesn't quite hit the mark for me. I don't feel emotion, or sense of humor, or much besides adrenalin. I guess that's why there's more than one band in the world.

Hard to not start with the cover. Which is, well, a little concerning to be honest. But you sure can't take your eyes off her. Hopefully the music is just as compelling. Hmmm. looking at the track list I'm getting a distinct concept album vibe. OK here we go! ...slow start...ah ok here we go...almost...yes music coming soon...Melody not so much. I regret my lack of French. Instead I'm imagining someone with a cigarette in front of a mic on an open mic night being pretentious. And also probably a little concerning. Now checking out wikipedia ... and yes. That's the vibe. Wet bus stop. She's waiting. His car is warm and dry. The music is interesting, En Melody is my favorite although Melody's laugh goes a little Fran Drescher. I do wish I understood what he is saying, although maybe it is easier to enjoy with only vague brush strokes of the story. In any case, this album does seem like a legitimately interesting work.

The cover is all about that jacket. All those buckles and zippers. Fancy but ultimately pointless. Suggesting bondage but of course but actually pretty safe. I think you see where I am going. This album is <chef's kiss> as far as production. Goodness gracious it sounds good. And the hits are catchy, I can't deny it. But whereas Thriller was a breakthrough, Bad is just ... more. And a sad waste of Stevie Wonder, who should never be wasted, that's what's criminal. Anyway. It's fine. I'm not going to pretend I'm immune to Bad, Smooth Criminal, and especially the incredibly 80's appeal of The Way You Make Me Feel. Ow! Woo! But I *am* going to rate this album as if I have better taste than I actually do.

Nice outfit! Album title and art are in perfect alignment. Diving straight into the music my first impression is lush beautiful arrangement, straight ahead tune. Easy to listen to. Second song, also lovely, calls to mind Leonard Cohen's Hallelujah, another lovely song. The rest of the album unfurls from there with stately beauty. The title track is my favorite. This is a beautiful work. Stick a world class voice in there, someone with a strong clear tone, nothing too rich, with solid pitch, and you'd have a five star album. (Don't @ me, you know it's true).

The cover art is arresting. Don Quixote meets Poseidon meets that Native American who cried because of all the litter. Oil painting brush strokes and a name plate like you'd find on a painting in a museum. The grim subject of the painting and the somber colors really contrast with both the name of the band and the name of the album. The first track, Don't Go Near The Water, is genuinely sad and despairing. Although I guess ultimately optimistic that maybe it isn't too late for our poor planet if we all wake up and do something. Shame that we didn't, isn't it? The rest of the album goes on in that same cautionary vein, personal, societal, environmental. Honestly the themes sound like the same bunch of hippies who thought up Earth Day. It is still the Beach Boys, so even though the album is mostly a downer it is still gorgeous to listen to. None of the tracks are especially catchy in and of themselves. But the songs flow together making quite a pretty package. Am I glad I heard this before I died? Yes. Am I likely to listen to it again? Probably. A Day in the Life of a Tree could be called Bran Stark's Lament.

I've never knowingly listen to any Kendrick Lamar but kind of kept meaning to. The cover art paints a clear picture about what to expect, though the album title is a bit opaque. Anyway, here we go. ...I think that put me into a trance. I've definitely been through something. The first song paints such a vivid story I was completely pulled into the rest of the stories. Amazing. Not my kind of music at all. None the less, amazing.

So I started my last review "I've never heard any Kendrick Lamar" and I guess the generator felt I needed more education beyond good kid, m.A.A.d city. Happily I enjoyed the last one so bring it on, generator! I'm pretty sure this is the second newest album I've been presented so far out of more than a hundred. Starts right out sounding like it could be the theme song to a half hour comedy tv show (except for some of the specific words used). A similar dreamy cinematic vibe as the last album, but somehow more aggressive and also more melodic. Ah, an interlude. Oh wait, this one is completely fabulous. I know I'm only scratching the surface as far as references go, but the generator also just gave me Michael Jackson's Bad and I'm old enough to have watched Roots when it came out so I had someplace to start with King Kunta. I didn't always get a handle on the rest of the songs, though, to be honest. Unlike the last album, which felt like one work in several parts, this album feels more like a "traditional" album: collection of different songs. Clearly related thematically the tracks are otherwise quite diverse. I also appreciate a well placed saxophone. These songs aren't for me or about my experiences and that's ok. I can still recognize and appreciate the brilliance. Which isn't always true, I often don't like music that isn't for me. I enjoyed good kid, m.A.A.d city more but To Pimp a Butterfly feels more culturally important. Both deserve the accolades they've received.

The album cover would suggest Psychedelic even if the album title didn't. Hopefully that is what we'll be getting, some nice heavy 60's grooves. Yup! First song, You're Gonna Miss Me, immediately reminds me of Van Morrison belting out G-L-O-R-I-A, but like with some extra lava lamp in the background, which is all good with me. A promising start. Several songs in the blooping is starting to get tiresome. But even with that it is still firmly rooted in its 60's sound. Oh wait. I'm listening to a remaster. This isn't a 2010 band trying (and very much succeeding) in trying to sound like a 60's band. It *is* a 60's band. Right. Well, that's a little less fun. Monkey Island evokes the Animals "We Gotta Get Outta This Place" but weirder. Actually, a lot of the songs are like that. They sound a lot like other bands of the day but with more jug. Roller Coaster, which sounds like Jefferson Airplane meets The Doors, predates both White Rabbit and The End, so credit where credit is due on that. Did I need to hear this before I died? I think yes, the jug situation was worth hearing. Favorite song is definitely the first track, You're Gonna Miss Me. Overall the album is fine but kind of dragged through the middle. An album all as good as Miss Me would get 4, all Monkey Island would get 2. So my choice is obvious.

I could only find the extended version on Spotify. The cover is pretty boring for an album with Psycho in the name. Matches the bland vocal delivery. Which I actually like, but mostly fails to stay adequately above the noise, which again would be fine, but in a different context. Except for the first track, Just Like Honey, which is already familiar, the rest blurs into a smear of sound. My favorite on the album, past Just Like Honey, was the alternate version of Never Understand. Considering that song on its own, the contrasting noise and Beach Boys like chorus are interesting and fun. But 27 songs worth of similar stuff is crushing. I can understand the appeal to kids who didn't feel like Duran Duran represented their deep inner turmoil. I wasn't one of those kids.

It's good to have the occasional reminder of what a genuine 5 star album sounds like.

So from the cover I'm expecting a singer-song writer, maybe folksy. And ... yup. Also sounds like a one person show. Which means the songs are going to have to be pretty compelling. For some reason the second song, Smokey River is reminding me of Led Zeppelin. Maybe the intro to Stairway to Heaven? Anyway, I like it. The most compelling story is Needle of Death, you can tell he knows the "troubled young life" in question. But even that story didn't really grab me. Overall it was fine I guess.

Based on the cover I'm expecting something political. Based on the name I'm expecting show tunes. Diving in, I couldn't be more wrong. The name of the first song, On the Wrong Side of Relaxation, is super evocative. The song itself is very tense, sounds like the opening to a scary sci fi thriller. Panning over a cold alien landscape into a lab with knocked over beakers and other troubling signs of something gone wrong. No people in sight just whispering in the distance getting louder as we move more and more quickly through the facility to finally arrive at a yawning hole in the floor. Suddenly we cut to a shot fading in like we are opening our eyes and our vision clears to see a lovely nurse talking to us lying on the floor. This music super sounds like a film score. The song titles imply a crime drama, possibly gritty, or even, as the album cover implies, black and white and raining, maybe in the style of Sin City. The second song sounds somewhat mod so maybe set in the early 70's. I've never heard of the movie though does it exist? ...Wikipedia explains no, this is the soundtrack to an imaginary movie. Which is fantastic. Love the premise. Loving the music. Tracks 6 and 7 are particularly lovely. 10 is a great mood piece. 2 and 11 and 13 are so fun. 15 makes me think of James Bond. Overall a little weird, but in a good way. I like it.

Never heard of Pulp. But based on the name of the group and album and album art I'm expecting metal. OK track listing isn't illuminating, guess I'll have to listen to find out. I get an immediate Alice Cooper vibe. Which is not a bad thing. Plus maybe some David Bowie in the vocals? Clearly English in any case. Not actually metal but I stand by the Alice Cooper comparison on the basis of atmosphere/camp. Although as the songs plod on it's not actually fun like Alice, just seedy. Gorgeous voice, the songs are smart and sound pretty good, but all together it doesn't me want to befriend and hang out with it. I'm wondering if this was my best introduction to this band.

The album art and name are concerningly new agey. The font at the bottom reminds me of laser shows so that's something. Opening it up the track listing also seems crystal adjacent. OK here we go. Immediate impression it has the synths and general vibe I expected. But more energy and forward motion. I'm digging the layering of the vocals.

From the cover, which is pretty good, I expect something noisy. Never heard of the band. And diving in we've got ... French? OK reading about them, Swiss Industrial. Alrighty, I'm game. Starts out surprisingly dainty and one could even say a bit Swiss. Gets louder and weirder and kind of industrial. This guy has a great growl. I like the strings and other things going on. Really good pacing and transitions in places. Ultimately a bit wearing. Liked Rue des tempetes and Longue route was the most, um, accessible? and gave me what felt like solid ground to decide I like them pretty well. 3.5 stars. Rounding up for innovation.

The name and cover art do not inspire me to listen. But this my album today so listen I will. First song, slow education, lyrically strong start in that the first verse makes me want to hear the second verse. But it never really gets going. Some of the turns of phrase are nice but they feel thrown together instead of building to a greater narrative. Let's Not and Say We Did almost won me over. But in the end I can't say the album is more than "fine".

Fantastic cover art. Crisp clean image of a non-crisp and clean event. Harmless destruction for the joy of it. The title is also solid. I know that a previous album by the Yeah Yeah Yeahs was one of only a couple one star ratings out of over 100 albums rated. So I'm bracing myself. Hmm. First song is not like jagged glass on the ears. Honestly, if I had an open mind, I think I would like Heads Will Roll and Soft Shock is practically pretty. Dull Life is fun. The distortion is there but toned down and used to much better effect, smearing out the backing music, throwing the clarion vocals into nice relief. Yup. This is pretty good. These songs don't pain me because the actual music is literally less painful. Still, it is hard for me to get past my mental block; I can't help the memories and unhappy headspace it puts me in so I don't expect to listen to the album in total again. Maybe in time my head will clear. I definitely won't be so quick with the skip track button on these songs as I am with songs from Fever to Tell. Have I mentioned how this project has made my Spotify channel basically a random music generator? Are you struggling with that too?

Beautiful album art. I'm expecting a pretty album of sweet possibly melancholy songs about love. Looking at the track list I'm sensing this is an album of standards? Some lovely choices. I think I'm in for some low key pleasantness. As the first, eponymous track plucks out its sweet beginning I can tell immediately this is going to be a pretty little gem. If you are Willie Nelson and you can do what you want, why not make something nice for people to drink wine and get old together to? Warm and wonderful; he makes it seem so easy. Did this album change the world? No. Does it make the world just a little nicer? Yes. I'm glad to have listened and will probably get it out from time to time when the circumstances are just so.

Another group and album that is completely new to me. Based on the noisy cover I expect noisy music. And rolling the first track, yes, an immediate Joan Jett & the Blackhearts vibe but a bit angrier. Yeah, more Clash, really, especially since it sounds pretty darn English. Energetic, crisp, catchy, not really a bad song in the bunch. A quality example of its genre. Not sure why I'm not already familiar with it. I would have loved this back in the day.

Classic straight ahead old timey rock music. Good times!

Album cover doesn't give too much of a clue about what's inside. Some kind of not too crazy jazz maybe? Wait, does he have a trumpet? Ok yeah, definitely expecting something nice and jazzy. Yep track list and song lengths confirm my suspicions. At 1 hour 16 min I hope it's good. Here we go! Yep, nice bright horn driven jazz, medium chill with some soul. Basic horn, sax, piano, guitar, drums. Engaging melodies interleaved with solos in a traditional format that's easy to wrap my head around. By turns catchy, pretty, melancholy, and technically impressive; all of it interesting but accessible. Loving this vibe, just the right energy level for me right now. Great stuff. I'm sure I'll be back to visit often.

Smashing Pumpkins always slightly annoyed me. I mean, it was fine then, it is fine now. I guess. "Today" is certainly an all time classic. Takes the album from 2.5 to 3.5 stars.

No idea what to expect here. The artist's name sounds Asian and the track listing seems somewhat political. Rolling and ... still not what I expected. How pretty! First two songs are just lovely and a bit sad. Nadia is a little inaccessible to me as I'm not that versed in Indian music, Immigrant is a nice mix of styles that really works well, towards the end it makes me think of Christina Aguilera (whereas Nostalgia maybe goes a little Bjork). Serpents is fascinating. All in all a really interesting album that I enjoyed listening too. A bit long, both the individual songs and the album in total. But super ambitious in theme. I'm impressed. And once again glad to have embarked on this project.

Hey there everybody! I liked this more than I was expecting to, and I don't hate later Chicago quite as much as it seems everyone else does. The songs that moved along brisky with some structure, like Introduction, South California Purples, I'm a Man, were fantastic. About half an hour less of this album, maybe minus Liberation and a minute chopped off every other song, and you'd have a tight five start masterpiece. I'm of two minds about Free Form Guitar. Seems more suited to Sound Cloud than on a real physical album.

I sure do love this stuff. A fine expression of what music can be. And certainly a singular experience live.

Can't say I've ever listened to a whole Temptations album but I bet it will be good. Oh wait. This is so funky and political. Not the Temptations that live in my head, masters of the upbeat love song. Obviously Papa Was A Rollin' Stone is a masterpiece. I appreciate the groove, but just a little more energy here and there might have been nice. Faves: Funky Music, Pappa, Do Your Thing.

Way more chill than I was expecting. Perfect amount groovy and funky to make work fly by. Here and there it sounded a little 70's and cheesy, which was also fun. I especially liked Be Yourself and Bumpy's Blues.

This album is all over the place, much like the members of the band in the fairly weird cover photo. Which can we take a moment to appreciate Freddie's one nail polished hand, unbuttoned pants, Brian's weird silver bolo/neck tassel and the wildly different expressions. Anger, amazement, amusement and ... Freddie. Anyway, I appreciate the momentum carried throughout. I might even call this a "fun romp". I don't love every single song (I'm looking at you, Tenement Funster), but most of them are fantastic and a few are transcendent. I hope these guys keep making music!

I've heard of Lucinda Williams by only by reputation. I am expecting twangy music and quality, transporting lyrics. First song does not disappoint. I guess you'd have to call "Right in Time" sex positive? Certainly paints a picture. The next song is just kind of ok. And it goes downhill from there, really. By the time I got to Greenville and Joy I was actively annoyed with this album. The best songs beyond the first track were Can't Let Go. But they weren't enough to bring the album into overall "good" territory. Maybe my expectations were set too high but I just wasn't impressed.

I accidently saw the Flaming Lips at Red Rocks, sometime around when this album came out. I was really there to see Cake. In any case, I don't remember their set much one way or the other. What I remember the most is that either Lips quit early or Modest Mouse didn't play; someone wasn't feeling well. This jug band, the Hackensaw Boys, which had played earlier, before most people had arrived, came back to the stage to fill in, initiating one of the most joyful experiences I've ever had. 9,000 drunk people dancing with enthusiastic abandon to music we would never usually hear. I am pretty sure they sold all the CDs they brought for their merch table that night. I know I bought one. Good times! Anyway, back to the album at hand. Love the cover. Digging the music. Pretty, chill, with weird lyrics. What's not to like. Well, after a while, it does drag on a bit.

I don't actually know much Nick Cave, shame on me, but both from what I do know and the album name and cover, I'm expecting pretty and depressing. This lovely spring day with happy kids playing on the playground in front of my window might not be an entirely appropriate backdrop, but here we go. Yep, very pretty. Quite somber. Lime Tree Arbour is really quite sweet. Which sums up the whole album. Brooding but romantic. And easy on the ears. Normally I would like more variety but this got into its groove and stayed there and I liked it.

Huh, I just had Sheer Heart Attack day before yesterday. That's OK! You can't have too much Queen. A Night At The Opera is not a chore. ...yep...still great. Be my clementine!

It's funny, I know every note, intimately, of Out of Time, the album before Automatic for the People. It was my constant companion through a rough patch of my life. Not out of love for REM but for purely circumstantial reasons. Which wore a groove in my heart where REM can fit. That said I've never given any time to Automatic for the People; I only know the hits. But I'm happy to take it for a spin. Initial impression is that it is musically similar but a bit sadder and darker maybe a little more sophisticated. Having listened twice this album is absolutely devastatingly gorgeous to listen to. The sound of it, the mood, the completely realized themes. Everybody Hurts is an iconic, seminal work. Try Not To Breath, Sweetness Follows and Monty Got a Raw Deal and Find The River are also incredibly powerful, of course along with Drive and Man On The Moon. Indeed all the songs offer something worthy. A genuine five star album. I regret not having visited before.

Just looking at the cover, I'm glad this wasn't the first album generated for me. I'm guessing this will be a bit challenging to get through. Opening it up and looking at the track lengths yes, potentially a chore but could go either way. Here we go! Turns out the best of anything is often pretty good. I liked it.

Is Jamiroquai good? I didn't know. I assumed they were annoying, but for no good reason. Bold cover. Let's give it a listen. Is that a digeridoo? That's fun. But I'm getting a strong hint of "I wish I were Stevie Wonder". Which I guess fair enough. Love the horns, strings, all the layers really. Sharp and clean. Funky. Having just done the Shaft soundtrack this album suffers in contrast, but still pretty good. Not sure it brings anything new to the table, though, more homage making than ground breaking. As a whole the album also lacks the attitude, joy, spark, conviction, magic, something to really put it over the line for me. I looked up a video to round out my impression and got "Virtual Insanity" which is again clever but not quite there, like if OK Go had just one idea and didn't push it to the point of joy. All the ingredients are there for this to be an enjoyable listen. But they don't quite come together like I want them to. I don't know. Maybe it is the cultural appropriation elephant in the room making me queasy. Without any context I might give this four stars, but I'm sticking with a "pretty good" three star rating because, well, context.

I don't know what to expect from this except the year and ear-heavy cover suggest we might be very experimental, prog. And ... yeah. The album gallops along through notably crazy (and seemingly unending) territory. I suspect this may be genius but it is out of my reach. Fave track: Hungry for Love.

The cover looks like a psychological thriller movie poster. Not sure what to expect. The track titles seem much more playful. Giving it a spin and ... electronica. OK! Actually, meh. Starts strong but drags on and on. There is some electronica or dance or experimental music that I like a lot but this isn't it. I don't hate it, but nothing grabs me about it. I am lukewarm on the vocals (2/5) though I do like the lyrics pretty well (3.5/5) but the music isn't doing it for me (2/5) there are interesting stretches (4/5) but it all winds up repetitive (2/5) although in a few cases that gave it time to grow on me (us v them)(3/5). Fave tracks: Get Innocuous!, All My Friends I can't say I'm clear why this album is on this list. Based on the reviews some people (who were young when I was not) have *very* fond memories of this album. A little ecstasy goes a long way, I guess.

Very strong opening wooo! It immediately has me moving. This album is a masterpiece, at least Side A. Very of its time but absolutely still fun to listen to today. Oh Michael. Why?

OK Tim, what do you have for us? Social commentary and guitar? That's my guess. Let's see. More energy than I expected but jeez, so pretentious. Oof. No thank you. Worst: Hallucinations. No, worst: Knight-Errant.

Yawn.

I don't think I know Nick Drake, but the album cover isn't promising. Oh wait, the opening notes of the opening/title track are immediately familiar, so I guess I do. Pink Moon is a great song, though up until now I never knew what he was saying. It just sounds great. And the songs keep coming, sounding great, sad but great. This is a beautiful album. I can't believe it is from 1972. It sounds timeless. I'm glad I listened and will again. Absolutely belongs on this list. Favorites: Pink Moon, Place to Be, Horn, From the Morning. Also all the other songs.

I've never considered myself a fan particularly, but I can't deny the power and perfection of this album.

This was fine, flirting with annoying (looking at you, Moog Raga), other times pleasant to listen to (Wasn't Born to Follow). I was entertained but not amazed. Honestly it was mostly pretty hokey.

The name of the band plus the album art made me chuckle. I'm happy to take a break from 1970 but don't have any idea what to expect, I've never heard of them and the cover and track list don't give much away. I didn't expect this! I also didn't entirely leave the 70's. The opening track is quite surprising, nostalgic, layered, interesting. I like it but I don't like the production, I feel like I am overhearing the party next door through the keyhole or something. As I listen on I'm feeling like an hour of this is likely to wear me out. Yeah, turns out too much of The Avalanches is tedious listening. Faves: title track and Summer Crane.

Red wine + strawberries + chocolate. Certainly deserves some explicit tags *cough* You Sure Love To Ball *cough*.

Huh. Wasn't hopeful from the cover but this is actually pretty interesting. Good backing track for my life today. I'm glad to have listened.

The cover places the album solidly in the late 60's. And the title track Cloud Nine is a drug song, right? Great stuff; love hearing the voices individually and together. Great version of Grapevine. Runaway Child has great parts and also completely off-putting sections. Not a fan of Love is a Hurtin' Thing. Overall this album is a fun listen I'm glad I took the time to hunt it up on YouTube. Trying to find it also schooled me on how extensive the Temptations oeuvre really is. Impressive.

One of my all time favorite albums. Always a comfort to listen to.

These are gorgeous wistful tunes matched perfectly to the moody cover art. The production really spotlights Sinatra's voice and delivers nostalgia straight to the heart. The thing I don't understand is why a guy like that didn't have better luck with the dames.

For some reason me and my friend Tara, the guitar player in our jazz band, got ahold of this album back in the day. We were in the most whitebread suburban part of middle America but we sure dug Prefab Sprout. Made our own t-shirts using my brand new Macintosh. Being in high school in the 80's was pretty much the best .

Not uniformly great but if you don't miss sometimes you aren't shooting high enough, right? Overall this album is an astonishing achievement. But you already know that.

Goodness me, that's quite a lot of art on the cover. So many things to look at. Honestly, I can't look away. I hope this album sounds like it looks! A h, yes, I've always had quite a soft spot in my heart for Oye Como Va. Besides Black Magic Woman I was not previously familiar with the songs on this album. Incident at Neshabur was a particular highlight, but really I enjoyed it all.

So good.

I enjoyed this a lot more that I thought I would. I didn't have much of an impression of The Black Keys but the music is fun, even if wholly unfamiliar. Howlin' For You is just great, and Next Girl. I like The Doors and CCR and ZZ Top, so what not The Black Keys? That said 18 songs and over an hour runtime is perhaps a bit generous.

I've never heard of bad brains, and the cover doesn't give me much to go on. Intro is pleasantly heavy. The title track I against I is original and moves right along and now I get it, this is punk. With a nice dose of metal and some reggae rhythms. To my ears a fresh original sound, but the energy is so uneven I'm left feeling a bit confused. They certainly have range but, I find myself surprised to be saying, maybe too much range? This should be right up my alley but I didn't end up loving it by the end. Best track: She's Calling You.

Apparently I need to listen to a whole lot of Neil Young before I die. I just don't love his voice, and being live sure doesn't help. This album isn't terrible, I'm not impervious to a nice turn of phrase, but I'm quite sure I won't be going back to listen again.

No thank you, not for me.

I like Anthrax. Lots of energy and good for an occasional laugh. I was also a big Stephen King fan back then, especially The Stand. Among the Living is peak Anthrax. Great cover art, too.

The 1001 Albums Project sometimes takes from Anthrax to Coldplay. And that's ok! Let 1001 flowers bloom. I'm not a Coldplay fan in particular but I also don't hate them like many people seem to. I'm not familiar with this album but first impression: pretty good album art. Getting started, relaxed very Coldplay sounding opening song. Then on to Shiver, which I really don't like. Sparks is pretty and Yellow is a nice enough song if a bit nonsensical. In general Side A is mellow and medium lovely but Side B settles into low-key boring. In any case, the songs don't ask too much of the listener. This album is probably fine if you are in the mood. Today I didn't happen to be.

It's hard to believe this is a debut album. The songs are edgy, confidently combining different styles into an original sound, oozing attitude. For reasons I can't articulate Brass in Pocket has always been one of my all time faves. I can't get enough of Chrissie Hynde. It was good to have her in the world while I was growing up and figuring out who I wanted to be.

Tomorrow I have an old friend visiting me in my new hometown for the first time. Yesterday I was looking at a map reviewing walking routes to see the things I want to show him. I noticed there is a new "Black Sabbath Bridge" which was dedicated in 2019. So I've been thinking about Black Sabbath and it made me happy to have this album come up for me today. The Wikipedia entry on this album is well worth a quick read. They mention "the bleak industrial nightmare" of the group's hometown, Birmingham, England. Although I'm glad I didn't grow up here in the 70's, Birmingham is actually a pretty fascinating place. The industrial revolution initially started in this area making Birmingham a center of manufacturing for the next 100+ years. JRR Tolkien grew up here and The Shire is Birmingham, both at the beginning of the series (his idyllic childhood memories) as well as after Saruman's Scouring of the Shire at the end (bleak industrial nightmare). This area also gave us another bloke with occasional middle earth vibes, Robert Plant. Interestingly, Tolkien was alive for the debut albums of both Led Zeppelin and Black Sabbath. I wonder what he thought. Anyway, great album, two thumbs up.

The soundtrack to junior high for me. Terrible years, I don't think anyone enjoys being 13, especially in retrospect. But even that can't taint my love for Duran Duran; I'm finding that I still know every word of every song. Even the album cover is the 80's crystalized in one image. It is impossible to listen to these songs and not see the videos in my mind's eye. MTV propelled Duran Duran into superstardom and they likewise made MTV central to teenage life. So. Many. Memories.

Poppy punk fun. I wish it was a little smarter but still has solid entertainment value all these years later. More than I expected, actually, haven't visited with Green Day for quite some time. Also solid album art.

Did not love this. The title track was the only song I liked at all, tbh. And randomly I watched the movie Looper after listening to this album and the title track was in it. Small world.

I learned Starry Starry Night in grade school choir, I didn't realize until now that it was a relatively current pop song at the time (mid seventies). We learned Cat's in the Cradle too. I lumped those songs in with This Land is Your Land and the ilk as old standards. In retrospect I find myself wondering why they thought Vincent belonged in the same set list as Señor Gato was a Cat. Anywaaay, enough about me, on to the album. American Pie is a beautiful example of putting your heart into a song and singing with genuine emotion. Deserves its iconic status. The title track is worth a star by itself. Second song takes the energy right down to 0 but at least it is pretty. Star for Vincent perhaps just out of nostalgia, although by adult ears find "perhaps they'll listen now" problematic. The following songs keep the energy hovering at floor level. OK, I guess, but I'm not feeling like Winterwood or Empty Chairs have anything new to offer on their universal theme of love lost. I appreciate the change of pace of Everybody Loves Me, Baby but it feels a little forced. Then we crash hard on the last three songs. Still pretty, but also oof. I don't want to be bummed AND bored. Overall the music is nice but forgettable and would slip by unnoticed if it were playing in the background. But listening with attention doesn't improve the experience. The title track is a genuine knockout, but I (and everyone else) already know it; do we really need to hear the whole album?

Very pleasant. Makes me feel like I am someplace fancy. You can half listen and it's enjoyable or you can really listen and it's a feast for your brain.

I was given Duran Duran's Rio a few albums ago and I thoroughly enjoyed that trip back to the 80's. So when I saw this come up I was happy to dive back in. Also, for context, I gave Kraftwerk Autobahn 5 stars. So this album sounds just like something I would enjoy, but oof. I certainly see what they are trying to do but it's too simplistic and aimless to get there. Even the short songs feel too long. The bassist really goes for it which merits a star. Otherwise, it's a listless mess that I actually didn't need to hear before I die.

Babies? En español ? Alrighty. The cover is very 70's. Diving in there is an immediate energy and urgency to the music. I tell you what, these guys can play! Unlike the last album I listened to, which was pointlessly complicated, these songs are layered in the best way, with all the different rhythmic and musical and lyrical elements building into a brilliant unified whole. Sometimes funny, sometimes emotional, but always in motion. I want to put on something sexy and dance the night away.

Haven't heard Smooth Operator in decades. Which is good because wow did it get a lot of play. With fresh ears it's still smooth but together with the rest of the album the songs are lyrically pretty thin. Ideally suited to background/mood music when the mood is jazzy saxy.

I've never listened to an Elvis album start to finish, though I do like lots of individual songs. Weirdly the album cover makes me think of an Izod ad or something. I'm going to leave aside the problematic nature of the music, album, and Elvis' success off the back of cultural appropriation. While relevant cultural context it's not something I feel like I can comment on intelligently. Sticking just to the music this album just roars out of the gate with Blue Suede Shoes. They definitely knew how to rock and roll back then. The songs are each a little sparkly burst of joy and energy, like fireworks that delight and quickly disappear to make room for the next explosion. Although some of the ballads, like I'll Never Let You Go, are more miss than hit. And there's maybe a little more twang than I would strictly prefer. Overall, though, fun from start to finish.

The cover art is washed out and hard to see or make sense of. Maybe having the physical album would help, but it turns out my impression of the art is perfect for the album which is also faint and weird and hard to get enough of a fix on to even decide if it is interesting or just self indulgent. Yeah, just got to Alife, and I'm afraid Robert Wyatt has worn out his welcome. Not for me. But then I don't like Radiohead either. I did look up the Tears for Fears cover of Sea Song and found it a bit more accessible. After that I was thinking maybe two stars and went back and listened to the album again and halfway through decided no, no second star, I just don't like it.

I've never heard any of these songs before but the album still sounds familiar. Basic straight forward guitar rock travelling well worn rock and roll grooves. That said I actually enjoyed it quite a bit. Might not be groundbreaking but it is certainly well done. I've decided what this reminds me of. Neil Young if Neil Young had a good voice.

The good songs are so good (You are the Sunshine of my Life, Maybe Your Baby, I Believe) that I feel like the songs I don't like as well (You've Got It Bad Girl, Lookin' For Another Pure Love) are my fault, not because the songs aren't good. I saw another review that referred to Superstition as overplayed, an idea that startled me. I've always considered Superstition to be a pinnacle of musical achievement, like Bach's Little Fugue in G Minor. Evergreen and always welcome in my stream.

As great a song as Mrs Robinson is, and as much as I love Bridge Over Troubled Waters, I was surprised by how much I did not enjoy this album. WTH is At the Zoo? America and Hazy Shade of Winter are good, otherwise a big no thank you to this. I mean I get it, I see what Paul was trying to do, I'm willing to stipulate that he accomplishes it, sure there's quality lyrics, harmonies, music, but still. Just not for me, at least not at this moment.

Fun energetic punk. The cover confuses me but the music is very straightforward. Opens strong and keeps up the pace with short fast songs and lots of attitude. Favorite track: I'm Misunderstood.

I have a very vivid memory in middle school of several teachers huddled around a desk after class one day. I went over to see what they were looking at and someone had written/carved into the desk: Goodbye cruel world I'm leaving you today Goodbye all you people, there's nothing you can say To make me change my mind. Goodbye They were in a right panic trying to figure out who's desk it was. Still makes me chuckle. Bonus fun fact: Pink Floyd The Wall is the only movie I ever owned on Betamax. I did not, however, own a Betamax player. Anyway. What can you say about The Wall. My life wouldn't be the same without it. A singular achievement which very much belongs on this list.

Very Bossy. Which to me is mostly a good thing.

Interesting enough, I guess, but nothing really exceptional. A bit overwrought.

I grew up in the most white bread Denver suburb imaginable, experiencing no honkytonks or whiskey bars. My teenage tastes were all 80's British Pop, plus some Charlie Parker and Bach. I now live in England. So where or where does my love of southern fried rock come from? I already had a heart on two songs from this album, neither of which was for Free Bird. I've not dipped my toe too deep into the Lynyrd Skynyrd catalog before and have already added some additional hearts. Gimme Three Steps is a perfect distillation of this specific art form. An incredibly strong debut album. Worth a listen, if you get the chance, before you die.

I really don't understand the cover photo. Is he hiding from someone? Sad about losing his shirt? Did we catch him right when he started to take his jacket off? I enjoyed this more than I expected to. I never really listened to much solo George Michael except what the radio might have played. Faith is super catchy, as is Father Figure. Really all the songs are solid, I particularly like Kissing a Fool, which is lovely. I don't enjoy the lyrics as much, they strike me as a bit ... frank. But still catchy.

First, hate the cover, it is distressing. Other than that I liked this album much better than the other Supergrass that was generated for me. I don't love it, but it is generally listenable with some good bits which remind me of various other British bands. Alright is an undeniably good song, Sofa of my Lethargy is nice, and Time To Go is super cute as the last song.

The band name and album cover didn't really invite me in; I wasn't expecting to enjoy this album. But the groove just pulls you along into some kind of synth trance. Excellent for a chill vibe. Best tracks: Karmacoma, Three, Heat Miser. Not sure why Light My Fire is tacked onto the end, though.

More!

Genius is fair.

Perfect album cover art. Smooth and a little sexy.

Love this about the cover art from Wikipedia "The album's artwork is the only New Order release to feature photographs of the band members on its cover. The CD comes packaged with drummer/keyboardist Stephen Morris on the front cover, while inside the case are four photographs and a semi-transparent piece of paper with the band's name, allowing the owners to choose which band member is seen through the sleeve." I like New Order well enough, but have never listened to Low-Life straight through. Starts bare and sparse with Love Vigilantes. The reviewer that said the song could be The Alarm or Big Country was onto something with that observation. Then we move into the sound I'm expecting with The Perfect Kiss, a fantastic track. Most of these tracks are all quite good. Easier to pick out my least favorite, This Time of Night. That said, even though the songs are all individually good and the album hangs together well, it is just missing some magic ingredient to make me love it. Happy to listen if it is on, probably won't seek it out for repeated listening.

Although I know some REM albums very well, for this one but not this one; here just know the hits. Of which there are many. After giving it a listen through I have no problem saying I like REM. This is a strong album. Not perfection, but lots here to like.

Although I am familiar with Kanye as a cultural figure, of course, I've never actually taken the time listen to any of his music. Kind of always meant to. Today 1001 Albums finally got me to do it. Obviously this is not my type of music but I've learned a lot through the first 200 albums so I feel ready to tackle this album. I'm surprised right away. And impressed. I assumed Kanye's music was good, he is an icon after all, but I didn't expect it to be accessible to me. On the contrary I like the first three tracks a lot, and the interlude is fantastic, dark and beautiful, sounds like it would be right at home in the Westworld soundtrack. Monster is more like I guess I was expecting and I don't love it. So Appalled and Runaway also don't speak to me. But Runaway to the end are pretty cool. Even the songs I don't like as well sound great. Overall interesting and varied but cohesive with moments of pathos and beauty and attitude and humor, plus it just sounds great. An impressive work. What a shame...

One look at the album cover and I hit play as quick as a could before I had a chance to think better of it. The first couple songs have lyrics so cliched it hurts, and the music is nearly so, except also weird. Reading the Wikipedia entry these aren't just any burritos, which helps me understand how this album didn't just sink without a trace like it should have. The music itself is competently played, and maybe one song like this would be fun, but a whole album is way too much. Way. Too. Much.

The first song on this debut album open so strong and is a great and, as it turns out, timeless song. The quality stays top shelf with "Straight Shooter". All together this album is very impressive; some attitude, lots of harmony, very hooky, although also fairly dated. I've never listened to an entire Mama's and the Papa's album before, it would have never occurred to me to do, but I already know the majority of these songs; that's a lot of time tested hits. Even the songs I am not already familiar with are pretty good. Solid summer listening.

I've never listened to my bloody valentine simply because the name puts me off. Starting out I can't say I regret missing it out. Past the initial noise that begins the album we get to something approaching noisy music. Yeah this isn't for me. I struggled through the whole album and it didn't get any more pleasant, just more boring. Particularly annoying: I Only Said. Least annoying: Sometimes.

I did not expect an album called "If you're feeling sinister" and featuring a picture of a woman pondering over The Trial (I love Kafka) to start out with a song named "The Stars of Track & Field" that is actually about cherry underwear. What to make of it? The first couple songs had me thinking it might be OK but Me and the Major made me think uh-oh. But overall it is pretty and sounds great, I appreciate that I could understand the lyrics. That said, it is a little downbeat for me, at least today.

Sometimes this kind of music is good and I like it. Often it is boring and repetitive and not all that enjoyable for home listening. This album is not boring, definitely of its time, but quite delightful start to finish. Favorite: Pacific 202

My last several albums have been a sampler of beautiful music from different times and places. I guess that streak is coming to a spectacular halt with License to Ill. This debut album starts out very strong with Rhymin' & Stealin which is catchy and creative and infused with the sense of humor this project has taught me to expect from Beastie Boys. This is not my music, though of course I'm familiar with the hits, which by itself speaks to the monster success of this album. To my relatively virgin ears this whole thing is very 80's but also fun, funny, listenable, smart, energetic and I appreciate the clean production allowing me to hear and understand all of the lyrics. In a nutshell: a cultural quilt of genius samples gleefully stitched together loudly with clever rhymes.

I like Tom Wait pretty well. Music, voice, lyrics. Though if my husband ever writes me a love song I hope it will feature fewer (possibly no?) prostitutes.

Sympathy for the Devil is a great song. 50+ years does not dim its charms. The rest of the album doesn't even manage to achieve mediocrity, except maybe Street Fighting Man.

I have enjoyed the other Goldfrapp projects that the Album Generator has given me. Not this one as much. It's got the chill vibes and pleasant sounds I enjoyed in the past but unfortunately tips into boring pretty early on. Personally I would not have included this album on this list. Nice hat, though.

Catchy!